Homogeneous Style Research Articles

Style linear k-nearest neighbor classification method

Most studies on linear k-nearest neighbor methods assume independent and identically distributed training and testing samples. However, this is not the case in many practical applications, particularly when each class shares a homogeneous style. We propose a novel style linear k-nearest neighbor method to achieve two goals: (a) the linear k-nearest neighbor method should mine the stylistic data for explicit or implicit stylistic features while obtaining linear expressions and effectively transfer them to the predictor through matrix expressions; (b) the similarity of stylistic features between testing and training samples should be numerically quantified to enhance the generalizability of the predictor. To this end, firstly we introduce style matrices to express the style information of each class. In order to prevent the style matrices from degenerating into identity matrices, we introduce enhanced nodes to separate the manifold structure of the original data. The dual representation of matrix and enhanced nodes makes it easy to extract stylistic features from data. Furthermore, we introduce the style membership vector for the first time in the linear k-nearest neighbor method to calculate the style similarity of testing samples to each class, and determine the labels of testing samples easily and accurately through the style membership vector. We also propose an implementable alternating optimization strategy for the proposed method, which decomposes the complex optimization problem into independent subproblems for easy implementation. The experimental results demonstrate that the proposed method keeps comparable generalization capability on the total 9 ordinary datasets. And it outperforms the comparative methods, and even achieving 9.76 % improvement of average testing accuracy over the state-of-the-art weighted locally linear k-nearest neighbor method on the total 6 stylistic datasets.

Reliability Evaluation of Software Architectural Styles Based on Correlated Component Failure

The aim of this study is to provide an efficient and scalable way to evaluate the reliability of different ‎software ar-chitectural styles with regard to correlated components failures. In this way, a method ‎based on the discrete time Markov chain (DTMC) model is proposed. In the proposed method, software architecture styles are used for reliability evaluation. The four main styles are transformed into Markov chain models and the transfer matrix is created for them, then using the Bernoulli distribution, the correlation between component is shown in the matrix and used in the evaluation process. The proposed method is scalable ‎such that it can be used for large software architectures with heterogeneous and homogeneous ‎styles. The results of the evaluation on the case study show that this method is more accurate than ‎the other methods for reliability prediction of the software architectures. As a result, it is ‎concluded that the proposed method is suitable for the preliminary estimation of the software ‎architecture reliability and can make a better comparison between various architectural styles to ‎choose the best and most suitable one from the available options.‎

Victoire de la vie and L’Espagne vivra by Henri Cartier-Bresson: Two Different Musical Strategies at the Service of Republican Propaganda

From 1936 to 1939, the Spanish Civil War gave several film directors the opportunity to stand side by side with Republican soldiers by filming them in combat. Henri Cartier-Bresson first movie Victoire de la vie (Victory of Life, 1937), then, one year later, as the nationalist side was gaining ground, L’Espagne vivra (Spain shall live, 1938). The music for Cartier Bressons’s two films follows two contrasting strategies: for Victoire de la vie, French composer Charles Kœchlin composed an original soundtrack in a relatively homogeneous style, whereas in L’Espagne vivra, Louis Saguer made use of a compilation of pre-existing symphonic pieces. This article intends to analyse how these two musical approaches align themselves with the contrasting but complementary analyses of the Spanish Civil War provided by Cartier-Bresson's two films.

