A two-stage approach for tonic identification in indian art music

In this paper we propose a new approach for tonic identification in Indian art music and present a proposal for acomplete iterative system for the same. Our method splits the task of tonic pitch identification into two stages. In the first stage, which is applicable to both vocal and instrumental music, we perform a multi-pitch analysis of the audio signal to identify the tonic pitch-class. Multi-pitch analysisallows us to take advantage of the drone sound, which constantlyreinforces the tonic. In the second stage we estimate the octave in which the tonic of the singer lies and is thusneeded only for the vocal performances. We analyse the predominant melody sung by the lead performer in order to establish the tonic octave. Both stages are individually evaluated on a sizable music collection and are shown toobtain a good accuracy. We also discuss the types of errors made by the method.Further, we present a proposal for a system that aims to incrementally utilize all the available data, both audio and metadata in order to identify the tonic pitch. It produces a tonic estimate and a confidence value, and is iterative in nature. At each iteration, more data is fed into the systemuntil the confidence value for the identified tonic is above a defined threshold. Rather than obtain high overall accuracy for our complete database, ultimately our goal is to develop a system which obtains very high accuracy on a subset of the database with maximum confidence.

Sanoin kuvaamaton : teatterintekijän pohdintoja intuitiosta

This thesis examines the concept of intuition from different aspects. The basis for this thesis has been the author`s experience about education as a supportive process for intuitive thinking. It studies what taking advantage of intuition means for the author of this thesis and how intuition can be defined as a concept. This thesis shows what intuition means both from the performer`s and the director`s point of view. The author attemps to explain how these two areas of her professional identity either support or prevent intuitive creativity from emerging successfully. The intuition of a performer is examined through playback theatre and the insight associated with playback theatre. Regarding the work of a director, the author describes the making of a walking tour performance called "Sama maa" (2006) that she directed. The author attempted to fully utelize her intuitive creativity while planning the performance. The intuitive choices of the author were the basis for planning and carrying out the performance. This thesis studies a concept that is very challenging to explain in words. There is not a lot of literature about concept of intuition with respect to theater. The author of the thesis has ended up thinging about guestion that is very important to her, a guestion about relationship between controlled and authentic mental processing. The author also engourages others to think about the meaning of intuition and insight to themselves as a part of a daily life and as a part of the artistic creativity.

Proyecto Delta : interrelación entre intérprete, obra y público en la música contemporánea

Proyecto Delta es una iniciativa escenográfica de un programa de concierto específico constituido con obras de música contemporánea. La propuesta se lleva a cabo gracias a un fundamento teórico que incluye reflexiones en torno a las figuras comprometidas en el acto musical escénico: intérprete, obra y público. En esta digresión sus funciones son objeto de un desfiguramiento, fomentando la capacidad creativa del intérprete como director artístico. El concierto se convierte, de este modo, en un producto acabado. En particular, el Proyecto Delta se construye sobre el diálogo entre lo sonoro y lo visual, lo audible y lo visible: la música y el espacio.

Drama i espectacle operístic : la dialèctica entre espai i temps en el Parsifal de Herheim i el ritus com a obra d’art del futur

Parsifal és, segons la manera en què es mire, l’excepció dins el llistat de drames musicals wagnerians pel tractament sense precedents que fa de motius catòlics en un lloc i un moment com la recentment unificada Alemanya, on la construcció de la identitat nacional passava per un model social i cultural concret i, per tant, també religiós. Però una òptica diferent ens pot apropar a una ingent quantitat de paral·lelismes entre el model artístic expressat per Wagner en els seus escrits teòrics de joventut i alguns dels elements estètics i ideològics de la seua darrera obra. L’espectacle operístic en l’actualitat continua sent fruit de la societat en què es gesta i per això Stefan Herheim utilitza una visió diacrònica de la recepció d’aquesta obra wagneriana com a un dels motius principals sobre els quals construirà una dramatúrgia densa i meditada en què es durà a terme fins a les seues últimes conseqüències una revisió en clau contemporània del concepte d’obra d’art del futur.

