Comparison of two-dimensional speckle and tissue velocity based strain and validation with harmonic phase magnetic resonance imaging

Two-dimensional (2-D) strain (epsilon(2-D)) on the basis of speckle tracking is a new technique for strain measurement. This study sought to validate epsilon(2-D) and tissue velocity imaging (TVI)based strain (epsilon(TVI)) with tagged harmonic-phase (HARP) magnetic resonance imaging (MRI). Thirty patients (mean age. 62 +/- 11 years) with known or suspected ischemic heart disease were evaluated. Wall motion (wall motion score index 1.55 +/- 0.46) was assessed by an expert observer. Three apical images were obtained for longitudinal strain (16 segments) and 3 short-axis images for radial and circumferential strain (18 segments). Radial epsilon(TVI) was obtained in the posterior wall. HARP MRI was used to measure principal strain, expressed as maximal length change in each direction. Values for epsilon(2-D), epsilon(TVI), and HARP MRI were comparable for all 3 strain directions and were reduced in dysfunctional segments. The mean difference and correlation between longitudinal epsilon(2-D) and HARP MRI (2.1 +/- 5.5%, r = 0.51, p < 0.001) were similar to those between longitudinal epsilon(TVI), and HARP MRI (1.1 +/- 6.7%, r = 0.40, p < 0.001). The mean difference and correlation were more favorable between radial epsilon(2-D) and HARP MRI (0.4 +/- 10.2%, r = 0.60, p < 0.001) than between radial epsilon(TVI), and HARP MRI (3.4 +/- 10.5%, r = 0.47, p < 0.001). For circumferential strain, the mean difference and correlation between epsilon(2-D) and HARP MRI were 0.7 +/- 5.4% and r = 0.51 (p < 0.001), respectively. In conclusion, the modest correlations of echocardiographic and HARP MRI strain reflect the technical challenges of the 2 techniques. Nonetheless, epsilon(2-D) provides a reliable tool to quantify regional function, with radial measurements being more accurate and feasible than with TVI. Unlike epsilon(TVI), epsilon(2-D) provides circumferential measurements. (c) 2006 Elsevier Inc. All rights reserved.

Online two-section PV array fault diagnosis with optimized voltage sensor locations

Photovoltaic (PV) stations have been widely built in the world to utilize solar energy directly. In order to reduce the capital and operational costs, early fault diagnosis is playing an increasingly important role by enabling the long effective operation of PV arrays. This paper analyzes the terminal characteristics of faulty PV strings and arrays, and it develops a PV array fault diagnosis technique. The terminal current-voltage curve of a faulty PV array is divided into two sections, i.e., high-voltage and low-voltage fault diagnosis sections. The corresponding working points of healthy string modules and of healthy and faulty modules in an unhealthy string are then analyzed for each section. By probing into different working points, a faulty PV module can be located. The fault information is of critical importance for the maximum power point tracking and the array dynamical reconfiguration. Furthermore, the string current sensors can be eliminated, and the number of voltage sensors can be reduced by optimizing voltage sensor locations. Typical fault scenarios including monostring, multistring, and a partial shadow for a 1.6-kW 3 $times$ 3 PV array are presented and experimentally tested to confirm the effectiveness of the proposed fault diagnosis method.

On string topology of classifying spaces

Peer reviewed

On string topology of classifying spaces

Peer reviewed

On string topology of classifying spaces

Peer reviewed

Into the Bends of Time and Musical Forces in Jazz: Group Interaction and Double-time in “My Foolish Heart” as performed by the Bill Evans Trio with Scott LaFaro and Paul Motian.

Into the Bends of Time is a 40-minute work in seven movements for a large chamber orchestra with electronics, utilizing real-time computer-assisted processing of music performed by live musicians. The piece explores various combinations of interactive relationships between players and electronics, ranging from relatively basic processing effects to musical gestures achieved through stages of computer analysis, in which resulting sounds are crafted according to parameters of the incoming musical material. Additionally, some elements of interaction are multi-dimensional, in that they rely on the participation of two or more performers fulfilling distinct roles in the interactive process with the computer in order to generate musical material. Through processes of controlled randomness, several electronic effects induce elements of chance into their realization so that no two performances of this work are exactly alike. The piece gets its name from the notion that real-time computer-assisted processing, in which sound pressure waves are transduced into electrical energy, converted to digital data, artfully modified, converted back into electrical energy and transduced into sound waves, represents a “bending” of time.