The manifestations of the practice of within-class homogeneous ability grouping

Background: This article casts the analytical spotlight on the practice of within-class homogeneous (same) ability grouping where learners are placed in small groups for instruction based on their perceived performances, reading levels and interest. Very few studies have focused on within-class ability grouping, especially in a South African context, where this homogeneous style within-class grouping is the dominant practice in Grade 1 classrooms, despite literature’s cautions against its continuous use.Aim: This article aims to address the following questions: what are the manifestations of the practice of within-class homogeneous ability grouping, and how does it account for learner achievement levels in Grade 1 classrooms?Setting: A total of 12 Grade 1 learners, in relation to their teachers and their principals, from three selected public schools in the Western Cape, were interviewed and observed within a classroom setting. Bourdieu’s work is used to explain the interiority and exteriority of social relations, how practice gets internalised and embodied on the inside, and manifested in various ways on the outside.Methods: This empirical exploration used the qualitative-interpretive paradigm and followed a multiple case study approach where 6-year-old Grade 1 learners were observed and analysed.Results: The results show differential treatment of groups and the labelling of learners, which gets internalised constituting particular learner dispositions and resulting in learner agency. Furthermore, it shows how learner agency is being informed and constituted in ways that affect their educational outcomes in profound ways.Conclusion: The author argues that by placing children in groups based on their perceived ability results in the children gaining differential learner experiences and ultimately attaining differential learner achievement levels. In other words, it creates differential environments within the same classroom enabling some to outshine while disabling others.

Field Support Vector Machines

Conventional classifiers often regard input samples as identically and independently distributed (i.i.d.). This is however not true in many real applications, especially when patterns occur as groups (where each group shares a homogeneous style). Such tasks are also called field classification. By breaking the i.i.d. assumption, one novel framework called Field Support Vector Machine (F-SVM) is proposed in this paper. The distinction lies that it is capable of training and predicting a group of patterns (i.e., a field pattern) simultaneously. Specifically, the proposed F-SVM classifier is investigated by learning simultaneously both the classifier and the Style Normalization Transformation for each group of data (called field). Such joint learning proves even feasible in the high-dimensional kernel space. An efficient optimization algorithm is further developed with the convergence guaranteed. More importantly, by appropriately exploring the style consistency in each field, the F-SVM is able to significantly improve the classification accuracy. A series of experiments are conducted to verify the effectiveness of the F-SVM model. Empirical results show that the proposed F-SVM achieves in three different benchmark data sets the best performance so far, significantly better than those state-of-the-art classifiers.

Rounded Edges: Modernism and Architectural Dialogue in Ho Chi Minh City

It is widely considered that there is no critical mass of architecture in a homogeneous style in Ho Chi Minh City, in contrast to Hanoi. This essay seeks to establish Ho Chi Minh City’s architectural heritage as a significant one, by arguing that the city does actually possess a critical mass of cohesive, remarkably well-designed buildings in modernist styles. Highlighted here is a unique feature of these modernist buildings: rounded, curved corners as a recurring motif in a dense urban center. The author argues that such buildings, dating from the 1920s through the 1970s, have provided the center of Ho Chi Minh City unique, cohesive, and striking characteristics and that they form one of the great ensembles of modernist architecture anywhere. This essay aims to re-locate the place of Ho Chi Minh City on the world map of the circulation of modernism, by emphasizing the internal dynamic of the city’s architectural evolution that transcends the colonial-postcolonial divide, and highlighting the evolution of forms revealing a continuity in spite of event-based ruptures in history. The significant presence of modernist buildings with curved corners in Phnom Penh, and their similarities to those of Ho Chi Minh City, suggest that regional circulation also played a crucial role.

Rounded Edges: Modernism and Architectural Dialogue in Ho Chi Minh City

It is widely considered that there is no critical mass of architecture in a homogeneous style in Ho Chi Minh City, in contrast to Hanoi. This essay seeks to establish Ho Chi Minh City’s architectural heritage as a significant one, by arguing that the city does actually possess a critical mass of cohesive, remarkably well-designed buildings in modernist styles. Highlighted here is a unique feature of these modernist buildings: rounded, curved corners as a recurring motif in a dense urban center. The author argues that such buildings, dating from the 1920s through the 1970s, have provided the center of Ho Chi Minh City unique, cohesive, and striking characteristics and that they form one of the great ensembles of modernist architecture anywhere. This essay aims to re-locate the place of Ho Chi Minh City on the world map of the circulation of modernism, by emphasizing the internal dynamic of the city’s architectural evolution that transcends the colonial-postcolonial divide, and highlighting the evolution of forms revealing a continuity in spite of event-based ruptures in history. The significant presence of modernist buildings with curved corners in Phnom Penh, and their similarities to those of Ho Chi Minh City, suggest that regional circulation also played a crucial role.

