Original Notation Research Articles

A preliminary study on various implementation approaches of domain-specific language

Various implementation approaches for developing a domain-specific language are available in literature. There are certain common beliefs about the advantages/disadvantages of these approaches. However, it is hard to be objective and speak in favor of a particular one, since these implementation approaches are normally compared over diverse application domains. The purpose of this paper is to provide empirical results from ten diverse implementation approaches for domain-specific languages, but conducted using the same representative language. Comparison shows that these discussed approaches differ in terms of the effort need to implement them, however, the effort needed by a programmer to implement a domain-specific language should not be the only factor taken into consideration. Another important factor is the effort needed by an end-user to rapidly write correct programs using the produced domain-specific language. Therefore, this paper also provides empirical results on end-user productivity, which is measured as the lines of code needed to express a domain-specific program, similarity to the original notation, and how error-reporting and debugging are supported in a given implementation.

R. A. Fisher's 1943 unravelling of the Rhesus blood-group system.

R. A. Fisher's 1943 unravelling of the Rhesus blood-group system.

Performance practice of recitativo secco in the first half of the 18th century

Since the 1970s continuo performance of secco recitative has been intensively discussed in the historically oriented field of performance practice. The trigger was the idea, probably stemming from Winton Dean, of having cadences played exactly as notated. In the Alten Handel Ausgabe, Friedrich Chrysander had notated the dominant– tonic conclusion in the recitatives as, in principle, after the beat, that is, after the singer's last note. In practice, however, performance with the singer creates the problem that in almost all endings executed with an appoggiatura a dissonance of a semitone arises. This article examines original notation in score as well as contemporary theoretical commentaries in order to determine how this might be avoided and how a more flexible continuo arrangement might be achieved.

Performance evaluation based on system modeling using Statecharts extensions

This paper presents two extensions for Statecharts: the Stochastic Statecharts, which use the original statecharts notation with a minor modification in the formal semantics and the Queuing Statecharts, which do not follow the pure Statecharts notation, but a join between Statecharts and queuing network representations. Some basic elements of Statecharts are redefined such as events and conditions, besides some concepts referring to the dynamic system behavior. The specification approaches show the basic behavior of a generic queuing system by means of templates and standard events. It is presented the PerformCharts, a new simulation environment based on Statecharts specification, which allows model solution using either Markov chains or the Network Simulator (NS).

Musica spirituale, libro primo (Venice, 1563) (review)