La heroína trágica en la ópera : personajes femeninos de la tragèdie lyrique y el dramma per musica

El antiguo arte de la tragedia griega volvió a revivir entre las décadas de 1570 y 1580 gracias a la Camerata Florentina, que la convirtió en el punto de partida de un nuevo género: la opera. El gran interés del Renacimiento por revivir el drama del mundo clásico trae como consecuencia el nacimiento de la protagonista de nuestro estudio: la heroína trágica operística. El objetivo del proyecto es el análisis de los personajes femeninos de la tragedia clásica y su posterior conversión en heroínas de las óperas de inspiración clásica. La literatura griega creó una serie de personajes femeninos que adquirieron un protagonismo inusitado en la época y que, posteriormente, cautivaron a los compositores de ópera. A través de esta investigación trataremos de hallar las razones históricas, sociales, políticas o psicológicas que están detrás del origen de la heroína trágica. Igualmente se estudiarán las diversas características que fue desarrollando y que la definirían como personaje hasta que el mundo operístico la convirtió en la protagonista absoluta de la escena lírica.

Schubert i les seves composicions per a violí

Amb aquest projecte he volgut aproximar-me al repertori de cambra per violí i piano del compositor vienès Franz Schubert. Les tres obres escollides són poc habituals a les sales de concert, en part per la seva complexitat tècnica i interpretativa, i representen tres propostes ben contrastants en la seva trajectòria compositiva. Es tracte de la introspectiva Sonatina en La menor D. 385, l’eloqüent Rondó Brillant en Si menor D. 895 i la seva obra de maduresa, la gran Fantasia en Do Major D. 934. Gràcies a l’anàlisi musical i la recerca del seu context cultural i artístic, juntament amb la meva experiència en l’instrument, he guanyat una percepció i comprensió molt més profunda de les seves obres, creixent com a persona i intèrpret amb el procés.

The world distribution of income (estimated from individual country distributions)

We estimate the world distribution of income by integrating individualincome distributions for 125 countries between 1970 and 1998. Weestimate poverty rates and headcounts by integrating the density functionbelow the $1/day and $2/day poverty lines. We find that poverty ratesdecline substantially over the last twenty years. We compute povertyheadcounts and find that the number of one-dollar poor declined by 235million between 1976 and 1998. The number of $2/day poor declined by 450million over the same period. We analyze poverty across different regionsand countries. Asia is a great success, especially after 1980. LatinAmerica reduced poverty substantially in the 1970s but progress stoppedin the 1980s and 1990s. The worst performer was Africa, where povertyrates increased substantially over the last thirty years: the number of$1/day poor in Africa increased by 175 million between 1970 and 1998,and the number of $2/day poor increased by 227. Africa hosted 11% ofthe world s poor in 1960. It hosted 66% of them in 1998. We estimatenine indexes of income inequality implied by our world distribution ofincome. All of them show substantial reductions in global incomeinequality during the 1980s and 1990s.

Characterization of intonation in Karṇāṭaka music by parametrizing context-based Svara Distributions

Intonation is a fundamental music concept that has a special relevance in Indian art music. It is characteristic of the rāga and intrinsic to the musical expression of the performer. Describing intonation is of importance to several information retrieval tasks like the development of rāga and artist similarity measures. In our previous work, we proposed a compact representation of intonation based on the parametrization of the pitch histogram of a performance and demonstrated the usefulness of this representation through an explorative rāga recognition task in which we classified 42 vocal performances belonging to 3 rāgas using parameters of a single svara. In this paper, we extend this representation to employ context-based svara distributions, which are obtained with a different approach to find the pitches belonging to each svara. We quantitatively compare this method to our previous one, discuss the advantages, and the necessary melodic analysis to be carried out in future.

An approach for linking score and audio recordings in Makam music of Turkey

The main information sources to study a particular piece of music are symbolic scores and audio recordings. These are complementary representations of the piece and it isvery useful to have a proper linking between the two of the musically meaningful events. For the case of makam music of Turkey, linking the available scores with the correspondingaudio recordings requires taking the specificities of this music into account, such as the particular tunings, the extensive usage of non-notated expressive elements, and the way in which the performer repeats fragmentsof the score. Moreover, for most of the pieces of the classical repertoire, there is no score written by the original composer. In this paper, we propose a methodology to pair sections of a score to the corresponding fragments of audio recording performances. The pitch information obtained from both sources is used as the common representationto be paired. From an audio recording, fundamental frequency estimation and tuning analysis is done to compute a pitch contour. From the corresponding score, symbolic note names and durations are converted to a syntheticpitch contour. Then, a linking operation is performed between these pitch contours in order to find the best correspondences.The method is tested on a dataset of 11 compositions spanning 44 audio recordings, which are mostly monophonic. An F3-score of 82% and 89% are obtained with automatic and semi-automatic karar detection respectively,showing that the methodology may give us a needed tool for further computational tasks such as form analysis, audio-score alignment and makam recognition.