Bayesian Analysis of the Heterogeneity of Literary Style

<p>We proposed statistical analysis of the heterogeneity of literary style in a set of texts that simultaneously use different stylometric characteristics, like word length and the frequency of function words. The data set consists of several tables with the same number of rows, with the i-th row of all tables corresponding to the i-th text. The analysis proposed clusters the rows of all these tables simultaneously into groups with homogeneous style, based on a finite mixture of sets of multinomial models, one set for each table. Different from the usual heuristic cluster analysis approaches, our method naturally incorporates the text size, the discrete nature of the data, and the dependence between categories in the analysis. The model is checked and chosen with the help of posterior predictive checks, together with the use of closed form expressions for the posterior probabilities that each of the models considered to be appropriate. This is illustrated through an analysis of the heterogeneity in Shakespeare’s plays, and by revisiting the authorshipattributionproblem of Tirant lo Blanc.</p>

Women Drummers: A History from Rock and Jazz to Blues and Country by Angela Smith (review)

Women Drummers: A History from Rock and Jazz to Blues and Country. By Angela Smith. Lanham, MD: Rowman & Littlefield, 2014. [xviii, 271 p. ISBN 9780810888340 (hardcover), $40; ISBN 9780810888357 (e-book), $39.99.] Illustrations, bibliographic references, index. In the late 1990s, Lilith Fair was a traveling festival celebrating women and featuring solely female solo artists and bands fronted by women. At that time there were highly-accomplished who declined to participate simply because they did not want to be on a bill just for being female. Such artists had no desire to be known as girl musicians or pretty good for a girl. They wanted to be known simply as musicians, judged on the merits of their work. It is just this kind of woman-rebel-pioneer whose story is told in Women Drummers. The introduction presents the dilemma: the scarcity of women drummers and the biases against them in the music business and the culture. This sets the stage for the purpose of the book: to recognize the women who were, and are, pioneers in a field that is still primarily male. As jazz drummer Viola Smith said (in Dozen Magazine) in 1942, 'Hep girls' could sit in any jam session and hold their own (p. xviii). The sheer variety of drummers covered deserves special note. The reader will learn about women drummers in jazz whose names they may not know, but whose work was admired by the likes of Buddy Rich, Gene Krupa, and Louie Bellson. Readers will likely learn things they didn't know about mainstream rock drummers such as Karen Carpenter, Sheila E, and Debbi Peterson (the Bangles). One will also discover unsung heroes of indie rock in accomplished, critically acclaimed drummers ranging from Maureen Moe Tucker (the Velvet Underground) to Janet Weiss (Sleater-Kinney, Quasi, Stephen Malkmus and the Jicks) to Carla Azar (Autolux, Jack White) and beyond. Before the roughly decade-by-decade coverage begins, the author takes the reader through a brief overview of the history of women as drummers, reminding us that female drummers were common in some cultures in both ancient and more recent history. Her examples of women as primary percussionists range from biblical references in the Old Testament to the Sumerians, and from the Tang and Sung dynasties to pagan rituals. Among other sources, she cites the book When the Were Women by Layne Redmond (New York: Three Rivers Press, 1997). In addition to the stories of the women drummers covered in each chapter, the author gives the reader a taste of the cultural, political, and social battles, shifts, and upheavals in which these women struggled. The focus of the book is women who play the drum kit in popular music idioms, but the chapter Drummers of a Different Beat treats women percussionists who do less easy-to-categorize work, most notably Dame Evelyn Glennie and Ikue Mori. The chronological approach suits her purpose well, as the early decades of the twentieth century are, of course, characterized by more homogeneous styles of music. In the latter part of the century, there were more women playing more diverse styles. Smith accommodates this with multiple chapters in the decades after the 1970s and in late chapters specifically devoted to country, blues, and jazz. Smith's chapter on the 1970s is exemplary for her weaving of culture, music, and the stories of the drummers together. It includes Alice de Buhr (Fanny), Sandy West (The Runaways), and Palmolive (The Slits). Rock music enthusiasts know Joan Jett, and even that her first band was called The Runaways. The rock connoisseur will learn about Sandy West, the drummer who started the Runaways with Jett. Smith tells their story against the backdrop of the tumult of Watergate, Vietnam, women's liberation, drugs, and free love, as women navigated new territories in the workplace, politics, and in family life. The author reminds us that misogyny was all too real. Creem Magazine said, These bitches suck . …