The Bill Evans Trio featuring bassist Scott LaFaro and drummer Paul Motian is widely regarded as one of the most important and influential piano trios in the history of jazz, lauded for its unparalleled level of group interaction. Most analyses of Bill Evans’ recordings, however, focus on his playing alone and fail to take group interaction into account. This paper examines one performance in particular, of Victor Young’s “My Foolish Heart” as recorded in a live performance by the Bill Evans Trio in 1961. In Part One, I discuss Steve Larson’s theory of musical forces (expanded by Robert S. Hatten) and its applicability to jazz performance. I examine other recordings of ballads by this same trio in order to draw observations about normative ballad performance practice. I discuss meter and phrase structure and show how the relationship between the two is fixed in a formal structure of repeated choruses. I then develop a model of perpetual motion based on the musical forces inherent in this structure. In Part Two, I offer a full transcription and close analysis of “My Foolish Heart,” showing how elements of group interaction work with and against the musical forces inherent in the model of perpetual motion to achieve an unconventional, dynamic use of double-time. I explore the concept of a unified agential persona and discuss its role in imparting the song’s inherent rhetorical tension to the instrumental musical discourse.

The Influence of the Guatemalan Municipal Orchestra's Curriculum on the Social Relations of its Members

The purpose of this case study is to determine the influence of the curriculum used by the Guatemalan Municipal Orchestra (GMO) upon the social interactions of its members. Social interactions include relations with families, teachers, and music colleagues. To determine this influence, the researcher framed the study using three main components: the impact of music in the development of children’s social skills; the curricula forming educational processes; and the characteristics of the Venezuela musical program, El Sistema. These foundations are explored via the tenets of participatory literacy. The data collection included interviews, surveys, and observation of students, parents, teachers, and administrative personnel. Two primary themes emerged from the data analysis: the development of a sense of community and the presence of intrinsic and external motivators implicit in the GMO environment. The final analysis suggests that curricular practices in the GMO positively influenced the development of students’ social interactions.

Hermes, a Concerto for Violoncello and Orchestra

This thesis consists of a large composition for violoncello and orchestra, together with an analytical paper in which I discuss my compositional techniques and some of their historical antecedents. The composition draws on the genres of imaginary musical theater, the symphonic poem, and the concerto. It was also inspired by the story of Hermes, the messenger god from Greek mythology. While the myth partially informs the compositional structure, the work is ultimately meant to showcase the versatility of the cello, the coloristic range of the orchestra (in some cases emulating the orchestral styles of previous composers), the balance of cello and orchestra together, and the eclectic invocation of many compositional techniques separately and simultaneously. These techniques encompass set theory (the use of unordered pitch collections), polytonality, and serialism. It is composed in a post-romantic style.

(Table 2) Age determination of harp seals (Pagophilus groenlandicus) from the Barents Sea - comparison of methods

Lower jaws (containing the teeth), eyes, and skin samples were collected from harp seals (Pagophilus groenlandicus) in the southeastern Barents Sea for the purpose of comparing age estimates obtained by 3 different methods, the traditional technique of counting growth layer groups (GLGs) in teeth and 2 novel approaches, aspartic acid racemization (AAR) in eye lens nuclei and telomere sequence analyses as a proxy for telomere length. A significant correlation between age estimates obtained using GLGs and AAR was found, whereas no correlation was found between GLGs and telomere length. An AAR rate (k Asp) of 0.00130/year ± 0.00005 SE and a D-enantiomer to L-enantiomer ratio at birth (D/L 0 value) of 0.01933 ± 0.00048 SE were estimated by regression of D/L ratios against GLG ages from 25 animals (12 selected teeth that had high readability and 13 known-aged animals). AAR could prove to be useful, particularly for ageing older animals in species such as harp seals where difficulties in counting GLGs tend to increase with age. Age estimation by telomere length did not show any correlation with GLG ages and is not recommended for harp seals.

TRPV4: Molecular Conductor of a Diverse Orchestra

Transient receptor potential vanilloid type 4 (TRPV4) is a calcium-permeable nonselective cation channel, originally described in 2000 by research teams led by Schultz (Nat Cell Biol 2: 695-702, 2000) and Liedtke (Cell 103: 525-535, 2000). TRPV4 is now recognized as being a polymodal ionotropic receptor that is activated by a disparate array of stimuli, ranging from hypotonicity to heat and acidic pH. Importantly, this ion channel is constitutively expressed and capable of spontaneous activity in the absence of agonist stimulation, which suggests that it serves important physiological functions, as does its widespread dissemination throughout the body and its capacity to interact with other proteins. Not surprisingly, therefore, it has emerged more recently that TRPV4 fulfills a great number of important physiological roles and that various disease states are attributable to the absence, or abnormal functioning, of this ion channel. Here, we review the known characteristics of this ion channel's structure, localization and function, including its activators, and examine its functional importance in health and disease.

