6,676 research outputs found

    Examples of works to practice staccato technique in clarinet instrument

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    Klarnetin staccato tekniğini güçlendirme aşamaları eser çalışmalarıyla uygulanmıştır. Staccato geçişlerini hızlandıracak ritim ve nüans çalışmalarına yer verilmiştir. Çalışmanın en önemli amacı sadece staccato çalışması değil parmak-dilin eş zamanlı uyumunun hassasiyeti üzerinde de durulmasıdır. Staccato çalışmalarını daha verimli hale getirmek için eser çalışmasının içinde etüt çalışmasına da yer verilmiştir. Çalışmaların üzerinde titizlikle durulması staccato çalışmasının ilham verici etkisi ile müzikal kimliğe yeni bir boyut kazandırmıştır. Sekiz özgün eser çalışmasının her aşaması anlatılmıştır. Her aşamanın bir sonraki performans ve tekniği güçlendirmesi esas alınmıştır. Bu çalışmada staccato tekniğinin hangi alanlarda kullanıldığı, nasıl sonuçlar elde edildiği bilgisine yer verilmiştir. Notaların parmak ve dil uyumu ile nasıl şekilleneceği ve nasıl bir çalışma disiplini içinde gerçekleşeceği planlanmıştır. Kamış-nota-diyafram-parmak-dil-nüans ve disiplin kavramlarının staccato tekniğinde ayrılmaz bir bütün olduğu saptanmıştır. Araştırmada literatür taraması yapılarak staccato ile ilgili çalışmalar taranmıştır. Tarama sonucunda klarnet tekniğin de kullanılan staccato eser çalışmasının az olduğu tespit edilmiştir. Metot taramasında da etüt çalışmasının daha çok olduğu saptanmıştır. Böylelikle klarnetin staccato tekniğini hızlandırma ve güçlendirme çalışmaları sunulmuştur. Staccato etüt çalışmaları yapılırken, araya eser çalışmasının girmesi beyni rahatlattığı ve istekliliği daha arttırdığı gözlemlenmiştir. Staccato çalışmasını yaparken doğru bir kamış seçimi üzerinde de durulmuştur. Staccato tekniğini doğru çalışmak için doğru bir kamışın dil hızını arttırdığı saptanmıştır. Doğru bir kamış seçimi kamıştan rahat ses çıkmasına bağlıdır. Kamış, dil atma gücünü vermiyorsa daha doğru bir kamış seçiminin yapılması gerekliliği vurgulanmıştır. Staccato çalışmalarında baştan sona bir eseri yorumlamak zor olabilir. Bu açıdan çalışma, verilen müzikal nüanslara uymanın, dil atış performansını rahatlattığını ortaya koymuştur. Gelecek nesillere edinilen bilgi ve birikimlerin aktarılması ve geliştirici olması teşvik edilmiştir. Çıkacak eserlerin nasıl çözüleceği, staccato tekniğinin nasıl üstesinden gelinebileceği anlatılmıştır. Staccato tekniğinin daha kısa sürede çözüme kavuşturulması amaç edinilmiştir. Parmakların yerlerini öğrettiğimiz kadar belleğimize de çalışmaların kaydedilmesi önemlidir. Gösterilen azmin ve sabrın sonucu olarak ortaya çıkan yapıt başarıyı daha da yukarı seviyelere çıkaracaktır

