8,222 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

    Exploring Potential Domains of Agroecological Transformation in the United States

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    There is now substantial evidence that agroecology constitutes a necessary pathway towards socially just and ecologically resilient agrifood systems. In the United States, however, agroecology remains relegated to the margins of research and policy spaces. This dissertation explores three potential domains of agroecological transformation in the US. Domains of transformation are sites of contestation in which agroecology interfaces with the industrial agrifood system; these material and conceptual spaces may point to important pathways for scaling agroecology. To explore this concept, I examine formal agroecology education (Chapter 1), extension services and statewide discourses around soil health (Chapter 2), and models of farmland access not based on private property (Chapter 3). While these constitute three distinct topics, I seek to demonstrate that they are linked by similar forces that enable and constrain the extent to which these domains can be sites of agroecological transformation. First, I use case study methodology to explore the evolution of an advanced undergraduate agroecology course at the University of Vermont. I examine how course content and pedagogy align with a transformative framing of agroecology as inherently transdisciplinary, participatory, action-oriented, and political. I find that student-centered pedagogies and experiential education on farms successfully promote transformative learning whereby students shift their understanding of agrifood systems and their role(s) within them. In my second chapter, I zoom out to consider soil health discourses amongst farmers and extension professionals in Vermont. Using co-created mental models and participatory analysis, I find that a singular notion of soil health based on biological, chemical, and physical properties fails to capture the diverse ways in which farmers and extension professionals understand soil health. I advocate for a principles-based approach to soil health that includes social factors and may provide a valuable heuristic for mobilizing knowledge towards agroecology transition pathways. My third chapter, conducted in collaboration with the national non-profit organization Agrarian Trust, considers equitable farmland access. Through semi-structured interviews with 13 farmers and growers across the US, I explore both farmer motivations for engaging with alternative land access models (ALAMs) and the potential role(s) these models may play within broader transformation processes. I argue that ALAMs constitute material and conceptual ‘third spaces’ within which the private property regime is challenged and new identities and language around land ownership can emerge; as such, ALAMs may facilitate a (re)imagining of land-based social-ecological relationships. I conclude the dissertation by identifying conceptual and practical linkages across the domains explored in Chapters 1-3. I pay particular attention to processes that challenge neoliberal logics, enact plural ways of knowing, and prefigure just futures. In considering these concepts, I apply an expansive notion of pedagogy to explore how processes of teaching and (un)learning can contribute to cultivating foundational capacities for transition processes

    Decoding spatial location of attended audio-visual stimulus with EEG and fNIRS

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    When analyzing complex scenes, humans often focus their attention on an object at a particular spatial location in the presence of background noises and irrelevant visual objects. The ability to decode the attended spatial location would facilitate brain computer interfaces (BCI) for complex scene analysis. Here, we tested two different neuroimaging technologies and investigated their capability to decode audio-visual spatial attention in the presence of competing stimuli from multiple locations. For functional near-infrared spectroscopy (fNIRS), we targeted dorsal frontoparietal network including frontal eye field (FEF) and intra-parietal sulcus (IPS) as well as superior temporal gyrus/planum temporal (STG/PT). They all were shown in previous functional magnetic resonance imaging (fMRI) studies to be activated by auditory, visual, or audio-visual spatial tasks. We found that fNIRS provides robust decoding of attended spatial locations for most participants and correlates with behavioral performance. Moreover, we found that FEF makes a large contribution to decoding performance. Surprisingly, the performance was significantly above chance level 1s after cue onset, which is well before the peak of the fNIRS response. For electroencephalography (EEG), while there are several successful EEG-based algorithms, to date, all of them focused exclusively on auditory modality where eye-related artifacts are minimized or controlled. Successful integration into a more ecological typical usage requires careful consideration for eye-related artifacts which are inevitable. We showed that fast and reliable decoding can be done with or without ocular-removal algorithm. Our results show that EEG and fNIRS are promising platforms for compact, wearable technologies that could be applied to decode attended spatial location and reveal contributions of specific brain regions during complex scene analysis

    The Disputation: The Enduring Representations in William Holman Hunt's “The Finding of the Saviour in the Temple,” 1860