Reviewed by: Musica spirituale, libro primo (Venice, 1563) Sarah M. Stoycos Musica spirituale, libro primo (Venice, 1563). Edited by Katherine Powers . ( Recent Researches in the Music of the Renaissance, 127.) Middleton, WI: A-R Editions, Inc., c 2001. [Acknowledgments, p. vi; introd., p. vii–xxix; texts and trans., p. xxx–xxxvii; 3 plates; score, 151 p.; crit. report, p. 153–55. ISBN 0-89579-472-1. $80.] Spiritual madrigals had been composed and published long before Venetian printer Girolamo Scotto issued Giovanni del Bene's anthology Musica spirituale, libro primo,di canzon et madrigali, a cinque voci in 1563, four years after Del Bene's death.Yet this was the first collection comprised exclusively of spiritual madrigals and the first to describe its contents specifically as "spirituale." Until this time, isolated spiritual madrigals appeared in publications side by side with their secular counterparts. In her introduction to the new edition of the Musica spirituale published by A-R Editions in its series Recent Researches in the Music of the Renaissance, Katherine Powers convincingly connects the overt recognition and promotion of the spiritual madrigal with the renewed religious fervor stimulated by the Counter-Reformation. Del Bene (ca. 1512-1559), a priest and author, compiled this landmark collection long before its publication, probably for his followers in Verona, but certainly the posthumously printed anthology of twelve spiritual madrigals reached a much larger audience. In fact, Powers suggests that this compilation "may be credited with giving the spiritual madrigal recognition as a distinct type" (p. viii) and may have inspired other similar collections that started appearing in print during the following decade. Given the pivotal place of the Musica spirituale in the development of the spiritual madrigal, this modern edition is long overdue. David Nutter was the first to write about the Musica spirituale at length ("On the Origins of the North-Italian 'Madrigale Spirituale'," in Atti del XIV congresso della Società internazionale di musicologia:Trasmissione e recezione delle forme di cultura musicale, 3 vols., ed. Angelo Pompilio et al., 3:877-89 [Turin: EDT, 1990]). More recently, Powers has placed the collection in a broader context in her Ph.D. dissertation "The Spiritual Madrigal in Counter-Reformation Italy: Definition, Use, and Style" (University of California, Santa Barbara, 1997). Since the Musica spirituale was never reprinted after its initial publication, the basis for Powers's [End Page 553] edition is almost entirely the sole extant complete copy of the 1563 imprint held by the Archivo Musical, Catedral de Valladolid, complemented by a few concordances for the works that occur in other publications. In keeping with what we have come to expect from A-R Editions, the physical features of the publication are of a high quality, and Powers provides readers and performers with side-by-side English translations of the Italian texts, incipits preceding each madrigal to show the original notation, critical notes, facsimile reproductions, and an extensive introduction. Powers's command of the subject matter is readily apparent throughout the introduction to the edition, which in five sections offers a general overview of the spiritual madrigal; the historical background of the Musica spirituale; a short discussion of each of the composers represented in the publication—Giovanni (Jan) Nasco (ca. 1510-1561), Lambert (Lamberto) Courtois (fl. 1542-1583), Vincenzo Ruffo (ca. 1508- 1587), the obscure Grisostimo da Verona, Giovanni Contino (ca. 1513-1574; "Vergine santa, immaculata e pia" is attributed to Grisostimo in the anthology but to Contino in his Primo libro de' madrigali à cinque voci [Venice: Scotto, 1560]), Adrian Willaert (ca. 1490-1562), and Maistre Jhan (Jan) da Ferrara (ca. 1485-1538); a description of the texts and their authors; and a substantial discussion on the music itself wherein Powers briefly discusses most, though not all, of the twelve works. Tacked on to the end of this final section is a partial list of other settings of the texts found in the Musica spirituale, as well as a discussion of the historical performance venues for these works. The amount of material provided in the introduction is impressive and well researched, although at times its presentation seems a bit convoluted and repetitive. Powers nevertheless uses her arsenal of information to raise many noteworthy...

Early Masses and Mass-Pairs (review)

