Instrumental Works Research Articles

ТЕАТРАЛЬНАЯ СЕМАНТИКА В ИНТОНАЦИОННОМ КОМПЛЕКСЕ ФОРТЕПИАННЫХ СОНАТ МОЦАРТА КАК ФАКТОР РЕАЛИЗАЦИИ ХУДОЖЕСТВЕННОЙ СОСТАВЛЯЮЩЕЙ ИСПОЛНЕНИЯ

The article reveals the aspect of theatrical semantics in the intonation complex of Mozart’s piano sonatas from the viewpoint of performing practice. Interrelation of the composer’s operatic and instrumental creative work is examined from the viewpoint of theatrical intertextuality. Artistic interpretation of Mozart’s piano sonatas involves decoding the composer’s semantic complexes. The paper identifies correlations of personages who “moved” from the sphere of operatic art into the space of the sonata cycle.

KABAK KEMANE İÇİN POZİSYON DEĞİŞTİRME ÖNERİLERİ

Kabak kemane günümüzde daha çok birinci pozisyonda icra edilen bir çalgıdır ve çalgının ses genişliği en az iki buçuk oktava kadar çıkabiliyor olsa da, özellikle halk müziği örneklerinin icrasında en tiz perdenin oktav La perdesine kadar kullanıldığı görülmektedir. Bu perde, birinci pozisyonda kabak kemanenin birinci teli olan Re telinde 4 numaralı parmakla seslendirilmektedir. Si bemol perdesi oktav La perdesinin hemen altında yer aldığı için bu perdeyi, birinci pozisyonda 4 numaralı parmakla seslendirm ek mümkündür ve zaman zaman bu perdenin bu şekilde basıldığı görülmektedir. Fakat, Si natürel, Sib2, Do ve Re perdelerinin Sib perdesine nazaran daha uzak olmasından dolayı pozisyon değişikliği yapılmadan bu perdeleri basmak imkansızdır. Halk müziği örneklerinde, oktavda yer alan Sİ natürel, Sib2 ve Do perdelerinin yer aldığı eserler ise icracılar tarafından pest taraftan icra edilmektedir. Özellikle çalgısal ve sözlü eserlerde bu tiz perdeler ikinci tel olan La teli üzerinden çalınmaktadır. Bu durum çalgının daha etkin kullanımında bir sorun olarak karşımıza çıkmakta ve bu yüzden gerek icracılara gerekse de konservatuvar öğrencilerine kabak kemanede pozisyon değiştirme alışkanlığı kazandırılamamaktadır. Kabak kemanede farklı pozisyon denemeleri zaman zaman bazı icracılar tarafından yapılıyor olsa da, onlar da her hangi bir halk müziği topluluğu içinde icra yaparken bu perdeleri pest taraftan icra etmektedir. Diğer taraftan kabak kemanede pozisyon değişikliği ile ilgili egzersizlerin veya çalışmaların yer aldığı akademik çalışma bulunmamaktadır. Buradan hareketle bu makalemizde pozisyon değiştirerek, 1. pozisyondan 4. pozisyona geçiş yapılarak tiz tarafta yer alan natürel Si, Sib2, Do ve Re perdelerinin icra edilmesiyle ilgili 12 adet egzersiz önerilmiştir. Bu egzersizlerden sonra da pozisyon değişikliği yapılarak icra edilecek olan bir esere yer verilmiştir. Böylece kabak kemanenin icra seviyesine bir katkı sağlanmaya çalışılmıştır.