Selected aspects of conditions in the use of new media as an important part of the training of teachers in the Czech Republic and Poland - differences, risks and threats

The paper presents the complex problems of preparation of pedagogy students to work as teachers in the context of their readiness to use ICT in the didactic process. The complexity of this subject matter has been proved by the current, ongoing, discussion about the direction of the expected transformations of contemporary schools and the prospective teachers education system in the age of prevalent digitization. Considering the complexity of conditions, the main research problem has been formulated as follows: Conditions of what type affect the preparation of prospective teachers to use new media in learning and teaching process?. Thus, the empirical analysis conducted in the paper focuses on the following issues: the style of using new media by students, identification of students’ attitudes towards media, subjective (from the students’ point of view) assessment of how university level schools are prepared to shape modern media competences among their students and self-evaluation of media and IT competences in the group of prospective teachers. Czech and Polish students, despite being the so called digital natives, do not present homogeneous styles of using new media. They also reveal different attitudes toward applying digital solutions to the didactic process. Factors such as: low evaluation of one’s own competences or lack of evaluation in this area, lack of creative approach to the use of new media, lack of education in the area of new applications, lack of skills necessary to handle basic digital tools (e.g. interactive board, e-learning platforms) negatively affect, in most cases, the attitude toward the active use of ICT tools in future didactic work. On the basis of the gathered empirical data and inductive qualitative analysis a typology of students attitudes toward new media was developed. It consists of four categories: techno-optimist, techno-realist, techno-pessimist and techno-ignorant. The whole of analyses has the character of comparative research and involves two neighboring countries of the Visegrad Group: Poland (N = 466) and Czech Republic (N = 168).

Elementi di parafrasi contrappuntistica nella Missa Je n’ay dueil di Antoine Brumel

Although Brumel’s four masses on polyphonic chansons - Je n’ay dueil, Bergerette savoyenne, En l’ombre d’ung buissonet, and Dringhs - elaborate their borrowed material using similar techniques, they nonetheless represent different stages in the process of imitating their models. In the Missa Je n’ay dueil, which is taken as a case study, the counterpoint of Agricola’s chanson is subjected to expansion and enrichment, with paraphrase not only in the tenor but also in the superius. The model is followed in its polyphonic complexity, phrase by phrase and respecting the cadential plan, in each of the five parts of the mass. Although the model tenor in general directs the mass, it almost never comprises the essential element, but rather, is almost always integrated into the melodic logic of the other three parts. The process of imitation that Brumel adopts stands at a significant distance from the tradition of the cantus firmus mass, and leans in the stylistic direction of the model itself. A homogeneous style...

A Machine Learning Approach to Musically Meaningful Homogeneous Style Classification

Recent literature has demonstrated the difficulty of classifying between composers who write in extremely similar styles (homogeneous style). Additionally, machine learning studies in this field have been exclusively of technical import with little musicological interpretability or significance. We present a supervised machine learning system which addresses the difficulty of differentiating between stylistically homogeneous composers using foundational elements of music, their complexity and interaction. Our work expands on previous style classification studies by developing more complex features as well as introducing a new class of musical features which focus on local irregularities within musical scores. We demonstrate the discriminative power of the system as applied to Haydn and Mozart's string quartets. Our results yield interpretable musicological conclusions about Haydn's and Mozart's stylistic differences while distinguishing between the composers with higher accuracy than previous studies in this domain.