    Learning disentangled speech representations

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    A variety of informational factors are contained within the speech signal and a single short recording of speech reveals much more than the spoken words. The best method to extract and represent informational factors from the speech signal ultimately depends on which informational factors are desired and how they will be used. In addition, sometimes methods will capture more than one informational factor at the same time such as speaker identity, spoken content, and speaker prosody. The goal of this dissertation is to explore different ways to deconstruct the speech signal into abstract representations that can be learned and later reused in various speech technology tasks. This task of deconstructing, also known as disentanglement, is a form of distributed representation learning. As a general approach to disentanglement, there are some guiding principles that elaborate what a learned representation should contain as well as how it should function. In particular, learned representations should contain all of the requisite information in a more compact manner, be interpretable, remove nuisance factors of irrelevant information, be useful in downstream tasks, and independent of the task at hand. The learned representations should also be able to answer counter-factual questions. In some cases, learned speech representations can be re-assembled in different ways according to the requirements of downstream applications. For example, in a voice conversion task, the speech content is retained while the speaker identity is changed. And in a content-privacy task, some targeted content may be concealed without affecting how surrounding words sound. While there is no single-best method to disentangle all types of factors, some end-to-end approaches demonstrate a promising degree of generalization to diverse speech tasks. This thesis explores a variety of use-cases for disentangled representations including phone recognition, speaker diarization, linguistic code-switching, voice conversion, and content-based privacy masking. Speech representations can also be utilised for automatically assessing the quality and authenticity of speech, such as automatic MOS ratings or detecting deep fakes. The meaning of the term "disentanglement" is not well defined in previous work, and it has acquired several meanings depending on the domain (e.g. image vs. speech). Sometimes the term "disentanglement" is used interchangeably with the term "factorization". This thesis proposes that disentanglement of speech is distinct, and offers a viewpoint of disentanglement that can be considered both theoretically and practically

    Monstrous Musical Moonshine: Explorations of Harmonic Spaces

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    This commentary provides context for a collection of compositions whose underlying structures are derived from and extend the harmonic theory based on rational intervals between pitches introduced by composer and music theorist James Tenney. The core component taken from Tenney is the measure of harmonic distance (distinct from pitch distance) between two notes. I have extended this to a measure of harmonic dispersion within any number of notes and applied this to developing chord sequences that are either gradually increasing or decreasing in harmonic dispersion. Furthermore, within such sequences the gradation in dispersion is as smooth as possible, both in terms of voicing (usually only one voice in the chord changes at a time) and dispersion level changing by a minimal amount at each stage. A further structural change, developed in later works, is what I term ‘unfolding’, by which a controlled level of repetition is introduced into the sequence, determined by both parametrised and aleatoric elements. The musical results are often microtonal but take into account the pragmatics of performance, and so are often quarter-tonal or based on the usual twelve-tone equal-tempered system. The resulting compositions are scored for live performers (soloists and ensembles), electronic synthesis, and hybrid scoring. The culminating work is a setting of texts from Zen Buddhist sources for vocal soloists, choir, chanters, an instrumental ensemble and electronic synthesisers. Aside from the structural technicalities, my music focuses on non-narrative, often long-duration expressions, influenced by composers such as Morton Feldman and Eliane Radigue. While technicalities are interesting, the key objective is always to produce music, not mathematics, with the hope that the work will be of interest to listeners, not mathematicians. Ultimately, this project has been experimental, researching how complex structures could be manifest in music

    Full stack development toward a trapped ion logical qubit

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    Quantum error correction is a key step toward the construction of a large-scale quantum computer, by preventing small infidelities in quantum gates from accumulating over the course of an algorithm. Detecting and correcting errors is achieved by using multiple physical qubits to form a smaller number of robust logical qubits. The physical implementation of a logical qubit requires multiple qubits, on which high fidelity gates can be performed. The project aims to realize a logical qubit based on ions confined on a microfabricated surface trap. Each physical qubit will be a microwave dressed state qubit based on 171Yb+ ions. Gates are intended to be realized through RF and microwave radiation in combination with magnetic field gradients. The project vertically integrates software down to hardware compilation layers in order to deliver, in the near future, a fully functional small device demonstrator. This thesis presents novel results on multiple layers of a full stack quantum computer model. On the hardware level a robust quantum gate is studied and ion displacement over the X-junction geometry is demonstrated. The experimental organization is optimized through automation and compressed waveform data transmission. A new quantum assembly language purely dedicated to trapped ion quantum computers is introduced. The demonstrator is aimed at testing implementation of quantum error correction codes while preparing for larger scale iterations.Open Acces