Reviewed by: Early Masses and Mass-Pairs J. Michael Allsen Early Masses and Mass-Pairs. Transcribed and edited by Gareth Curtis . ( Fifteenth-Century Liturgical Music, 4.) ( Early English Church Music, 42.) London: Published for the British Academy by Stainer and Bell, c 2001. [Foreword ( John Caldwell ), 1 p.; acknowledgments, 1 p.; contents, 1 p; introd., p. ix–xiii; scores (each preceded by sources and crit. notes), p. 1–177 Cloth. ISMN M-2202-1931-3; ISBN 0-85249-846-2. £55.] This volume of early Masses and Mass-pairs edited by Gareth Curtis is the start of a new editorial direction, and a distinctly new "look" for the venerable series Early English Church Music, inaugurated in 1963 with John D. Bergsagel's edition of the first volume of Early Tudor Masses (London: Stainer and Bell) to make available church music by British composers of the Middle Ages and Renaissance in a form designed to serve both scholarly and practical needs. The series is intended to complete the publication in modern editions of all early sacred music in Britain from the Norman Conquest to the Commonwealth. (vol. 1 of series, p. iv) Since then, Early English Church Music has proved to be a valuable resource for students and performers of this music, providing a clear and well-edited entry into this large repertory. The first forty-one volumes comprise many subseries, including five volumes devoted to the sacred music of John Taverner (ca. 1490-1545) and six to Thomas Tomkins (1572-1656). Curtis's new volume is a continuation of another of these subseries devoted broadly to fifteenth-century liturgical music. These volumes, including Curtis's previous edition of the Brussels Masses from the manuscript Bibliothèque Royale Albert 1er 5557 (Early English Church Music, 34; hereinafter EECM), as well as two volumes published much earlier (Antiphons and Music for Holy Week and Easter, ed. Andrew Hughes, EECM, 8 [1968] and Four Anonymous Masses, ed. Margaret Bent, EECM, 22 [1979]), cover repertory that would otherwise fall through the cracks of editions of collected works and monuments devoted to a single manuscript: anonymous and occasionally fragmentary music, as well as works by composers who are largely unknown aside from a piece or two. With the exception of a single volume devoted to facsimiles of late medieval fragments (Manuscripts of Fourteenth Century English Polyphony: A Selection of Facsimiles, ed. Frank Llewellyn Harrison and Roger Wibberley, EECM, 26 [1981]), and the recent edition of Thomas Morley's (1557/8- 1602) Services edited by John Morehen (EECM, 41 [1998]), the series has heretofore been weighted toward the "practical." Volumes appeared in a roughly octavo-size [End Page 219] format in paper covers, with large, clear typography eminently suited for singers. The music itself was presented in modern notation and clefs, with bar lines, two-to-one or four-to-one reductions of note values, and the standard equipment of scholarly editions (brackets above ligatures, barring that reflects modus-level notation, etc.). Though each volume included a full critical apparatus, and occasionally appendices with plainchant sources, the music itself seems to have been set out primarily with performance in mind. Many of the volumes, for example, include a keyboard reduction to facilitate rehearsal and performance. Along with Morehen's Morley edition, Curtis's Early Masses and Mass-Pairs represents a new style for Early English Church Music editions (see Lionel Pike's review of the Morley in Notes 58, no 1 [September 2001]: 176-79). It is a weighty, large-format (9" X 12.5"), hardcover volume. Critical notes are now integrated into the edition, directly preceding each piece or set of pieces. The most important change, however, is in the method for transcribing the works. While score format and modern treble and bass clefs are retained, the music itself appears in the original mensural notation. In his foreword to the edition, John Caldwell, general editor of Early English Church Music, explains this change in editorial procedure (p. v): It was widely felt that traditional methods of transcription . . . were no longer adequate to convey the essential nature of this freely flowing yet mensurally disciplined music. In these new editions, note-values will be unreduced, the...

A propositional calculus for inconsistent deductive systems

Editorial note. Read at the meeting of section A, Societatis Scientiarum Torunensis, 19th March 1948. Published in Polish under the title “Rachunek zdań dla systemów dedukcyjnych sprzecznych”, in: Studia Societatis Scientiarum Torunensis, Sectio A, Vol. I, No. 5, Toruń 1948, pp. 57–77. In original version the Polish notation was used.It is the second English version of this paper. The first one — translated by Olgierd Wojtasiewicz — was published under the title “Propositional calculus for contradictory deductive systems”, in Studia Logica, Vol. XXIV (1969), pp. 143–157. The present version is a small variation of the previous one. The chief difference is the change of the original Polish notation (done by A. Pietruszczak) into modern and standard one.For further Editorial Notes see Notes (denoted in the text by natural numbers) at the end of the paper.

1.6.2 Formalizing a Structured Natural Language Requirements Specification Notation

AbstractRequirements specification notations are developed by organizations in order to meet their specific needs. For example, the Threads‐Capabilities notation, an in house notation at Raytheon Systems Canada, Ltd., has been developed and used for specifying their complex, large scale, air traffic control systems. It is a semi‐formal, structured, natural language notation. In this work, we investigate how to make this semi‐formal notation more rigorous (i.e., formal) by developing and applying a new formalization process to it. By doing this, we can obtain the advantages of formal methods (precise, unambiguous, automatic generation of test specifications, automated typechecking, etc.) while retaining the style and readability of the original notation. We call the formalized notation the Stimulus Response Requirements Specification (SRRS) notation. Our results have been successful for the specific notation. The formalized notation has been demonstrated to reduce the time and improve the quality of the requirements specifications. There is additional training time, however, needed to learn to use the notation and tools.

