774 resultados para Music, Primitive.


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The disadvantage of the majority of data assimilation schemes is the assumption that the conditional probability density function of the state of the system given the observations [posterior probability density function (PDF)] is distributed either locally or globally as a Gaussian. The advantage, however, is that through various different mechanisms they ensure initial conditions that are predominantly in linear balance and therefore spurious gravity wave generation is suppressed. The equivalent-weights particle filter is a data assimilation scheme that allows for a representation of a potentially multimodal posterior PDF. It does this via proposal densities that lead to extra terms being added to the model equations and means the advantage of the traditional data assimilation schemes, in generating predominantly balanced initial conditions, is no longer guaranteed. This paper looks in detail at the impact the equivalent-weights particle filter has on dynamical balance and gravity wave generation in a primitive equation model. The primary conclusions are that (i) provided the model error covariance matrix imposes geostrophic balance, then each additional term required by the equivalent-weights particle filter is also geostrophically balanced; (ii) the relaxation term required to ensure the particles are in the locality of the observations has little effect on gravity waves and actually induces a reduction in gravity wave energy if sufficiently large; and (iii) the equivalent-weights term, which leads to the particles having equivalent significance in the posterior PDF, produces a change in gravity wave energy comparable to the stochastic model error. Thus, the scheme does not produce significant spurious gravity wave energy and so has potential for application in real high-dimensional geophysical applications.

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A Brain-computer music interface (BCMI) is developed to allow for continuous modification of the tempo of dynamically generated music. Six out of seven participants are able to control the BCMI at significant accuracies and their performance is observed to increase over time.

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Weather is frequently used in music to frame events and emotions, yet quantitative analyses are rare. From a collated base set of 759 weather-related songs, 419 were analysed based on listings from a karaoke database. This article analyses the 20 weather types described, frequency of occurrence, genre, keys, mimicry, lyrics and songwriters. Vocals were the principal means of communicating weather: sunshine was the most common, followed by rain, with weather depictions linked to the emotions of the song. Bob Dylan, John Lennon and Paul McCartney wrote the most weather-related songs, partly following their experiences at the time of writing.

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The architecture of the amygdaloid complex of a marsupial, the opossum Didelphis aurita, was analyzed using classical stains like Nissl staining and myelin (Gallyas) staining, and enzyme histochemistry for acetylcholinesterase and NADPH-diaphorase. Most of the subdivisions of the amygdaloid complex described in eutherian mammals were identified in the opossum brain. NADPH-diaphorase revealed reactivity in the neuropil of nearly all amygdaloid subdivisions with different intensities, allowing the identification of the medial and lateral subdivisions of the cortical posterior nucleus and the lateral subdivision of the lateral nucleus. The lateral, central, basolateral and basomedial nuclei exhibited acetylcholinesterase positivity, which provided a useful chemoarchitectural criterion for the identification of the anterior basolateral nucleus. Myelin stain allowed the identification of the medial subdivision of the lateral nucleus, and resulted in intense staining of the medial subdivisions of the central nucleus. The medial, posterior, and cortical nuclei, as well as the amygdalopiriform area did not exhibit positivity for myelin staining. On the basis of cyto- and chemoarchitectural criteria, the present study highlights that the opossum amygdaloid complex shares similarities with that of other species, thus supporting the idea that the organization of the amygdala is part of a basic plan conserved through mammalian evolution. (C) 2008 Elsevier Inc. All rights reserved.

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Denna kandidatuppsats avhandlar tre stycken analyser av tre stycken filmscener från filmerna A Clockwork Orange, Reservoir Dogs och Watchmen, tre stycken exempel på scener där så kallad anempathetic music används. Denna form av musik kan beskrivas som att den distanserar sig från vad som händer i den rörliga bilden genom att förmedla den motsatta känslan, till exempel om musiken är glad och lättsam medan en våldtäkt sker i bild. Denna uppsats analyserar i dessa tre analysexempel vad sådan filmmusik kan bidra med för berättarfunktioner och meningspotential i filmexemplens narrativ. Resultaten från analysen visade på att musiken i de tre valda analysexemplen bidrar till ökad reflektion hos publiken och hur detta möjliggör för att anempathetic music kan ses som empathetic mot publiken och deras tolkning av filmscenernas narrativ.

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The aim of the project is to examine the music salon in Falun as a part of the mining community and in the historical context of European salon culture. A specifc goal is to develop a deeper understanding about the salon when it comes to education and pedagogic ideas. Of a certain interest is Johan Henrik Munktell’s (1804-1861) education travelling (bildningsresor). Inspired by Mendelssohn’s music salon in Berlin and the early salons in Upp-sala he created his own salon in Grycksbo. A letter collection from J.H. Munktell to his father J.J. Munktell in 1828-30 can be considered a unique historical material, which places the salon in Falun in a continental context of culture, education and industrial pretensions. The results have potential to extend the knowledge of Nordic salon culture and how it has infuenced general pedagogy and music education.

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For the most part, my project has been of an individually rewarding nature due to an extensive amount of reading and studio work. My paper functions as the major means of communication of my own experiences and findings. It is an attempt to share with others the ideas which I have found particularly stimulating and worthwhile during the course of the year. In other words, the written portion does not intend to summarize all of the phases of primitive art which I have studied during the past year; rather, it is indicative of the type of pursuit with which I became involved. It is neither a historical survey nor a specific and thorough study of one area of primitive art. Instead, my paper is a series of essays focusing upon primitive art in general, and upon some of the aspects of primitive art with which I became concerned in particular.