    Graphical scaffolding for the learning of data wrangling APIs

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    In order for students across the sciences to avail themselves of modern data streams, they must first know how to wrangle data: how to reshape ill-organised, tabular data into another format, and how to do this programmatically, in languages such as Python and R. Despite the cross-departmental demand and the ubiquity of data wrangling in analytical workflows, the research on how to optimise the instruction of it has been minimal. Although data wrangling as a programming domain presents distinctive challenges - characterised by on-the-fly syntax lookup and code example integration - it also presents opportunities. One such opportunity is how tabular data structures are easily visualised. To leverage the inherent visualisability of data wrangling, this dissertation evaluates three types of graphics that could be employed as scaffolding for novices: subgoal graphics, thumbnail graphics, and parameter graphics. Using a specially built e-learning platform, this dissertation documents a multi-institutional, randomised, and controlled experiment that investigates the pedagogical effects of these. Our results indicate that the graphics are well-received, that subgoal graphics boost the completion rate, and that thumbnail graphics improve navigability within a command menu. We also obtained several non-significant results, and indications that parameter graphics are counter-productive. We will discuss these findings in the context of general scaffolding dilemmas, and how they fit into a wider research programme on data wrangling instruction

    Developing automated meta-research approaches in the preclinical Alzheimer's disease literature

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    Alzheimer’s disease is a devastating neurodegenerative disorder for which there is no cure. A crucial part of the drug development pipeline involves testing therapeutic interventions in animal disease models. However, promising findings in preclinical experiments have not translated into clinical trial success. Reproducibility has often been cited as a major issue affecting biomedical research, where experimental results in one laboratory cannot be replicated in another. By using meta-research (research on research) approaches such as systematic reviews, researchers aim to identify and summarise all available evidence relating to a specific research question. By conducting a meta-analysis, researchers can also combine the results from different experiments statistically to understand the overall effect of an intervention and to explore reasons for variations seen across different publications. Systematic reviews of the preclinical Alzheimer’s disease literature could inform decision making, encourage research improvement, and identify gaps in the literature to guide future research. However, due to the vast amount of potentially useful evidence from animal models of Alzheimer’s disease, it remains difficult to make sense of and utilise this data effectively. Systematic reviews are common practice within evidence based medicine, yet their application to preclinical research is often limited by the time and resources required. In this thesis, I develop, build-upon, and implement automated meta-research approaches to collect, curate, and evaluate the preclinical Alzheimer’s literature. I searched several biomedical databases to obtain all research relevant to Alzheimer’s disease. I developed a novel deduplication tool to automatically identify and remove duplicate publications identified across different databases with minimal human effort. I trained a crowd of reviewers to annotate a subset of the publications identified and used this data to train a machine learning algorithm to screen through the remaining publications for relevance. I developed text-mining tools to extract model, intervention, and treatment information from publications and I improved existing automated tools to extract reported measures to reduce the risk of bias. Using these tools, I created a categorised database of research in transgenic Alzheimer’s disease animal models and created a visual summary of this dataset on an interactive, openly accessible online platform. Using the techniques described, I also identified relevant publications within the categorised dataset to perform systematic reviews of two key outcomes of interest in transgenic Alzheimer’s disease models: (1) synaptic plasticity and transmission in hippocampal slices and (2) motor activity in the open field test. Over 400,000 publications were identified across biomedical research databases, with 230,203 unique publications. In a performance evaluation across different preclinical datasets, the automated deduplication tool I developed could identify over 97% of duplicate citations and a had an error rate similar to that of human performance. When evaluated on a test set of publications, the machine learning classifier trained to identify relevant research in transgenic models performed was highly sensitive (captured 96.5% of relevant publications) and excluded 87.8% of irrelevant publications. Tools to identify the model(s) and outcome measure(s) within the full-text of publications may reduce the burden on reviewers and were found to be more sensitive than searching only the title and abstract of citations. Automated tools to assess risk of bias reporting were highly sensitive and could have the potential to monitor research improvement over time. The final dataset of categorised Alzheimer’s disease research contained 22,375 publications which were then visualised in the interactive web application. Within the application, users can see how many publications report measures to reduce the risk of bias and how many have been classified as using each transgenic model, testing each intervention, and measuring each outcome. Users can also filter to obtain curated lists of relevant research, allowing them to perform systematic reviews at an accelerated pace with reduced effort required to search across databases, and a reduced number of publications to screen for relevance. Both systematic reviews and meta-analyses highlighted failures to report key methodological information within publications. Poor transparency of reporting limited the statistical power I had to understand the sources of between-study variation. However, some variables were found to explain a significant proportion of the heterogeneity. Transgenic animal model had a significant impact on results in both reviews. For certain open field test outcomes, wall colour of the open field arena and the reporting of measures to reduce the risk of bias were found to impact results. For in vitro electrophysiology experiments measuring synaptic plasticity, several electrophysiology parameters, including magnesium concentration of the recording solution, were found to explain a significant proportion of the heterogeneity. Automated meta-research approaches and curated web platforms summarising preclinical research could have the potential to accelerate the conduct of systematic reviews and maximise the potential of existing evidence to inform translation

