Dancing 'Nessun Dorma'

In the 1990s and into the beginning of the 21st century, Luciano Pavarotti helped popularise opera through singing the anthem for the Italia90 soccer World Cup; through concerts with the Three Tenors, and through his inter-music-genre charity concerts, Pavarotti and Friends. In doing so, he helped bring opera, and in particular ‘Nessun Dorma’ from Puccini’s opera Turandot, to a wider audience than ever before. In Daniel Somerville’s practice-research performed presentation, which draws on his research into operatic movement, he muses on how along with positioning ‘Nessun Dorma’ as the most recognisable tune in opera, Pavarotti also instilled an idea of how opera singers move that affirms negative stereotypes of the arm-raising, hand-waving, ‘stand and deliver’ opera star, while also divorcing the aria from its original context. Dancing ‘Nessun Dorma’ seeks to restore the aria to its original literary context and to reclaim the narrative of Turandot through presenting the moving body alongside operatic and autobiographical anecdote. Movement practice participating in, and allowing, a reassessment and revisiting of an aria and narrative that sits problematically at the intersection of Orientalist fantasy and Italian pride.

The flute in musical life in eighteenth-century Scotland

All history of the flute in Scotland begins with William Tytler’s 1792 assertion that the flute was unknown in Scotland prior to 1725. Other generally accepted beliefs about the flute in Scotland are that it was only played by wealthy male amateurs and had no role in traditional music. Upon examination, all of these beliefs are false. This thesis explores the role of the flute in eighteenth-century Scottish musical life, including players, repertoire, manuscripts, and instruments. Evidence for ladies having played flute is also examined, as are possible connections between flute playing and bagpipe playing. What emerges is a more complete picture of the flute’s role in eighteenth-century Scottish musical life.

A history of the Scottish Highlands, Highland clans and Highland regiments : with an account of the Gaelic language, literature, and music by the Rev. Thomas Maclauchlan, and an essay on Highland scenery by the late Professor John Wilson /

Mode of access: Internet.

The Critic; a record of literature, art, music, science, and the drama ...

Mode of access: Internet.

Selections from Scribner's stock of rare books and manuscripts in every field of collecting : incunabula, Americana, science, medicine, music, sport, colour plates, juveniles, politics, economics, art, ornithology, first editions of English, American, and Continental literature of all periods, association copies, manuscripts, etc.

Mode of access: Internet.

A history of the Scottish Highlands, Highland clans and Highland regiments. with an account of the Gaelic language, literature, and music by the Rev. Thomas Maclauchlan ...

Mode of access: Internet.

Generalized distributive law for ML decoding of STBCs

The Generalized Distributive Law (GDL) is a message passing algorithm which can efficiently solve a certain class of computational problems, and includes as special cases the Viterbi's algorithm, the BCJR algorithm, the Fast-Fourier Transform, Turbo and LDPC decoding algorithms. In this paper GDL based maximum-likelihood (ML) decoding of Space-Time Block Codes (STBCs) is introduced and a sufficient condition for an STBC to admit low GDL decoding complexity is given. Fast-decoding and multigroup decoding are the two algorithms used in the literature to ML decode STBCs with low complexity. An algorithm which exploits the advantages of both these two is called Conditional ML (CML) decoding. It is shown in this paper that the GDL decoding complexity of any STBC is upper bounded by its CML decoding complexity, and that there exist codes for which the GDL complexity is strictly less than the CML complexity. Explicit examples of two such families of STBCs is given in this paper. Thus the CML is in general suboptimal in reducing the ML decoding complexity of a code, and one should design codes with low GDL complexity rather than low CML complexity.

Generalized distributive law for ML decoding of space-time block codes

The problem of designing good space-time block codes (STBCs) with low maximum-likelihood (ML) decoding complexity has gathered much attention in the literature. All the known low ML decoding complexity techniques utilize the same approach of exploiting either the multigroup decodable or the fast-decodable (conditionally multigroup decodable) structure of a code. We refer to this well-known technique of decoding STBCs as conditional ML (CML) decoding. In this paper, we introduce a new framework to construct ML decoders for STBCs based on the generalized distributive law (GDL) and the factor-graph-based sum-product algorithm. We say that an STBC is fast GDL decodable if the order of GDL decoding complexity of the code, with respect to the constellation size, is strictly less than M-lambda, where lambda is the number of independent symbols in the STBC. We give sufficient conditions for an STBC to admit fast GDL decoding, and show that both multigroup and conditionally multigroup decodable codes are fast GDL decodable. For any STBC, whether fast GDL decodable or not, we show that the GDL decoding complexity is strictly less than the CML decoding complexity. For instance, for any STBC obtained from cyclic division algebras which is not multigroup or conditionally multigroup decodable, the GDL decoder provides about 12 times reduction in complexity compared to the CML decoder. Similarly, for the Golden code, which is conditionally multigroup decodable, the GDL decoder is only half as complex as the CML decoder.