The role of the Italian period in the formation of Dmytro Bortnyansky’s composer style (on the example of chamber-instrumental works)

The proposed article defines the role of the Italian period (1769–1779) in the development of individual composer style of D. Bortnyansky on the example of his chamber — instrumental works. Relations of chamber music of the Ukrainian composer with contemporary examples of chamber and instrumental works by B. Galuppi, J. Haydn and W. A. Mozart are considered. It is a scientific novelty that the chamber-instrumental works of the Ukrainian composer were first compared and analyzed in comparison with Western European models by J. Haydn and W. A. Mozart, taking into account the prerequisites and circumstances of writing these works, and tracing the influence of Italian culture on the artists. The evolution of chamber music in the work of B. Galuppi, a teacher of D. Bortnyansky, is traced, sources of influence on the music of the Ukrainian artist. It is the chamber-instrumental creativity as such that has not yet had examples in the National Composer School, which makes it possible to identify common and distinctive compositional techniques due to the influence of Italian music on the D. Bortnyansky. An important factor in the relevance of the study is also that, comparing the results of the Italian influence on all these authors, we see that the Ukrainian composer goes the same ways as the brilliant representatives of Austrian classicism, and comes to very similar results. This is confirmed both by the well-known standardization of classicist art and the fact that the work of the prominent Ukrainian composer D. Bortnyansky developed entirely in line with European art of the time. This conclusion seems to indicate the importance of research for Ukrainian musicology: an understanding of the affinity of creative and cultural processes in Western Europe and the territory of the Russian Empire: the cultural and artistic environment in Italy, and in Venice in particular, is extremely important, since its influence on D. Bortnyansky's creativity and work was quite significant.Quintet in C major for harpsichord, harp, violin, viola and gamba and cello (1787) and Sinfonia concertanto for seven instruments: two violins, viola da gamba, cello, harp and bassoon — organization (1790). These works are compared to Quintet W. A. Mozart for Clarinet, Basset Horn, Violin, Viola and Cello in F Major (1789) by KV 580b and Quartet by J. Haydn op. 33 No. 2 in E flat major. Due to the application of such methods as source studies, analysis, comparisons, comparisons, the study results were obtained: both common features of the works and differences in approaches to solving composer's problems were revealed. The results of the analysis are summarized and the nature of the influence of the cultural and artistic environment on the formation of the individual style of the artist is determined.

DNA Nunchucks: Nanoinstrumentation for Single-Molecule Measurement of Stiffness and Bending.

Bending of double-stranded DNA (dsDNA) has important applications in biology and engineering, but measurement of DNA bend angles is notoriously difficult and rarely dynamic. Here we introduce a nanoscale instrument that makes dynamic measurement of the bend in short dsDNAs easy enough to be routine. The instrument works by embedding the ends of a dsDNA in stiff, fluorescently labeled DNA nanotubes, thereby mechanically magnifying their orientations. The DNA nanotubes are readily confined to a plane and imaged while freely diffusing. Single-molecule bend angles are rapidly and reliably extracted from the images by a neural network. We find that angular variance across a population increases with dsDNA length, as predicted by the worm-like chain model, although individual distributions can differ significantly from one another. For dsDNAs with phased A6-tracts, we measure an intrinsic bend of 17 ± 1° per A6-tract, consistent with other methods, and a length-dependent angular variance that indicates A6-tracts are (80 ± 30)% stiffer than generic dsDNA.

Recepção e influência de Lorenzo Perosi (1872-1956) na música religiosa de Alberto Nepomuceno (1864-1920)

O presente artigo visa analisar a possível influência musical do compositor italiano Lorenzo Perosi (1872-1956) na música sacra e religiosa do brasileiro Alberto Nepomuceno (1864-1920). Após contextualizar a recepção da música de Perosi no Brasil entre o final do século XIX e as primeiras décadas do século XX, apresenta-se uma análise de diferentes aspectos musicais de obras de Nepomuceno que evidenciam uma influência direta de Perosi, via intertextualidade musical, ou uma comum referência estilística para ambos os compositores. Verificou-se este último tipo de influência no tratamento dado à harmonização do canto gregoriano e no uso de tópicas e elementos representativos em obras instrumentais e corais de Nepomuceno; e a intertextualidade musical na sua Missa a duas vozes, sobretudo no Sanctus.