    Playing no solo imagination: synthesising the rhythmic emergence of sound and sign through embodied drum kit performance and writing

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    This practice-based PhD explores musical imagination by examining the relationships of embodied musical performance and writing. The submission comprises audio recordings of original musical material and accompanying literary output, which are contextualised through a written commentary. Through creative practice-led research based on the author’s experience as a performing musician, the thesis explores and details the generative relationship between imagination and intersubjectivity. In demonstrating musical performance as an ecologically-grounded activity animated by polyvalent real and imaginary elements, the thesis ultimately challenges the notion of an autonomous, solo subject in musical performance practice. The research context draws on music, creative writing and a range of artistic and theoretical scholarship on the subjective experience: of emotion and feeling; intersubjectivity and embodiment; semiotics and the musical imagination; histories of time and rhythm. By engaging performance and writing as situated, ecological activities, creative practice is used productively as a research methodology through the following devices: (1) The drum kit—the author’s primary performance vehicle—is treated to a broadly historical and theoretical examination of material practice. A ‘hybrid drum kit’—combining acoustic drums, cymbals, and synthetic sounds—is proposed, and used by the author as the basis for this project’s practical explorations; (2) Rhythm is conceptualised and deployed as a systematic and recursive method for musical play, in order to investigate the interrelationship of sonic, semantic and physical elements; (3) Creative writing, based on theories of embodied cognition, is used to explore and inscribe the imagination of musical play. This creative practice methodology is used to articulate and respond to the following questions: (a) What is the felt relationship between listening and inscription? (b) How do particular words, diagrams, real and imagined materials effect the sound of drum performance? (c) How do movements of the body relate to semantic and timbral conventions? The methodology is productive generating emergent structures which express embodied cognition, demonstrating the function of musical imagination. The approach serves simultaneously to expose the bias of perceptual filtering, and to challenge conventions of movement and quantification that condition musical subjectivity. The research is formally presented in a way that reflects the synthesis of real, imagined, poetic and analytic elements under scrutiny in this thesis, through a series of interconnected units: thesis, audio recordings, and attendant written outputs. Exercises generate scores, in turn performed and recorded live. Sonic and written outcomes are combined, resulting in two publications, and a speculative performance. Narrated by a number of fictional characters, through various imaginary spaces, these outputs constitute three ‘Rhythmic Figure’ studies—‘Ductus,’ ‘Nsular’ and ‘Gyri’—produced as independent documents, and presented in the central ‘Garden’ section of the thesis. ‘Anteroom’ and ‘Exits’ sections, framing the ‘Garden,’ introduce, and conclude the thesis, respectively. In its original, creative demonstration of the interconnected contribution of non-verbal, sensory, and intersubjective imagination to musical play, this creative practice research project contributes argument and evidence for the manifold ways of knowing music—listen, feel, move, write—which sit beyond discursive norms.This practice-based PhD explores musical imagination by examining the relationships of embodied musical performance and writing. The submission comprises audio recordings of original musical material and accompanying literary output, which are contextualised through a written commentary. Through creative practice-led research based on the author’s experience as a performing musician, the thesis explores and details the generative relationship between imagination and intersubjectivity. In demonstrating musical performance as an ecologically-grounded activity animated by polyvalent real and imaginary elements, the thesis ultimately challenges the notion of an autonomous, solo subject in musical performance practice. The research context draws on music, creative writing and a range of artistic and theoretical scholarship on the subjective experience: of emotion and feeling; intersubjectivity and embodiment; semiotics and the musical imagination; histories of time and rhythm. By engaging performance and writing as situated, ecological activities, creative practice is used productively as a research methodology through the following devices: (1) The drum kit—the author’s primary performance vehicle—is treated to a broadly historical and theoretical examination of material practice. A ‘hybrid drum kit’—combining acoustic drums, cymbals, and synthetic sounds—is proposed, and used by the author as the basis for this project’s practical explorations; (2) Rhythm is conceptualised and deployed as a systematic and recursive method for musical play, in order to investigate the interrelationship of sonic, semantic and physical elements; (3) Creative writing, based on theories of embodied cognition, is used to explore and inscribe the imagination of musical play. This creative practice methodology is used to articulate and respond to the following questions: (a) What is the felt relationship between listening and inscription? (b) How do particular words, diagrams, real and imagined materials effect the sound of drum performance? (c) How do movements of the body relate to semantic and timbral conventions? The methodology is productive generating emergent structures which express embodied cognition, demonstrating the function of musical imagination. The approach serves simultaneously to expose the bias of perceptual filtering, and to challenge conventions of movement and quantification that condition musical subjectivity. The research is formally presented in a way that reflects the synthesis of real, imagined, poetic and analytic elements under scrutiny in this thesis, through a series of interconnected units: thesis, audio recordings, and attendant written outputs. Exercises generate scores, in turn performed and recorded live. Sonic and written outcomes are combined, resulting in two publications, and a speculative performance. Narrated by a number of fictional characters, through various imaginary spaces, these outputs constitute three ‘Rhythmic Figure’ studies—‘Ductus,’ ‘Nsular’ and ‘Gyri’—produced as independent documents, and presented in the central ‘Garden’ section of the thesis. ‘Anteroom’ and ‘Exits’ sections, framing the ‘Garden,’ introduce, and conclude the thesis, respectively. In its original, creative demonstration of the interconnected contribution of non-verbal, sensory, and intersubjective imagination to musical play, this creative practice research project contributes argument and evidence for the manifold ways of knowing music—listen, feel, move, write—which sit beyond discursive norms