Excitonic Coupling of Chlorophylls in the Plant Light-Harvesting Complex LHC-II

Manifestation and extent of excitonic interactions in the red Chl-absorption region (Q y band) of trimeric LHC-II were investigated using two complementary nonlinear laser-spectroscopic techniques. Nonlinear absorption of 120-fs pulses indicates an increased absorption cross section in the red wing of the Q y band as compared to monomeric Chl a in organic solution. Additionally, the dependence of a nonlinear polarization response on the pump-field intensity was investigated. This approach reveals that one emitting spectral form, characterized by a 2.3(±0.8)-fold larger dipole strength than monomeric Chl a, dominates the fluorescence spectrum of LHC-II. Considering available structural and spectroscopic data, these results can be consistently explained assuming the existence of an excitonically coupled dimer located at Chl-bindings sites a2 and b2 (referring to the original notation of W. Kühlbrandt, D. N. Wang, and Y. Fujiyoshi, Nature, 1994, 367:614–621), which must not necessarily correspond to Chls a and b) . This fluorescent dimer, terminating the excitation energy-transfer chain of the LHC-II monomeric subunit, is discussed with respect to its relevance for intra- and inter-antenna excitation energy transfer.

Section I

Since the original Stokoe notation, many new variants and transcription systems have been proposed: currently, HamNoSys and Stokoe derivatives are most widespread. Sign language research is in real need of a standard of its own. Exchanging data in a standard notation should save authors the time and effort needed to produce photographs, drawings or video captures illustrating data and should allow researchers to present in an explicit form the aspects of the data that are truly relevant for their purposes. Since a notation extracts from the raw data what is of interest to the researcher, it is bound to reflect certain analytical assumptions and prejudices. To maximize a notation’s usefulness, a permanent process of discussion and revision is thus necessary. Particular issues that must be dealt with in designing a sign language notation system include the distinction “internal” vs. “external” descriptions, non-manuals and simultaneous use of two hands.

Section I

Since the original Stokoe notation, many new variants and transcription systems have been proposed: currently, HamNoSys and Stokoe derivatives are most widespread. Sign language research is in real need of a standard of its own. Exchanging data in a standard notation should save authors the time and effort needed to produce photographs, drawings or video captures illustrating data and should allow researchers to present in an explicit form the aspects of the data that are truly relevant for their purposes. Since a notation extracts from the raw data what is of interest to the researcher, it is bound to reflect certain analytical assumptions and prejudices. To maximize a notation’s usefulness, a permanent process of discussion and revision is thus necessary. Particular issues that must be dealt with in designing a sign language notation system include the distinction “internal” vs. “external” descriptions, non-manuals and simultaneous use of two hands.

Embedded definite descriptions: Russellian analysis and semantic puzzles

where F and B are unary predicate letters corresponding to ... is French and ... is a beret and W2 is a binary predicate letter corresponding to ... is a man who wears . common Russellian analysis of such sentences seems to produce questionable readings and miss the most natural one. I suggest an alternative. project of providing a uniform procedure to eliminate all embedded definite descriptions while preserving logical form, however, faces interesting difficulties. Russell (1918, 1919) does not mention the possibility of embedding descriptions in this way. Whitehead and Russell (1910) amend the simple iota notation in order to eliminate ambiguities in the scope of the description operators. For example, The present king of France is not bald, which is rendered -'BxKx in the original notation, is rendered either as [txKx]-iBtxKx, or as -[txKx]BixKx in the amended. Whitehead and Russell do consider expressions in the amended notation like [txFx][txGx]H2txFxtxGx in which one iota quantifier lies within the

Teaching Programming at a Distance: The Internet Software Visualization Laboratory

