987 resultados para String orchestra music.


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An enhanced physical model of the bowed string presented previously [1] is explored. It takes into account: the width of the bow, the angular motion of the string, bow-hair elasticity and string bending stiffness. The results of an analytical investigation of a model system - an infinite string sticking to a bow of finite width and driven on one side of the bow - are compared with experimental results published by Cremer [2] and reinterpreted here. Comparison shows that both the width of the bow and the bow-hair elasticity have a large impact on the reflection and transmission behaviour. In general, bending stiffness plays a minor role. Furthermore, a method of numerical simulation of the stiff string bowed with a bow of finite width is presented along with some preliminary results.

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目的 研究古琴(一种古老的中国乐器)和钢琴音乐对认知的影响.方法 记录和分析了中国被试在两种音乐背景(古琴音乐,钢琴音乐)下完成听觉oddball任务的行为和事件相关电位(event-related potential,ERP)数据.结果 中国被试在本土文化的音乐环境(古琴音乐)下,前额区诱导出更大的P300,这一结果和已有的相关研究是相符的.同时,不同音乐背景对ERP产生的影响在N1和LPC(包括P300和P500)上也表现出差别:中国被试在古琴音乐背景下比钢琴音乐背景下表现出更多的右前侧颞叶的参与.结论 因为古琴音乐的五声调式和汉语发音的音调具有对应关系,因此我们推断在古琴音乐下所表现出的这种特性与被试的汉语环境有关.

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To compare the effects of music from different cultural environments (Guqin: Chinese music; piano: Western music) on crossmodal selective attention, behavioral and event-related potential (ERP) data in a standard two-stimulus visual oddball task were reco

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Special thanks to Christopher Blair and Mumtaz Baig for their suggestions. This work was supported by National Basic Research Program of China (973 Program, 2007CB411600), National Natural Science Foundation of China (30621092), and Bureau of Science and Technology of Yunnan Province.

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The development is described of a computer-controlled bowing machine that can bow a string with a range of gestures that match or exceed the capabilities of a human violinist. Example measurements of string vibration under controlled bowing conditions are shown, including a Schelleng diagram and a set of Guettler diagrams, for the open D string of a cello. For some results a rosin-coated rod was used in place of a conventional bow, to provide quantitative data for comparison with theoretical predictions. The results show qualitative consistency with the predictions of Schelleng and Guettler, but details are revealed that go beyond the limitations of existing models. © S. Hirzel Verlag · EAA.

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We continue the study of spiking neural P systems by considering these computing devices as binary string generators: the set of spike trains of halting computations of a given system constitutes the language generated by that system. Although the "direct" generative capacity of spiking neural P systems is rather restricted (some very simple languages cannot be generated in this framework), regular languages are inverse-morphic images of languages of finite spiking neural P systems, and recursively enumerable languages are projections of inverse-morphic images of languages generated by spiking neural P systems.

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Charmed baryon spectroscopy has been studied under a string model. In this model, charmed baryons are composed of a diquark and a charm quark which are connected by a constant tension. In this diquark picture, the quantum numbers J(P) of confirmed baryons have been well assigned. Energies of the first and second orbital excitations have been predicted and compared with the experimental data. Meanwhile, diquark masses have been extracted in the background of charm quark which satisfy a splitting relation based on spin-spin interaction.

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As part of a larger research project in musical structure, a program has been written which "reads" scores encoded in an input language isomorphic to music notation. The program is believed to be the first of its kind. From a small number of parsing rules the program derives complex configurations, each of which is associated with a set of reference points in a numerical representation of a time-continuum. The logical structure of the program is such that all and only the defined classes of events are represented in the output. Because the basis of the program is syntactic (in the sense that parsing operations are performed on formal structures in the input string), many extensions and refinements can be made without excessive difficulty. The program can be applied to any music which can be represented in the input language. At present, however, it constitutes the first stage in the development of a set of analytic tools for the study of so-called atonal music, the revolutionary and little understood music which has exerted a decisive influence upon contemporary practice of the art. The program and the approach to automatic data-structuring may be of interest to linguists and scholars in other fields concerned with basic studies of complex structures produced by human beings.

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74 Front Street is intended as a musical response to the work of American sculptor Fred Sandback (1943-2003), in particular his string sculptures which are intentionally uncomplicated, minimal and strikingly beautiful. The relationship between these string works and music is rather distinct; indeed, before formally studying sculpture Sandback made a number of string instruments. He has said that his string works evolved from a desire to rid art of excessive decoration and, while there are instances of activity in 74 Front Street, much of the piece aims to reflect the simplicity of Sandback’s work.

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Commissioned by the Concorde Ensemble. Paul Roe gave the premiere performance at the RHA Gallery, Dublin, 23rd February 2014. The piece is informed by the choreography of Jiri Kylian, in particular two three minute sections of his work No More Play initially choreographed to a score by Webern (his Five Movements for String Quartet) hence the title.

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This work for chamber orchestra explores the relationship between music and architecture, specifically that of the Guggenheim Museum, NYC. It was commissioned by the Edinburgh Contemporary Music Ensemble who gave the first performance in June 2008. Subsequent performances in 2011 by the National Youth Orchestra of Scotland have been accompanied by a film I created exploring the surfaces and profiles of the Guggenheim NYC.