Rising to Greatness An Imperative for Improving Iowa’s Schools, 2011

In the early 1990s, the Cold War ended, Back to the Future III was in theaters, and Iowa led the nation in reading and mathematics. Times have changed. A decade into the 21st century, Iowa has conceded its place at the top. During the past 20 years, achievement trends illustrate Iowa’s slide from a national leader in PK-12 education to a national average―sometimes below average―performer as other states (and nations) have accelerated past the state. Iowa students’ futures are at risk. Collectively, Iowa students are not hitting the mark in mathematics and reading competency. Sure, Iowa has its share of super-achievers. But the mass of Iowa students—not just underprivileged or minority students, but many of the majority white, relatively affluent students as well—are falling short of what is needed to attain quality jobs, growing incomes, and secure livelihoods in today’s globally competitive world. The world has moved beyond the industrial age and information age and is now in the innovation age. Students must be armed not only with knowledge, but also with skills and insights needed to critically analyze and innovate. The pressing problems and grand opportunities the world faces require that many more people contribute as innovators and problem solvers, not order takers and implementers. Innovators will prosper. Order takers will stagnate. The days of an abundance of low-skill jobs have come to an end.

Evaluation of the Iowa Department of Transportation's Compensatory Wetland Mitigation Program, TR-500, 2004

The purpose of this investigation was to evaluate the Compensatory Wetland Mitigation Program at the Iowa Department of Transportation (DOT) in terms of regulatory compliance. Specific objectives included: 1) Determining if study sites meet the definition of a jurisdictional wetland. 2) Determining the degree of compliance with requirements specified in Clean Water Act Section 404 permits. A total of 24 study sites, in four age classes were randomly selected from over 80 sites currently managed by the Iowa DOT. Wetland boundaries were delineated in the field and mitigation compliance was determined by comparing the delineated wetland acreage at each study site to the total wetland acreage requirements specified in individual CWA Section 404 permits. Of the 24 sites evaluated in this study, 58 percent meet or exceed Section 404 permit requirements. Net gain ranged from 0.19 acre to 27.2 acres. Net loss ranged from 0.2 acre to 14.6 acres. The Denver Bypass 1 site was the worst performer, with zero acres of wetland present on the site and the Akron Wetland Mitigation Site was the best performer with slightly more than 27 acres over the permit requirement. Five of the 10 under-performing sites are more than five years post construction, two are five years post construction, one is three years post construction and the remaining two are one year post construction. Of the sites that meet or exceed permit requirements, approximately 93 percent are five years or less post construction and approximately 43 percent are only one year old. Only one of the 14 successful sites is more than five years old. Using Section 404 permit acreage requirements as the criteria for measuring success, 58 percent of the wetland mitigation sites investigated as part of this study are successful. Using net gain/loss as the measure of success, the Compensatory Wetland Mitigation Program has been successful in creating/restoring nearly 44 acres of wetland over what was required by permits.

Coreografiant el passat : la dansa a la cort de Lluís XIV : notació i criteris d'interpretació

Aquest projecte estudia la dansa francesa dels segles XVII i XVIII i la seva relació amb la interpretació musical. A partir de les fonts de l’època (tractats, coreografies i testimonis) s’han analitzat els components de la dansa i la seva significació social en el context de la cort de Lluís XIV a Versalles. L’objectiu final es oferir al músic actual alguns elements necessaris que contribueixin a la interpretació d’un repertori molt habitual i sobre el qual es basa molta de la música instrumental de l’època. La cultura de la dansa formava part de la quotidianitat del músic d’abans: música i dansa eren elements inseparables. Per tant, l’intèrpret de música històrica actual hauria de considerar-la com un element constitutiu per la formació de criteris d’interpretació històricament informats.

Kuka vedättää ja ketä? : esiintymispalkkioiden eettiset ongelmat dokumentaarisissa teoksissa