TheThirdString Quartet by B. Britten as a phenomenof the late composer style

TheThirdString Quartet by B. Britten as a phenomenof the late composer style

Барокова опера: виміри виконавської інтерпретації

The leading tendencies connected with interpretation of baroque operas in the conditions of modern culture are determined. The practice of introducing historically informed performances is underlined. A number of projects aimed at redefining vocal and instrumental works of the Baroque era have been noted. The specifics of the activities of leading western ensembles, who seek to reproduce the authentic sound of baroque operas, are outlined.

Optics/instrumentation

Abstract Raman spectroscopy has undercome a major development during the last decades, making it more and more popular. One of the reason is that the instrumentation has become more accessible, by making the Raman microscopes much more affordable, reliable and user-friendly. Although the fundamental design has not really changed since the origins, it is important to know what the different components are made of and what is their purpose. Is that sense this chapter about the Optics of the Raman microscope will help to understand how the instrument works and what are the specifications and the useful characteristics.

Research on Electromagnetic Immunity Design of Coal Mine Instruments Based on Wireless Sensors

For a long time, one of the factors that perplex the safety problem of coal mine is the interference of electromagnetic signals on underground instruments, which affects the normal work of underground instruments. In this paper, we firstly elaborate the causes and hazards of electromagnetic interference on coal mine instruments, and then explore the electromagnetic immunity characteristics of wireless sensors. Finally, we propose to construct an electromagnetic shielding model for coal mine instruments with wireless sensor, and discuss on design of hole and joint structure and slot array spacing of the shielding cavity. We conclude that a shielded body with a symmetrical form of open-cell structure, such as circular and positive, generally has higher shielding effectiveness, and to increase the gap spacing of the shielding cavity can slightly improve the shielding effectiveness.

Huang Ji’s Instrumental Body of Work: at the Origins of the Development of the National Music Culture of the Twentieth Century

Problem statement. The relevance of the subject is due to the fact that the renaissance process of Huang Ji’s personality and body of work began in the 1990’s when the effects of the false assessment of the music activity of the Chinese composer as a traitor of national interests formed during the “cultural revolution” were eliminated. The aim of the article is to provide a genre and style analysis of Huang Ji’s instrumental works, appraising their significance in the context of the development of the national music culture of China of the future. Research methodology is based on the method of historicism, axiological and musicological and analytical approaches, and genre and style analysis. Results. The modern interpretation of Huang Ji’s creative personality as the founder of Chinese music culture, based on the introduction of the principles of European professional traditions into the national art, requires an analytical study of the entire building of the works of the composer, in particular, instrumental (symphonic ouverture «In memoriam», orchestral play «Fantastic city», polyphonic piano works Prelude «Subject from Bach», «Two two-part inventions», three fugues in the strict style), which have remained until now outside the interests of Chinese musicologists, who traditionally pay more attention to the vocal creative work of the founder of the national classics of the twentieth century. The study of Huang Ji’s symphony and piano pieces, written during his traineeship at the School of Music in Oberlin (second half of the 1920’s), has made it possible to appraise the historical significance of the Chinese composer as the founder of national instrumental art, Europeanized in origin, based on mastering the classical genres, forms, themes and foundations of composer’s technique. Novelty. An attempt is made at identifying the genre and style features of Huang Ji’s instrumental body of work, based on the traditions of European professionalism, in the fields of symphonic and piano music. The practical significance. The research has important implications for studying the significance Huang Ji’s instrumental body of work in the context of the development of the national music culture of China of the future.