    A Syntactical Reverse Engineering Approach to Fourth Generation Programming Languages Using Formal Methods

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    Fourth-generation programming languages (4GLs) feature rapid development with minimum configuration required by developers. However, 4GLs can suffer from limitations such as high maintenance cost and legacy software practices. Reverse engineering an existing large legacy 4GL system into a currently maintainable programming language can be a cheaper and more effective solution than rewriting from scratch. Tools do not exist so far, for reverse engineering proprietary XML-like and model-driven 4GLs where the full language specification is not in the public domain. This research has developed a novel method of reverse engineering some of the syntax of such 4GLs (with Uniface as an exemplar) derived from a particular system, with a view to providing a reliable method to translate/transpile that system's code and data structures into a modern object-oriented language (such as C\#). The method was also applied, although only to a limited extent, to some other 4GLs, Informix and Apex, to show that it was in principle more broadly applicable. A novel testing method that the syntax had been successfully translated was provided using 'abstract syntax trees'. The novel method took manually crafted grammar rules, together with Encapsulated Document Object Model based data from the source language and then used parsers to produce syntactically valid and equivalent code in the target/output language. This proof of concept research has provided a methodology plus sample code to automate part of the process. The methodology comprised a set of manual or semi-automated steps. Further automation is left for future research. In principle, the author's method could be extended to allow the reverse engineering recovery of the syntax of systems developed in other proprietary 4GLs. This would reduce time and cost for the ongoing maintenance of such systems by enabling their software engineers to work using modern object-oriented languages, methodologies, tools and techniques
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