Inside the collaborative inter-arts improvisatory process: Tertiary music students’ perspectives

While research has explored aspects of inter-arts collaboration at professional and primary level, there is little on inter-arts collaboration in the tertiary environment. This article explores aspects of the learning of tertiary music students undertaking a short-term collaborative inter-arts improvisation project with dance and theater peers, focusing on how and what learning occurs within the inter-arts collaborative improvisatory environment and the role of the individual in collaboration. Collaboration occurred most commonly through a homogeneous style within a complementary or co-equal approach. A rationale and structural elements, time, space and resources were important and learning occurred through different styles of dialogue – verbal, especially ‘cumulative’ in style, music and movement. The literature and the study’s findings noted several stages in the transformation of existing knowledge and of the individual through collaborative activities, and the majority of responses were in the first levels. This information could serve as a guide for teachers of tertiary collaborative inter-arts improvisation for the type of planning needed in relation to student levels, structure, time, project design, space and resources, and the learning likely to occur.

Relations among quantum processes: bisimilarity and congruence

Full formal descriptions of algorithms making use of quantum principles must take into account both quantum and classical computing components, as well as communications between these components. Moreover, to model concurrent and distributed quantum computations and quantum communication protocols, communications over quantum channels that move qubits physically from one place to another must also be taken into account.Inspired by classical process algebras, which provide a framework for modelling cooperating computations, a process algebraic notation is defined. This notation provides a homogeneous style for formal descriptions of concurrent and distributed computations comprising both quantum and classical parts. Based upon an operational semantics that makes sure that quantum objects, operations and communications operate according to the postulates of quantum mechanics, an equivalence is defined among process states considered as having the same behaviour. This equivalence is a probabilistic branching bisimulation. From this relation, an equivalence on processes is defined. However, it is not a congruence because it is not preserved by parallel composition.

Morningstar's Classification of Large-Cap Mutual Funds

The objective is to determine whether Morningstar9s classification of the investment styles of large-cap funds as growth, blend, and value is consistent with the groups and styles identified by cluster analysis. The analysis identified three homogeneous style groups: growth and two versions of value. The two value clusters were differentiated by degree of diversification of asset allocation and by degree of concentration of security and sector holdings. The mix of Morningstar styles in each identified cluster reveals problems in their method of classifying fund style, especially in the case of their blend and value funds.

Expository Teaching Styles of Nigerian Science Teachers, Part II The Explanation Appraisal Schedule

Abstract This paper is primarily concerned with the development of an instrument for the analysis of teaching effectiveness in the expository mode adopted by most Nigerian science teachers. Building upon the Observation Schedule for Explaining devised by Brown & Hatton (1982) an 18‐category Explanation Appraisal Schedule was developed for analysing lesson transcripts, using a one‐minute time interval. Twelve fully transcribed lessons are analysed resulting in two clusters: the Fast‐Pedallers (N=5) and the Slow‐Pedallers (N=7). The Fast‐Pedallers' lessons display high incidences of negative characteristics such as Discontinuities and Vagueness, and are considered to be less coherent and less effective as exposition. The lessons analysed had previously been shown, using the Science Teaching Observation Schedule, to reflect a homogeneous style. This suggests that the EAS provides a discriminating instrument for use in analysing teaching effectiveness. All lessons are held to be low on explanation and high on assertion. Pupils are found to ask questions only in the face of total confusion and incomprehension.

Scanning Electron Microscopy and X‐Ray Microanalysis

This outstanding volume has managed the nearly impossible task of combining the expertise of all six authors in a lucid and homogeneous style of writing. Subtitled ‘A Text for Biologists, Material Scientists and Geologists,’ the book has evolved from a short course taught each summer at Lehigh University.The book provides a basic knowledge of (1) the electron optics for these instruments a nd their controls, (2) the characteristics of the electron beam‐sample interactions, (3) image formation and interpretation, (4) X ray spectrometry and quantitative X ray microanalysis with separate detailed sections on wavelength dispersive and energy dispersive techniques, and (5) specimen preparation, especially for biological materials.

Life Styles and Conflict-Coping Structures

Most task-group structures are hierarchical, but what kind would people create if they had a choice? Our hypothesis was that structures built by group members in dealing with conflict and decision making would be contingent on their life styles. Three different sets of groups of persons with homogeneous life styles created three different (and predicted) structures in a problem-solving task. Groups in which members placed a heavy reliance on higher authority (formalistic life style) created a bu reaucratic structure (and scored most effective); groups with a "do your own thing" (personalistic) life style created an anarchistic structure (and scored least effective); groups whose members placed a high value on close, intimate relations (sociocentric life styles) created a collaborative structure (and scored in the mid-range).