Design and implementation of seismic data acquisition system using PC/104

The seismic data acquisition system from analog to digital data converter has been integrated to develop acquisition device. Contrary to the digitizers currently in use, seismic data acquisition using PC/104, or industrial personal computer, turned out to be able to produce a less expensive digitizer (analog to digital converter) proven able to overcome issues of portability, efficiency, and durability. PC/104 used in this study was Arbor production with the EmCORE n-511 serial number within operating system, and the programming languages are DOS 6.02 and C, respectively. This research resulted in a design of a prototyping device based on PC/104 and created a program to record seismic data. The program was compiled in the Microsoft Windows XP operating system environment using Borland C 5.02 software. The input range of the data acquisition system that has been tested is ± 10 V. The performance test results show a resolution of ± 0.915 mV, a linearity of 0.2% full-scale reading, instrument work noise is ± 1.2 mV with a maximum frequency distortion of 2%. The instrument performs well at a rate of 10 Hz to 5000 Hz, but the software has a limited capacity of only 1000 Hz. From the results of a comparative test with Digitizer Guralp Type CGM-DM16R8, the value of the RMS error is 4.64%.

António Victorino D'Almeida – Resonances in His Own Name. Considerations on Childhood, The Portuguese Music Scene and Artistic Education / António Victorino D'Almeida – Ressonâncias em Nome Próprio. Considerações sobre a Infância, o Panorama Musical Português e a Educação Artística

The present article reflects about the long and rich creative life of Antonio Victorino D'Almeida, one of the most brilliant artistic minds of our time, in the context of an interview and its interpretation. Composer, writer, producer, television and cinema director, stage director, pianist, conferencist, or even sketcher, his creativity is truly plural. His catalogue includes instrumental piano solo works, chamber music, symphonic pieces and choral-symphonic music, lieder, opera, cinematic, theatre scores, and fados, the Portuguese national song. He also approaches the theme of artistic education, both now and early in his career, as well as the challenges, expectations and setbacks of young musicians. This particular link has helped to build a substantial part of this article, according to the different roles that Antonio Victorino D'Almeida plays in art, in his very own and refreshingly approachto cultural field, huge diversification and desmystifing speech. Building a striking originality either he uses musical notes, words or different kinds of forms. Above all, we had the chance to witness how his creative cosmos influences and interprets childhood, the Portuguese musical panorama and artistic education. Basically, the view of life itself.

Estienne Roger and his agent Adam Christoph Sellius: new light on Italian and French music in Bach’s world

Abstract The article opens with a discussion of the Italian and Italianate concertos that Johann Sebastian Bach transcribed for the organ and harpsichord (bwv592–96, bwv972–87). Hans-Joachim Schulze has suggested that Bach encountered these Italian instrumental works as a result of a trip by Prince Johann Ernst of Saxe-Weimar to the Netherlands. This article suggests an alternative route for Bach to have gained copies of Italian concertos, namely via the Halle and Leipzig bookseller Adam Christoph Sellius. He traded in sheet music published by Estienne Roger in Amsterdam and also in French printed music, probably imported through his contacts in the Netherlands.

Cadence formulas in instrumental music of the Renaissance and early Baroque in the context of that time’s theory of music and composition practice

Cadence (ending) formulas are one of the most intriguing phenomena in music. They occur in works of all historical periods and styles and they have a variety of forms: from melodic and harmonic turns to rhythmic or even dynamic ones. However, this issue is important not only from the perspective of theory of music or composition technique but also performance practice as the way how a singer or instrument player understands the functioning of separate elements of a piece will impinge on the sound shape of the work presented to the public. Reading the extramusical message hidden in the structure of a piece should be regarded particularly significant for the interpretation of pieces written in times when adding precise performance guidelines in the score was not practiced. In case of compositions written in the 16th and the first half of the 17th centuries, the way how ending formulas functioned was a result of the specificity of that time’s modal system and the principles of polyphonic composition, in which the role of melodic (horizontal) thinking prevailed over the harmonic (vertical) one. The issue of cadences gains special importance while analysing instrumental works in which the absence of verbal text hinders the division of the piece into segments. It only becomes possible thanks to analysing the structure of the piece, including the allocation of modal ending formulas in separate voices of the composition. Howsoever the topic of cadences in music of the 16th and 17th centuries has been discussed many times in the literature on the subject, it has had no satisfactory presentation related to that time’s instrumental repertoire. The present article is an attempt to elaborate on the deliberations on the topic of modal cadence formulas in instrumental works from the 16th and the first half of the 17th centuries. Its first part has an introductory character and it touches on the notion of cadence in modern theoretical-musical and encyclopaedic texts compared to composition theory and practice in the Renaissance and early Baroque eras. The second part of the article is an analysis of selected instrumental works from the end of the 16th and the beginning of the 17th centuries meant for different types of line-ups – the four-voice canzona by Florentio Maschera, canzona by Girolamo Frescobaldi for solo instrument with basso continuo and one of the ricercati by Giovanni Bassano meant for solo melodic instrument without accompaniment.

