Socialist Realism instead of Formalism : the Formation and Development of the Soviet Music Control System 1932-1950

Whereas it has been widely assumed in the public that the Soviet music policy system had a “top-down” structure of control and command that directly affected musical creativity, in fact my research shows that the relations between the different levels of the music policy system were vague, and the viewpoints of its representatives differed from each other. Because the representatives of the party and government organs controlling operas could not define which kind of music represented Socialist Realism, the system as it developed during the 1930s and 1940s did not function effectively enough in order to create such a centralised control of Soviet music, still less could Soviet operas fulfil the highly ambiguous aesthetics of Socialist Realism. I show that musical discussions developed as bureaucratic ritualistic arenas, where it became more important to reveal the heretical composers, making scapegoats of them, and requiring them to perform self-criticism, than to give directions on how to reach the artistic goals of Socialist Realism. When one opera was found to be unacceptable, this lead to a strengthening of control by the party leadership, which lead to more operas, one after the other, to be revealed as failures. I have studied the control of the composition, staging and reception of the opera case-studies, which remain obscure in the West despite a growing scholarly interest in them, and have created a detailed picture of the foundation and development of the Soviet music control system in 1932-1950. My detailed discussion of such case-studies as Ivan Dzerzhinskii’s The Quiet Don, Dmitrii Shostakovich’s Lady Macbeth of Mtsensk District, Vano Muradeli’s The Great Friendship, Sergei Prokofiev’s Story of a Real Man, Tikhon Khrennikov’s Frol Skobeev and Evgenii Zhukovskii’s From All One’s Heart backs with documentary precision the historically revisionist model of the development of Soviet music. In February 1948, composers belonging to the elite of the Union of Soviet Composers, e.g. Dmitri Shostakovich and Sergei Prokofiev, were accused in a Central Committee Resolution of formalism, as been under the influence of western modernism. Accusations of formalism were connected to the criticism of the conciderable financial, material and social privileges these composers enjoyed in the leadership of the Union. With my new archival findings I give a more detailed picture of the financial background for the 1948 campaign. The independent position of the music funding organization of the Union of Soviet Composers (Muzfond) to decide on its finances was an exceptional phenomenon in the Soviet Union and contradicted the strivings to strengthen the control of Soviet music. The financial audits of the Union of Soviet Composers did not, however, change the elite status of some of its composers, except for maybe a short duration in some cases. At the same time the independence of the significal financial authorities of Soviet theatres was restricted. The cuts in the governmental funding allocated to Soviet theatres contradicted the intensified ideological demands for Soviet operas.

Analysis of a linear one-dimensional active noise control system by means of block diagrams and transfer functions

In arriving at the ideal filter transfer function for an active noise control system in a duct, the effect of the auxiliary sources (generally loudspeakers) on the waves generated by the primary source has invariably been neglected in the existing literature, implying a rigid wall or infinite impedance. The present paper presents a fairly general analysis of a linear one-dimensional noise control system by means of block diagrams and transfer functions. It takes into account the passive as well as active role of a terminal primary source, wall-mounted auxiliary source, open duct radiation impedance, and the effects of mean flow and damping. It is proved that the pressure generated by a source against a load impedance can be looked upon as a sum of two pressure waves, one generated by the source against an anechoic termination and the other by reflecting the rearward wave (incident on the source) off the passive source impedance. Application of this concept is illustrated for both the types of sources. A concise closed-form expression for the ideal filter transfer function is thus derived and discussed. Finally, the dynamics of an adaptive noise control system is discussed briefly, relating its standing-wave variables and transfer functions with those of the progressive-wave model presented here.

Design and Testing of a Control System for Supply Side Electrical Load Management

India's energy demand is increasing rapidly with the intensive growth of economy. The electricity demand in India exceeded the availability, both in terms of base load energy and peak availability. The efficient use of energy source and its conversion and utilizations are the viable alternatives available to the utilities or industry. There are essentially two approaches to electrical energy management. First at the supply / utility end (Supply Side Management or SSM) and the other at the consumer end (Demand Side Management or DSM). This work is based on Supply Side Management (SSM) protocol and consists of design, fabrication and testing of a control device that will be able to automatically regulate the power flow to an individual consumer's premise. This control device can monitor the overuse of electricity (above the connected load or contracted demand) by the individual consumers. The present project work specially emphasizes on contract demand of every consumer and tries to reduce the use beyond the contract demand. This control unit design includes both software and hardware work and designed for 0.5 kW contract demand. The device is tested in laboratory and reveals its potential use in the field.

Instrumentation and control of a two-stage 4-bed silica gel plus water adsorption cooling cum desalination system

This paper presents the instrumentation and control architecture for a laboratory based two-stage 4-bed silica gel + water adsorption system. The system consists of primarily two fluids: refrigerant (water vapour) and heat transfer fluid (water) flowing through various components. Heat input to the system is simulated using multiple heaters and ambient air is used as the heat sink. The laboratory setup incorporates a real time National Instruments (NI) controller to control several digital and analog valves, heaters, pumps and fans along with simultaneous data acquisition from various flow, pressure and temperature sensors. The paper also presents in detail the various automated and manual tasks required for successful operation of the system. Finally the system pressure and temperature dynamics are reported and its performance evaluated for various cycle times. (C) 2015 Elsevier Ltd. All rights reserved.

基于CPLD和ATMEGAL128的数字电源系统的设计；Design of Digital Power Control System Based on CPLD and ATMEGAL128

介绍了一种基于CPLD设计的电源控制模块,并且利用Atmegal128单片机和RTL8019S实现逻辑功能和远程控制功能。该电源系统主要用于重离子加速器注入器(SFC)中,具有很好的灵活性、可远程控制、性能稳定等特点。