Alaskan Eskimo Dance in Cultural Context

This is a preliminary study of Alaskan Eskimo dance, the first findings of a three-year comprehensive survey of Alaskan Eskimo and Indian musical systems, funded by the National Science Foundation. The study is primarily synchronic; limited diachronic comparison may be made by consulting a recent study of nineteenth century Alaskan Eskimo dance (Johnston 1974a: 17–26). The populations investigated are the Inupiaq-speakers of Northwest Alaska, numbering about. 11,000, the Central Yupik-speakers of Southwest Alaska, numbering about 17,000, and the Siberian Yupik-speakers of St. Lawrence Island (Alaska), numbering about 1,000. A prime finding is that stylistic differences in Alaskan Eskimo dance coincide approximately with Alaskan Eskimo language (not dialect) areas, with the exception of St. Lawrence Island Eskimo dance, which follows Northwest Alaskan tendencies. The study presents both emic and etic information concerning dance elements, symbolism, functions, and accoutrements.Alaska Eskimo music has a relatively homogeneous style centering around use of the shallow frame-drum, unison singing, glottal pulsation, pentatonism (but with the additional use of microtones), asymmetrical rhythm, and sectionalized repetition. Intentionally rhythmic, patterned sequences of nonverbal body movement and gesture form an integral part of this musical system, for each complete dance routine (particularly of the sayuun category) is permanently associated with a specific melody, drum rhythm, and set of meaningful songwords. More significantly (from the anthropological point of view), each song-dance pairing is associated with and re-enacts either some recent, significant, true event in cultural history (such as a heroic or comic whaling incident), or a story involving a legendary figure or culture hero. Each song-dance pairing is associated with a specific Eskimo dancer, the latter usually being the creator. If the original creator of the dance is deceased, then the dance is associated with the present-day owner, usually the namesake, partner, or offspring of the creator.

Linguistic Realism in Flaubert's "Bouvard et Pecuchet"

Realism, Ortega writes, is the exemplum crucis of esthetics.' This is true quite simply because realism derives its claim to truth from something which is outside the realm of art: nature, the real, the given. The task of the literary realist consists in making his reader forget that he is reading a book, that his experience is being mediated through a symbolic system of signification. Cervantes discovered the most effective formula to accomplish this task: the hero will himself be a reader of books and a believer in their truth, their transparency; his actions will constitute an attempt to interpret the world in their terms and his failure to do so will authenticate the which defeats him as somehow non-bookish, material, unmediated. Thus the reality unmasks the purely metaphorical status of earlier literary language in order to mask the metaphorical status of the language he himself is using. The hero of realism typically believes in the continuity between literature and reality, but his own reality is established by the novelist's revelation of the gap, the essential difference, between a self-reflexive system of signs and the concrete presence of things. Of all Flaubert's novels Madame Bovary most closely represents this prototype. Emma's belief in the realizability of fiction, her faith that her experience can correspond to literary models, is ultimately the cause of her suicide. For the dimension of fiction is the imaginary, the absent, and the Quixotic attempt to materialize this absence is bound to be defeated in confrontation with the inert mass of the phenomenal world. But in Flaubert's novel this emphasis on the incompatibility of the written and the real, developed mimetically on the level of plot, is counteracted by the striking similarity in the stylistic treatment accorded both elements of the dialectic. Emma's romantic dreams and the hum-drum events of everyday life which shatter them are created in the same meticulously constructed prose with its famous ternary rhythms, harmonious sound effects, pervasive use of style indirect libre and progressive et. As Proust puts it: In Flaubert's style . . . all parts of reality are converted into a single substance, with vast surfaces which shimmer monotonously. . . . Everything that was different has been converted and absorbed.2 Flaubert's homogeneous style is actually calculated to destroy the contrast between the imagined and the real which his language creates through its referential transparency. He felt that literary language, instead of pretending to be full of