Application of Quantitative Proton Nuclear Magnetic Resonance Spectroscopy for the Compositional Analysis of Short Chain Fatty Acid Benzyl Ester Mixtures

Nuclear Magnetic Resonance (NMR) has become one of the cornerstones of instrumental analysis work done in chemistry laboratories. NMR is most powerful when used quantitatively, the technique of using NMR to quantify the concentration of an analyte is referred to as qNMR and proton NMR, in particular, is extremely useful in this pursuit to quantify organic compounds. In order to increase exposure to the quantitative and qualitative aspects of NMR in the undergraduate chemistry laboratory, we have created a qNMR experiment to be used in analytical chemistry and instrumental analysis courses. The objective of the experiment was to determine the % composition of a two-component mixture of benzyl acetate (BA), benzyl propionate (BP), and benzyl butyrate (BB). We report on the methodologies used to determine % BA, BP, and BB. Mixtures ranged from 100% to 20%. The results show a strong linear relationship relating known weight %’s with qNMR weight %’s and serves as confirmation of the quantitative utility of proton NMR as well as an educational tool for the undergraduate chemical laboratory.

COMPOSITION OF ORCHESTRA AND PRINCIPLES OF ORCHESTRAL WRITING IN CONCERTO GROSSO G-DUR № 2 BY JOHANN GEORG PISENDEL

The purpose of a work. The article examines the principles of orchestral writing in the instrumental works of J. G. Pisendel (1687-1755) in the context of the genre evolution of German orchestral music of the first half and middle of the eighteenth century. Material for analysis - Concerto Grosso number 2 G-dur. The methodology is an integrated approach and is based on the use of analytical and comparative methods. Scientific novelty. During the first half and middle of the eighteenth century German instrumental music sees an intense solo performance development and the role of individual musician’s skills is rising. Development of new genres, which can demonstrate performing skills, continues. One of them was a genre of instrumental concert, in which a triad concerto grosso – instrumental solo concert – concert symphony clearly reflected phased transition from Baroque to early classical style. The analyzed work by J. G. Pisendel as all the legacy of the artist as a whole, represents the initial phase of the process. The conclusions. Concerto grosso G-dur № 2 is written in typical concert form, with multiple alternation of ritornellos performed by all chapel instruments and musical constructions performed by a separate group of instrumentalists – so called trio. The composer tries to follow tradition and carefully constructs a typical composition of multiple bright ritornello in different keys and episodes of solo-ensemble type, which contrast in texture the full-toned tutti parts. Composition of the orchestra: 2 violins, a viola, bass (cello and harpsichord), 2 flutes, 2 oboes, bassoon, two horns. The trio is composed of two flutes, two oboes and bassoon as soloists as well as instruments of basso continuo group. Flutes and oboes solo in turns, but are often combined in a joint sound, as a result the trio becomes a quintet featuring masterfully interpreted woodwind instruments. The main function of tutti is to present the main theme, while the ensembles’ role is reduced to saturation the texture with virtuoso element.