This paper describes recent developments in our approach to teaching computer programming in the context of a part-time Masters course taught at a distance. Within our course, students are sent a pack which contains integrated text, software and video course material, using a uniform graphical representation to tell a consistent story of how the programming language works. The students communicate with their tutors over the phone and through surface mail. Through our empirical studies and experience teaching the course we have identified four current problems: (i) students' difficulty mapping between the graphical representations used in the course and the programs to which they relate, (ii) the lack of a conversational context for tutor help provided over the telephone, (iii) helping students who due to their other commitments tend to study at 'unsociable' hours, and (iv) providing software for the constantly changing and expanding range of platforms and operating systems used by students. We hope to alleviate these problems through our Internet Software Visualization Laboratory (ISVL), which supports individual exploration, and both synchronous and asynchronous communication. As a single user, students are aided by the extra mappings provided between the graphical representations used in the course and their computer programs, overcoming the problems of the original notation. ISVL can also be used as a synchronous communication medium whereby one of the users (generally the tutor) can provide an annotated demonstration of a program and its execution, a far richer alternative to technical discussions over the telephone. Finally, ISVL can be used to support asynchronous communication, helping students who work at unsociable hours by allowing the tutor to prepare short educational movies for them to view when convenient. The ISVL environment runs on a conventional web browser and is therefore platform independent, has modest hardware and bandwidth requirements, and is easy to distribute and maintain. Our planned experiments with ISVL will allow us to investigate ways in which new technology can be most appropriately applied in the service of distance education. Reviewers: Chris Johnson (U. Glasgow), Henry Lieberman (MIT Media Lab), Lisa Neal (EDS & MIT Media Lab), Judith Segal (U. Surrey) Interactive elements: Java applets allow you to play back and interact with ISVL movies in a distance programming student-tutor scenario. An interactive demonstration of ISVL is embedded in this article as a Java applet. You will require a Java-aware browser to use this. -->

Medieval Music on the Web: Musical Resources for the 21st Century

ABSTRACTThe revival of Gregorian chant at the end of the 19th century and the more recent production of monumental editions of other repertoires of medieval music have revealed the richness and beauty of the earliest European musical traditions. They have also stimulated a great deal of scholarship, so that we now know of the existence of even more music from the middle ages. The expense of printing new editions of this music and the loss of original notational information have both been overcome by a project at La Trobe University. Music from original manuscripts has been transcribed, employing custom-written software (SCRIBE) which has been used to produce musical scores in which the original notation is preserved along with the modern equivalent. These files are linked to extensive databases which correlate textual, musical and bibliographic information; some are linked to CD quality sound files. When these are linked to colour images of original source manuscripts the source, edition and audible music...

The Sixteenth-Century Motet: An Update on Published Catalogues and Indexes in Progress

The forthcoming revision of Barry Brook's classic Thematic Catalogues in Music is a testament to the enduring usefulness of this genre of reference works.(1) One especially noteworthy example is Harry Lincoln's The Latin Motet: Indexes to Printed Collections, 1500-1600, which presents musical and text incipits for some seven thousand Renaissance motets.(2) For until now, scholars have had remarkably little bibliographic, control over the motet, in contrast to the corresponding secular genre, the Italian polyphonic madrigal, which was catalogued over a hundred years ago in Emil Vogel's masterful Bibliothek der gedruckten weltlichen Vocalmusik Italiens, aus den Jahren 1500 -- 1700.(3) The few indexes that have been compiled for the motet cover only a small portion of the repertory -- most often, works by a single composer, in an important manuscript, or from an influential publishing firm. fact, Harry Lincoln's new catalogue is the first comprehensive index of the Renaissance motet. Nor did Lincoln attempt to index this enormous repertory; instead, he focused on motet anthologies printed between 1500 and 1600. Most of The Latin Motet is given over to the Composer Index, which lists by composer all the motets found in printed anthologies.(4) At the end of this index is a large group of anonymous works, dating primarily from the first half of the century. The composers range from fifteenth-century masters like Loyset Compere, Jacob Obrecht, and Johannes Ockeghem to influential Counter-Reformation musicians of the late sixteenth century: Felice Anerio, Giovanni Matteo Asola, Giovanni Croce, and the Gabrielis, in addition to Palestrina, Lassus, Victoria, and Byrd. There is a preponderance of Italian composers, no doubt due to the productivity of local publishers like Ottaviano Petrucci, and the Gardano and Scotto families, but musicians from other nations are well represented in the prints of Pierre Attaingnant, Jacques Moderne, Pierre Phalese, Nicolas Du Chemin, and Le Roy & Ballard in France; Georg Rhau, Hieronymus Grapheus (Formschneider), and Berg & Neuber in German-speaking territories; Tylman Susato, and Waelrant & Laet in the Netherlands; as well as smaller firms in Switzerland, England, Spain, and even Poland. Lincoln's data reveal that the production of motet anthologies peaked in the 1540s and 1550s but dropped off significantly as the century drew to a dose. Also presented in the Composer Index is a great deal of useful information about individual motets: musical incipits, in diplomatic transcriptions of the original notation, for all extant voices of the prima pars; composer attributions; text incipits, again for the prima pars; text sources (biblical, liturgical, or other); the number of voices; canonic rubrics, cantus firmus usage, and liturgical designations appearing in the original print; available facsimiles and modern editions, with locations therein; as well as scattered references to relevant secondary literature. Cross-referenced with the Composer Index are three other indexes, organized by text incipit (Index to First Lines), printed anthology (Index to Sources), and encoded melodic incipit (Thematic Locator Index). (Also presented at the end of the volume is a comprehensive and up-to-date bibliography of modern editions.) The Index to First Lines lists all the motet texts that appear in printed anthologies: a total of roughly four thousand different texts in the prima and subsequent partes. The texts most frequently set are Marian antiphons, followed by passages from the psalms -- Beati omnes qui timent (Psalm 127), Cantate Domino canticum novum (Psalm 97), In the Domine speravi (Psalm 30), Inclina Domine aurem tuam (Psalm 85), and Laudate Dominum omnes gentes (Psalm 116) -- and liturgical texts that were widely used or else linked to major feasts like Christmas and Easter -- Congratulamini mihi omnes, Da pacem Domine in diebus nostris, O sacrum convivium, Quem vidistis pastores, Pater noster, Pater peccavi in caelum, and Si bona suscepimus. …