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    This interdisciplinary thesis problematizes the Jewish presence in the painting The Finding of the Saviour in the Temple (1860) by William Holman Hunt. This “Jewish presence” refers to characters within the painting, Jews who posed for the picture and the painting’s portrayal of Judaism. The thesis takes a phenomenological and hermeneutical approach to The Finding providing careful description and interpretation of what appears in the painting. It situates the painting within a newly configured genre of disputation paintings depicting the Temple scene from the Gospel of Luke (2:47 – 52). It asks two questions. Why does The Finding look the way it does? And how did Holman Hunt know how to create the picture? Under the rubric of the first question, it explores and challenges customary accounts of the painting, explicitly challenging the over reliance upon F.G. Stephens’s pamphlet. Additionally, it examines Pre-Raphaelite and Victorian religious contexts and bringing hitherto unacknowledged artistic contexts to the fore. The second question examines less apparent influences through an analysis of the originary Lukan narrative in conjunction with the under-examined genre of Temple “disputation” paintings, and a legacy of scholarly and religious disputation. This demonstrates a discourse of disputation informing The Finding over and above the biblical narrative. In showing that this discourse strongly correlates with the painting’s objectifying and spectacular properties, this thesis provides a new way to understand The Finding’s orientalism which is further revealed in its typological critical reworking of two Christian medieval and renaissance paintings. As a demonstration of the discourse, the thesis includes an examination of Jewish artists who addressed the theme of disputation overtly or obliquely thereby engaging with and challenging the assumptions upon which the disputation rests

    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

    Metaphors of London fog, smoke and mist in Victorian and Edwardian Art and Literature

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    Julian Wolfreys has argued that after 1850 writers employed stock images of the city without allowing them to transform their texts. This thesis argues, on the contrary, that metaphorical uses of London fog were complex and subtle during the Victorian and Edwardian periods, at least until 1914. Fog represented, in particular, formlessness and the dissolution of boundaries. Examining the idea of fog in literature, verse, newspaper accounts and journal articles, as well as in the visual arts, as part of a common discourse about London and the state of its inhabitants, this thesis charts how the metaphorical appropriation of this idea changed over time. Four of Dickens's novels are used to track his use of fog as part of a discourse of the natural and unnatural in individual and society, identifying it with London in progressively more negative terms. Visual representations of fog by Constable, Turner, Whistler, Monet, Markino, O'Connor, Roberts and Wyllie and Coburn showed an increasing readiness to engage with this discourse. Social tensions in the city in the 1880s were articulated in art as well as in fiction. Authors like Hay and Barr showed the destruction of London by its fog because of its inhabitants' supposed degeneracy. As the social threat receded, apocalyptic scenarios gave way to a more optimistic view in the work of Owen and others. Henry James used fog as a metaphorical representation of the boundaries of gendered behaviour in public, and the problems faced by women who crossed them. The dissertation also examines fog and individual transgression, in novels and short stories by Lowndes, Stevenson, Conan Doyle and Joseph Conrad. After 1914, fog was no more than a crude signifier of Victorian London in literature, film and, later, television, deployed as a cliche instead of the subtle metaphorical idea discussed in this thesis

    Queer spies in British Cold War culture: literature, film, theatre and television

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    This PhD thesis investigates how male homosexuality has been represented in British spy fiction from the 1950s to the 2010s in multiple media: literature, film, television and theatre. Due mainly to the betrayal of the Cambridge Spy ring around the middle of the century, British culture has associated spies with homosexuality, while the wider Anglophone world was in the grip of a homophobic atmosphere created by McCarthy's Red Scare. My thesis explores how this history is reflected in the spy genre from the Cold War to the present, in which male homosexuality and secret agency intersect as “queer”, in so far as they were both considered to be discreet and criminal, existing outside of the heteronormative order. By following multiple texts across media and time, I discuss how some writers, television and film directors and actors update queer identity in spy fiction, creating a shifting image of queer spies through decades. I refer to the findings of adaptation studies and queer studies, along with numerous studies on spy fiction. I conclude that the interrelation of different media has contributed to the re-drawing of queer identity in spy fiction. These developments have enabled the spies' queer identity to transcend its pejorative history in British culture, towards its more flexible and pliant sense which is designated by the term's modern usage. I also discuss that spies’ homosexuality has been represented as a fleeting ghost in most of the texts examined, hovering on the margins of pages and screen. Although homosexuality is not “the love that dare not speak its name” anymore, clandestine queer spies have been preserved as spectral others in the genre for many years. Spy fiction is a cultural repository retaining the memory of violence inflicted against those who have been called “queer” in twentieth century Britain, and the spectral nature of queer spies narrates this history reaching back to the Oscar Wilde trial in 1895, from which point British queer identity as we know now developed. This thesis benefits the study of spy fiction by filling a gap in the investigation of homosexual representation. It also contributes to the field of gender studies of literature, film, television, and theatre by illustrating queer history in a genre which has not received a great deal of focus on its representation of homosexuality. Spy fiction occupies a central position in British popular culture, and by exploring this genre in terms of homosexuality, this research will identify the role which same-sex desire has historically played in the British cultural imagination
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