An adaptive quasi harmonic broadcasting scheme with optimal bandwidth requirement

The aim of Harmonic Broadcasting protocol is to reduce the bandwidth usage in video-on-demand service where a video is divided into some equal sized segments and every segment is repeatedly transmitted over a number of channels that follows harmonic series for channel bandwidth assignment. As the bandwidth of channels differs from each other and users can join at any time to these multicast channels, they may experience a synchronization problem between download and playback. To deal with this issue, some schemes have been proposed, however, at the cost of additional or wastage of bandwidth or sudden extreme bandwidth requirement. In this paper we present an adaptive quasi harmonic broadcasting scheme (AQHB) which delivers all data segment on time that is the download and playback synchronization problem is eliminated while keeping the bandwidth consumption as same as traditional harmonic broadcasting scheme without cost of any additional or wastage of bandwidth. It also ensures the video server not to increase the channel bandwidth suddenly that is, also eliminates the sudden buffer requirement at the client side. We present several analytical results to exhibit the efficiency of our proposed broadcasting scheme over the existing ones.Comment: IEEE International Conference on Informatics, Electronics & Vision (ICIEV), 2013, 6pages, 8 figure

The Music Sound

A guide for music: compositions, events, forms, genres, groups, history, industry, instruments, language, live music, musicians, songs, musicology, techniques, terminology , theory, music video. Music is a human activity which involves structured and audible sounds, which is used for artistic or aesthetic, entertainment, or ceremonial purposes. The traditional or classical European aspects of music often listed are those elements given primacy in European-influenced classical music: melody, harmony, rhythm, tone color/timbre, and form. A more comprehensive list is given by stating the aspects of sound: pitch, timbre, loudness, and duration. Common terms used to discuss particular pieces include melody, which is a succession of notes heard as some sort of unit; chord, which is a simultaneity of notes heard as some sort of unit; chord progression, which is a succession of chords (simultaneity succession); harmony, which is the relationship between two or more pitches; counterpoint, which is the simultaneity and organization of different melodies; and rhythm, which is the organization of the durational aspects of music

Creating for the Stage and Other Spaces: Questioning Practices and Theories

Abstract (ENGLISH)-This volume brings together most of the interventions by artists and scholars of the Third EASTAP Conference (European Association for the Study of Theatre and Performance), which should have been held in Bologna from 27 February to 1 March 2020, scheduled among the events of the VIE Festival 2020 and the activities of the Department of the Arts / DAMSLab. When everything was ready, the Conference, the last part of the Festival and the DAMSLab programme were suddenly canceled due to the first restrictions related to the pandemic. Following those sudden and unexpected events, the need to leave memory of the project arose from many quarters. It was thus decided to propose a publication which, while significantly differentiating from the original structure designed for the Conference, explicitly and directly refers to it, remaining an exceptional and significant testimony of the state of studies on theatre and performance in the pre-Covid era. The Conference plan envisaged two macro-sectors which concerned, one, the practices and theories relating to the composition of the texts; the other, the practices and theories relating to the composition of performative events referable to the methods of scenic writing. The volume takes up this polarity by framing it in a different division of relations, which explains – thanks to the groupings and their titles both the relations between text and text and those between sector and sector. The most consistent chapters are dedicated to performance and post-dramatic textuality: Questioning performance: theories and practices (17 reports) and Creating text for the stage: theories and practices (21 reports). The other chapters then come to place themselves in the force field described by these main groupings. Perfomer's body: the dancer, the actor (6 reports) and Creating for other spaces: landscape, sound, multimedia (7 reports) are ideally framed in the polarity of the performace, where to highlight the centrality of the body and the relational dynamics activated by spaces, sounds, and new technologies. Collective creations and community plays (7 reports), on the other hand, focuses on performance and new textuality. __________ Abstract (ITALIANO)-Il presente volume riunisce la maggior parte degli interventi di artisti e studiosi del III Convegno EASTAP (European Association for the Study of Theatre and Performance), che avrebbe dovuto tenersi a Bologna dal 27 febbraio al 1 marzo 2020, calendarizzato tra gli eventi di VIE Festival 2020 e le attività del Dipartimento delle Arti/DAMSLab. Quando tutto era ormai pronto, il Convegno, l’ultima parte del Festival e il programma DAMSLab sono stati improvvisamente annullati a causa delle prime restrizioni legate alla pandemia. In seguito a quei repentini e inattesi eventi, è nata l’esigenza da più parti avvertita di lasciare memoria del progetto. Si è deciso così di proporre una pubblicazione che, pur differenziandosi sensibilmente dalla struttura originaria pensata per il Convegno, a esso si richiamasse esplicitamente e direttamente, restando eccezionale e significativa testimonianza dello stato degli studi sul teatro e la performance nell’era pre-Covid. Il piano del Convegno prevedeva due macrosettori che riguardavano, l’uno, le pratiche e le teorie relative alla composizione dei testi; l’altro, le pratiche e le teorie relative alla composizione di eventi performativi riferibili alle modalità della scrittura scenica. Il volume riprende questa polarità inquadrandola in una diversa ripartizione delle relazioni, che esplicita – grazie ai raggruppamenti e ai loro titoli – sia le relazioni fra testo e testo che quelle fra settore e settore. Alla performance e alla testualità postdrammatica sono dedicati i capitoli più consistenti: Questioning performance: theories and practices (17 relazioni) e Creating text for the stage: theories and practices (21 relazioni). Gli altri capitoli si vengono quindi a posizionare nel campo di forze descritto da questi raggruppamenti principali. Perfomer’s body: the dancer, the actor (6 relazioni) e Creating for other spaces: landscape, sound, multimedia (7 relazioni) si inquadrano idealmente nella polarità della performace, dove evidenziare la centralità del corpo e le dinamiche relazionali attivate dagli spazi, dai suoni e dalle nuove tecnologie. Collective creations and community plays (7 relazioni) si orienta invece fra performance e nuova testualità