Korelasi Motivasi Kerja dan Kompetensi Guru dengan Kinerja Guru SMA Karya Sejati Palembang

Tujuan penelitian - This study aimed to identify the relationship of work motivation and competence of teachers with performance. Desain/Metodologi/Pendekatan– The instrument used is a questionnaire about work motivation and competence of teachers as independent variables and questionnaires about the performance as the dependent variable. Questionnaire instruments work motivation, teacher competence and performance validated with Pearson Product Moment correlation formula (PPM), while reliability is measured by alpha cronbach instrument. Analysis of data using multiple regression analysis. Temuan– From the research found that: (1) There is a relationship between independent variables together with the dependent variable, where multiple correlation coefficient of (R) of 0.842, (2) The dependent variable can be explained by the independent variables with a contribution of 70.9%, (3) there is a relationship between work motivation with performance, there is a relationship between teacher competence with performance, but collectively have a significant relationship between work motivation and competence of teachers with senior high school teachers' performance Karya Sejati Palembang Keterbatasanpenelitian– Originality/value– Keywords: Work Motivation, Teacher Competency, Performance

Classifying the unknown: Discovering novel gravitational-wave detector glitches using similarity learning

The observation of gravitational waves from compact binary coalescences by LIGO and Virgo has begun a new era in astronomy. A critical challenge in making detections is determining whether loud transient features in the data are caused by gravitational waves or by instrumental or environmental sources. The citizen-science project \emph{Gravity Spy} has been demonstrated as an efficient infrastructure for classifying known types of noise transients (glitches) through a combination of data analysis performed by both citizen volunteers and machine learning. We present the next iteration of this project, using similarity indices to empower citizen scientists to create large data sets of unknown transients, which can then be used to facilitate supervised machine-learning characterization. This new evolution aims to alleviate a persistent challenge that plagues both citizen-science and instrumental detector work: the ability to build large samples of relatively rare events. Using two families of transient noise that appeared unexpectedly during LIGO's second observing run (O2), we demonstrate the impact that the similarity indices could have had on finding these new glitch types in the Gravity Spy program.

Characterization of a Nanometer Displacement Gauge for the Dimensional Control of Large Optomechanical Structures

We present the design, implementation, and characterization of a heterodyne laser interferometer for nanometer displacement metrology. The purpose is to monitor the 3-D shape of a large optomechanical structure planned for future general relativity experiments. Reaching the target 10−11-m displacement uncertainty over 7-m distances and many days’ integration periods is a challenging task. The solution here investigated consists of a nonpolarizing Mach–Zehnder layout, featuring an optical cancelable circuit and a holey folding mirror. The instrument working principle and the method for online phase reconstruction are presented, as well as the complete hardware configuration used. The several sources of noise are investigated mathematically and, whenever possible, verified experimentally. The displacement gauge was tested up to one day of continuous data acquisition, showing nanometer-level performance down to 100 mHz, while air index variations and mechanical instabilities are currently the main limiting factors at lower frequencies. This experiment has brought into light many technical issues that will constitute precious “lessons learned” for the future improvements of the system.

Preflight radiometric calibration of a carbon dioxide spectrometer

The first Chinese Carbon Dioxide Observation Satellite (TanSat), which is designed to make high-precision, high-spatial resolution measurements of carbon dioxide, was successfully launched on 22 December 2016. There are two instruments installed on the TanSat: the High Resolution Hyper-Spectral Sensor for carbon observation Grating Spectrometer, aiming at measuring the amount of carbon dioxide (CO2) in the atmosphere, and the cloud and aerosol polarimetric imager to identify the disturbance by clouds and to detect the impact of aerosol within the instrument instantaneous field of view. The two instruments work together to make global, high-precision CO2 measurements with exactly correction of cloud and aerosol interference. The major content of this paper is the laboratory radiometric calibration of ACGS. Both the gain coefficients and the dark current response of each channel were determined during instrument-level ground testing. The gain coefficients for the ACGS were characterized by measuring the instrument response to illumination by an integrating sphere at several light levels. The dark response was calibrated with additional thermal balance testing. This paper also identified bad pixels, recorded in a table of data elements, to be omitted in science data processing. The uncertainties achieved during the radiometric calibration were below 5% (k = 1), meeting the absolute calibration mission requirements.