Towards a Virtual-Acoustic String Instrument

In acoustic instruments, the controller and the sound producing system often are one and the same object. If virtualacoustic instruments are to be designed to not only simulate the vibrational behaviour of a real-world counterpart but also to inherit much of its interface dynamics, it would make sense that the physical form of the controller is similar to that of the emulated instrument. The specific physical model configuration discussed here reconnects a (silent) string controller with a modal synthesis string resonator across the real and virtual domains by direct routing of excitation signals and model parameters. The excitation signals are estimated in their original force-like form via careful calibration of the sensor, making use of adaptive filtering techniques to design an appropriate inverse filter. In addition, the excitation position is estimated from sensors mounted under the legs of the bridges on either end of the prototype string controller. The proposed methodology is explained and exemplified with preliminary results obtained with a number of off-line experiments.

Formless being for flute, clarinet, bassoon, french horn, percussion, piano and string quartet

Thesis (D.M.A.)--University of Washington, 2016-06

Move, for string quartet, piano, percussion and electronics

MOVE is a composition for string quartet, piano, percussion and electronics of approximately 15-16 minutes duration in three movements. The work incorporates electronic samples either synthesized electronically by the composer or recorded from acoustic instruments. The work aims to use electronic sounds as an expansion of the tonal palette of the chamber group (rather like an extended percussion setup) as opposed to a dominating sonic feature of the music. This is done by limiting the use of electronics to specific sections of the work, and by prioritizing blend and sonic coherence in the synthesized samples. The work uses fixed electronics in such a way that allows for tempo variations in the music. Generally, a difficulty arises in that fixed “tape” parts don’t allow tempo variations; while truly “live” software algorithms sacrifice rhythmic accuracy. Sample pads, such as the Roland SPD-SX, provide an elegant solution. The latency of such a device is close enough to zero that individual samples can be triggered in real time at a range of tempi. The percussion setup in this work (vibraphone and sample pad) allows one player to cover both parts, eliminating the need for an external musician to trigger the electronics. Compositionally, momentum is used as a constructing principle. The first movement makes prominent use of ostinato and shifting meter. The second is a set of variations on a repeated harmonic pattern, with a polymetric middle section. The third is a type of passacaglia, wherein the bassline is not introduced right away, but becomes more significant later in the movement. Given the importance of visual presentation in the Internet age, the final goal of the project was to shoot HD video of a studio performance of the work for publication online. The composer recorded audio and video in two separate sessions and edited the production using Logic X and Adobe Premiere Pro. The final video presentation can be seen at geoffsheil.com/move.

W.A. Mozart's Die Zauberflöte An Arrangement and Performance Edition for Wind Instruments and Vocal Soloists

The purpose of this dissertation is to produce a new Harmonie arrangement of Mozart’s Die Zauberflöte suitable for modern performance, bringing Joseph Heidenreich’s 1782 arrangement—one of the great treasures of the wind repertoire—to life for future performers and audiences. I took advantage of the capabilities of modern wind instruments and performance techniques, and employed other instruments normally found in the modern wind ensemble to create a work in the tradition of Heidenreich’s that restored as much of Mozart’s original thinking as possible. I expanded the Harmonie band to include flute and string bass. Other instruments provide special effects, a traditional role for wind instruments in the Classical opera orchestra. This arrangement is conceived to be performed with the original vocal soloists, making it a viable option for concert performance or for smaller staged productions. It is also intended to allow the wind players to be onstage with the singers, becoming part of the dramatic action while simultaneously serving as the “opera orchestra.” This allows creative staging possibilities, and offers the wind players an opportunity to explore new aspects of performing. My arrangement also restores Mozart’s music to its original keys and retains much of his original wind scoring. This arrangement expands the possibilities for collaboration between opera studios, voice departments or community opera companies and wind ensembles. A suite for winds without voices (currently in production) will allow conductors to program this major work from the Classical era without dedicating a concert program to the complete opera. Excerpted arias and duets from this arrangement provide vocalists the option of using chamber wind accompaniment on recitals. The door is now open to arrangements of other operas by composers such as Mozart, Rossini and Weber, adding new repertoire for chamber winds and bringing great music to life in a new way.

Using multiple GPUs to accelerate string searching for digital forensic analysis

String searching within a large corpus of data is an important component of digital forensic (DF) analysis techniques such as file carving. The continuing increase in capacity of consumer storage devices requires corresponding im-provements to the performance of string searching techniques. As string search-ing is a trivially-parallelisable problem, GPGPU approaches are a natural fit – but previous studies have found that local storage presents an insurmountable performance bottleneck. We show that this need not be the case with modern hardware, and demonstrate substantial performance improvements from the use of single and multiple GPUs when searching for strings within a typical forensic disk image.