Opinnäytetyössä pohditaan dokumentaarisissa teoksissa esiintyvien ihmisten palkkiokäytäntöjä ja niihin liittyviä eettisiä ongelmia. Näyttelijöille, juontajille ja asiantuntijoille maksetaan sähköisissä viestimissä esiintymisestä. Samalla lailla dokumentaarin tai reportaasin päähenkilö uhraa aikaansa ja voimavarojaan antaakseen kasvot tekijän tärkeäksi kokemalle asialle. Eikö myös dokumentaarisessa teoksessa esiintyvä henkilö ansaitse palkkiota? Erityisesti tilanteen eriarvoisuutta korostaa, jos esiintyjä tulee todella kurjista oloista. Dokumentaari voi menestyä, mutta henkilön elämä jatkuu yhtä vaatimattomana kuin ennenkin. Kiinnostuin aiheesta oman kokemukseni kautta ollessani kuvaamassa tv-inserttejä Brasiliassa. Capoeirasta kertovassa insertissä esiintyvän lapsen opettaja vastusti kuvauksia, ellen maksaisi niistä palkkiota. Asiasta syntyi kiivas kädenvääntö, sillä minulla oli jo lapsen vanhemmilta lupa kuvauksiin. Tapahtuma sai miettimään esiintymispalkkojen ongelmallisuutta niin esiintyjien kuin tekijöidenkin kannalta. Huomasin, ettei asiasta ole paljon kirjallisuutta, eikä tekijöiden keskuudessa ole mitään sääntöjä tai suosituksia asiasta. Lähdin tutkimaan aihetta kirjallisuudesta löytyvien pienien viitteiden ja lehtiartikkelien pohjalta sekä haastattelemalla ohjaajia, toimittajia ja tuottajia. Palkkio ei saa olla motiivina dokumentaarisessa teoksessa esiintymiselle. On tapauskohtaista, palkitaanko henkilö lopuksi rahalla tai muulla tavoin. Itse tekemisen täytyy kuitenkin olla vapaaehtoista. Esiintyjän voi lähes aina korvata toisella, sillä dokumentaarinen teos on teema- eikä henkilökeskeinen. Dokumentaristi tai journalisti ei ole avustusjärjestö, eikä kaikkia teoksessa esiintyneitä voida pelastaa. Sen sijaan yksittäisten ihmisten kautta voidaan tuoda esiin suurempia teemoja. Yleensä teema on tärkeä myös esiintyjälle, joten ihmiset pääosin lähtevät mielellään mukaan. Myös oman elämänsä ja näkökulmansa julkinen esiintuominen imartelee. Koska dokumentaarisessa teoksessa esiintyminen ei perustu palkkioihin, ohjaajalla on suuri vastuu siinä mukana olevista ihmisistä. Vaikka henkilön taloudellinen tilanne ei kohentuisikaan, jollain lailla kokemuksen toivoisi häntä rikastuttavan.

Evaluation and implementation process for commercial elevator landing doors

Tason ovet voivat olla joko itsesuunniteltuja ja -tehtyjä, tai itse malli ja tuote voidaan ostaa myös yrityksen ulkoa. Tätä make-or-buy kysymystä pohdittaessa ilmenee monta tekijää, jotka vaikuttavat päätökseen. Jos yritys käsittää ostamisen parempana vaihtoehtona, tuote tarvitsee myösimplementointisuunnitelman. Tämän työn päätavoite oli luoda arviointi- ja implementointiprosessi kaupallisille hissin tason oville. Muut tavoitteet olivat: selvittää syyt tälle erikoiselle toiminnolle, löytää kaupallisten ovien käyttöön liittyvät edut ja haitat, sekä luoda kriteerit tason ovien arvioinnille. Lopputuloksena saatiin, että tämän prosessin suorittajan pitää sitoutua arviointi- ja implementointiprosessiin,ja että myös virtuaalitehdas tarvitaan täydentämään arviointivaihetta. Mutta tärkein havainto oli, että tulevaisuuden ovistrategia ei ole vielä täysin päätetty ja siitä syystä yrityksen omat ovimallit pitäisi testata ja verrata niitä kaupallisiin ovimalleihin käyttämällä tämän työn arviointiprosessia.

Työn ja perheen suhteen sosiaalinen rakentuminen eri ikäisten puheessa

Tämän tutkielman tavoite on selvittää, miten eri ikäiset ihmiset puhuvat työ- ja perhe-elämän yhteensovittamisesta. Tarkoituksena on tuoda esille haastattelujen puheessa vakiintuneita diskursseja, jotka luovat sosiaalista todellisuutta. Aineistona käytetään kandeksaa eräässä Etelä-Karjalan Osuuspankin konttorissa tehtyä teemahaastattelua. Näitä haastatteluja analysoidaan diskurssianalyyttisesti. Haastateltujen puheessa toistuu kandeksan eri diskurssityyppiä: ihannediskurssi, "normaali" -diskurssi, organisaatio joustajana -diskurssi, omatuntodiskurssi, stressidiskurssi, minä päätän -diskurssi, ylitehokkuusdiskurssi sekä ikä ja asenteet -diskurssi.