Riemann solvers with primitive parameter vectors for two-dimensional compressible flows of a real gas

An analysis of averaging procedures is presented for an approximate Riemann solver for the equations governing the compressible flow of a real gas. This study extends earlier work for the Euler equations with ideal gases.

Identifying and quantifying nonconservative energy production/destruction terms in hydrostatic Boussinesq primitive equation models

This paper seeks to illustrate the point that physical inconsistencies between thermodynamics and dynamics usually introduce nonconservative production/destruction terms in the local total energy balance equation in numerical ocean general circulation models (OGCMs). Such terms potentially give rise to undesirable forces and/or diabatic terms in the momentum and thermodynamic equations, respectively, which could explain some of the observed errors in simulated ocean currents and water masses. In this paper, a theoretical framework is developed to provide a practical method to determine such nonconservative terms, which is illustrated in the context of a relatively simple form of the hydrostatic Boussinesq primitive equation used in early versions of OGCMs, for which at least four main potential sources of energy nonconservation are identified; they arise from: (1) the “hanging” kinetic energy dissipation term; (2) assuming potential or conservative temperature to be a conservative quantity; (3) the interaction of the Boussinesq approximation with the parameterizations of turbulent mixing of temperature and salinity; (4) some adiabatic compressibility effects due to the Boussinesq approximation. In practice, OGCMs also possess spurious numerical energy sources and sinks, but they are not explicitly addressed here. Apart from (1), the identified nonconservative energy sources/sinks are not sign definite, allowing for possible widespread cancellation when integrated globally. Locally, however, these terms may be of the same order of magnitude as actual energy conversion terms thought to occur in the oceans. Although the actual impact of these nonconservative energy terms on the overall accuracy and physical realism of the oceans is difficult to ascertain, an important issue is whether they could impact on transient simulations, and on the transition toward different circulation regimes associated with a significant reorganization of the different energy reservoirs. Some possible solutions for improvement are examined. It is thus found that the term (2) can be substantially reduced by at least one order of magnitude by using conservative temperature instead of potential temperature. Using the anelastic approximation, however, which was initially thought as a possible way to greatly improve the accuracy of the energy budget, would only marginally reduce the term (4) with no impact on the terms (1), (2) and (3).

An analysis of verbal responses to music in a group of adult non-specialists

In a workshop setting, two pieces of recorded music were presented to a group of adult non-specialists; a key feature was to set up structured discussion within which the respondents considered each piece of music as a whole and not in its constituent parts. There were two areas of interest, namely to explore whether the respondents were likely to identify the musical features or to make extra-musical associations and, to establish the extent to which there would be commonality and difference in their approach to formulating the verbal responses. An inductive approach was used in the analysis of data to reveal some of the working theories underpinning the intuitive musicianship of the adult non-specialist listener. Findings have shown that, when unprompted by forced choice responses, the listeners generated responses that could be said to be information-poor in terms of musical features but rich in terms of the level of personal investment they made in formulating their responses. This is evidenced in a number of connections they made between the discursive and the non-discursive, including those which are relational and mediated by their experiences. Implications for music education are considered.

Meteorological phenomena in Western classical orchestral music

Depictions of the weather are common throughout the arts. Unlike in the visual arts, however, there has been little study of meteorological inspiration in music. This article catalogues and analyzes the frequencies with which weather is depicted in a sample of classical orchestral music. The depictions vary from explicit mimicry using traditional and specialized orchestral instruments, through to subtle suggestions. It is found that composers are generally influenced by their own environment in the type of weather they choose to represent. As befits the national stereotype, British composers seem disproportionately keen to depict the UK's variable weather patterns and stormy coastline

'John James' and 'The White Stones' p. 71: Music, rhyme, and home

An essay relating 'The Dragon House' by John James to 'Thoughts on the Esterhazy Court Uniform' by J. H. Prynne

Nostalgia, music and the television past revisited in American dreams

The 1960s-set NBC family drama American Dreams presents not just the recent American past but its musical television as well. This paper examines how the show’s recreation of and interaction with the music show American Bandstand ties together the divergent experiences of a turbulent decade. American Dreams’ reshooting and appropriation of original broadcast footage is intricately interwoven with dramatic action allowing for new layers of commentary and meaning to be read across the music and image relationship. Through intercutting and juxtaposition, its use of music performance goes beyond the regressive recycling of images of nostalgia, as critiqued by Jameson and other theorists of postmodernity, to engage political and social debates through a complex web of reference, reproduction and commentary, presenting a politicised reading of the 1960s that problematises these charges of nostalgia texts as apolitical and ‘historicist’.

Instructions for an Audio Performance/Scissors Music

‘Instructions for an Audio Performance/Scissors Recording’ is a score for a performance using an amplified scissors that can be downloaded and interpreted by a performer anywhere in the world. The file functions as a manual for the performer with guidance for creating the instrument and preparing the performance space while it also provides a template for the actual sonic pattern to be followed in the live performance. Created originally for ‘Storageroom’ an online platform featuring complete exhibitions that are available for download, the piece was exhibited and interpreted in a live performance by Ayelet Lerman for the File Transfer Protocol, the contemporary section of the Haifa-Jerusalem-Tel Aviv exhibition at the Museum of Art, Haifa, Israel.

The music instinct: the evolutionary basis of musicality

Why does music pervade our lives and those of all known human beings living today and in the recent past? Why do we feel compelled to engage in musical activity, or at least simply enjoy listening to music even if we choose not to actively participate? I argue that this is because musicality—communication using variations in pitch, rhythm, dynamics and timbre, by a combination of the voice, body (as in dance), and material culture—was essential to the lives of our pre-linguistic hominin ancestors. As a consequence we have inherited a desire to engage with music, even if this has no adaptive benefit for us today as a species whose communication system is dominated by spoken language. In this article I provide a summary of the arguments to support this view.