Ockeghem's "Missa cuiusvis toni" in Its Original Notation and Edited in All the Modes

Ockeghem's "Missa cuiusvis toni" in Its Original Notation and Edited in All the Modes

Ockeghem's Missa cuiusvis toni: in its original notation and edited in all the modes

Introduction Structure of the Missa cuiusvis toni Emotional Connotations of the Modes Performance of the Missa cuiusvis toni In the Phrygian Mode In the Mixolydian Mode In the Lydian Mode In the Dorian Mode The Missa cuiusvis toni in the Phyrgian Mode Kyrie Gloria Credo Sanctus Agnus dei The Missa cuiusvis toni in the Mixolydian Mode Kyrie Gloria Credo Sanctus Agnus dei The Missa cuiusvis toni in the Lydian Mode Kyrie Gloria Credo Sanctus Agnus dei The Missa cuiusvis toni in the Dorian Mode Kyrie Gloria Credo Sanctus Agnus dei

A GRAPH REDUCTION SYSTEM USING GRAPH TERMS

A new kind of computing system, a graph reduction system, is introduced using the original notation of graphs. Every graphs and reduction procedures are defined just like as term rewriting systems. Several properties of graphs and graph reductions are studied from the viewpoint of our graph reduction system. Especially, we investigate the ability of parallel reductions and compare parallel reductions with sequential reductions. We formalize the concepts of parallel reductions and sequentially simulatable parallel reductions. Sufficient conditions for reduction rules which guarantees the consistency of parallel reductions and sequential reductions are given. It is also showed that every parallel reduction preserves correctness of solutions for the graph reduction system solving equations of regular expressions.

The early history of the factorial function

was encountered in the evaluation of integrals, in the summation of series, in number theory, eie. Indeed the function is probably the most frequently used of the higher transcendental functions in applications. From about the mid-seventeenth to the early nineteenth century, the factorial function was intensively studied by some of the foremost mathematicians of the period, and its basic properties were determined. The purpose of this paper is to give a connected account of these developments. In some cases the original notation has been modernized, and original proofs have been replaced by simpler or more direct demonstrations. Treatises on the factorial function which contain material and references on its early history were written by G. Brunel [1] and N. Nielsen [1].

Programming of optical array logic 1: Image data processing

Procedures for planning and executing arbitrary parallel processing with optical array logic are generalized as a systematic programming technique of optical parallel processing. Optical array logic is a technique for achieving any parallel neighborhood operation with simple coding and optical correlation. An original symbolic notation facilitates programming of parallel processing with optical array logic, so that many problems can be optically solved using optical array logic. Two examples of image data processing are presented to illustrate the programming procedure of parallel processing with optical array logic.