Generalized distributive law for ML decoding of STBCs: further results

The problem of designing good Space-Time Block Codes (STBCs) with low maximum-likelihood (ML) decoding complexity has gathered much attention in the literature. All the known low ML decoding complexity techniques utilize the same approach of exploiting either the multigroup decodable or the fast-decodable (conditionally multigroup decodable) structure of a code. We refer to this well known technique of decoding STBCs as Conditional ML (CML) decoding. In [1], we introduced a framework to construct ML decoders for STBCs based on the Generalized Distributive Law (GDL) and the Factor-graph based Sum-Product Algorithm, and showed that for two specific families of STBCs, the Toepltiz codes and the Overlapped Alamouti Codes (OACs), the GDL based ML decoders have strictly less complexity than the CML decoders. In this paper, we introduce a `traceback' step to the GDL decoding algorithm of STBCs, which enables roughly 4 times reduction in the complexity of the GDL decoders proposed in [1]. Utilizing this complexity reduction from `traceback', we then show that for any STBC (not just the Toeplitz and Overlapped Alamouti Codes), the GDL decoding complexity is strictly less than the CML decoding complexity. For instance, for any STBC obtained from Cyclic Division Algebras that is not multigroup or conditionally multigroup decodable, the GDL decoder provides approximately 12 times reduction in complexity compared to the CML decoder. Similarly, for the Golden code, which is conditionally multigroup decodable, the GDL decoder is only about half as complex as the CML decoder.

Recruiting Participants for Randomized Controlled Trials of Music Therapy: A Practical Illustration

Background: Failure to recruit sufficient numbers of participants to randomized controlled trials is a common and serious problem. This problem may be additionally acute in music therapy research.

Objective: To use the experience of conducting a large randomized controlled trial of music therapy for young people with emotional and behavioral difficulties to illustrate the strategies that can be used to optimize recruitment; to report on the success or otherwise of those strategies; and to draw general conclusions about the most effective approaches.

Methods: Review of the methodological literature, and a narrative account and realist analysis of the recruitment process.

Results: The strategies adopted led to the achievement of the recruitment target of 250 subjects, but only with an extension to the recruitment period. In the pre-protocol stage of the research, these strategies included the engagement of non-music therapy clinical investigators, and extensive consultation with clinical stakeholders. In the protocol development and initial recruitment stages, they involved a search of systematic reviews of factors leading to under-recruitment and of interventions to promote recruitment, and the incorporation of their insights into the research protocol and practices. In the latter stages of recruitment, various stakeholders including clinicians, senior managers and participant representatives were consulted in an attempt to uncover the reasons for the low recruitment levels that the research was experiencing.

Conclusions: The primary mechanisms to promote recruitment are education, facilitation, audit and feedback, and time allowed. The primary contextual factors affecting the effectiveness of these mechanisms are professional culture and organizational support.

Boundaries and Bridges: the influence of James Cooksey Culwick on the development of the teaching and learning of music in nineteenth century Ireland

James Cooksey Culwick (1845-1907) was born in England. Trained as chorister and organist in Lichfield Cathedral, he moved to Ireland at twenty- one and remained until his death in 1907. Although his reputation as scholar, musician and teacher was acknowledged widely during his lifetime - he received an honorary doctorate from University of Dublin (1893) - little is known about the contribution he made to music education. This paper addresses this gap in the literature and argues that it was Culwick's singular achievement to pay attention to music pedagogy at secondary level, by recognizing that music could be seen as a serious career option for girls, and by providing resources for teachers which emphasised the development of an 'art-feeling' in pupils of all abilities. In addition, he considered Irish music as an art which had significance as music first, and Irish music second, and advocated a 'laudable tolerance' for opposing views on matters of cultural identity to Ireland at the end of the nineteenth century.

The high seas (C’s) of music piracy in information systems : cost, convenience and choice

Systems and technologies used for unauthorised file sharing have received little attention in the Information Systems literature. This paper attempts to fill this gap by presenting a critical, qualitative study on the motivations for using unauthorised file sharing systems. Based on 30 interviews with music consumers, musicians, and the music industry, this paper reports on the decision of music consumers to ‘pirate or purchase’. This paper highlights file sharing from multiple perspectives of users, musicians, and representatives from the music recording industry. Three main themes emerged on the cost, convenience and choice as motivators for unauthorised file sharing.

Fear of music : sounded poetry and the poetry soundtrack

This essay proposes the term ‘poetry soundtrack’ for a form of sounded poetry that I have been practising for some years (examples of which can be found in this issue of Axon). The poetry soundtrack is a sonic object made up of original poetry, music, and sound design. Such a form is now being produced—under various names—by numerous poets, thanks to the development of the Digital Audio Workstation (or DAW). In my essay, I argue that the poetry soundtrack has occupied an aesthetic no man’s land between avant-garde ‘sound poetry’ and documentary-style recordings of poetry readings. I propose that a general ‘fear of music’ has led critics to favour such forms, and concomitantly to ignore musico-poetic forms of sounded poetry. In addition, I analyse the ‘digital poetics’ that can be found in producing sounded poetry with a DAW, especially with regard to the ‘vocal staging’ that such technology can produce in the poetry soundtrack.

Acute auditory stimulation with different styles of music influences cardiac autonomic regulation in men

Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP)