A Nuyorican Son

Washburne explains music composition and musical experience through his lens as a trombonist

Latin Jazz: The Other Jazz

Since the mid-1940s the jazz scene in the United States has been gradually moving away from playing a significant role in mainstream popular culture to a more marginalized one, aligning itself with practices associated with Western art music traditions. For jazz musicians, this shift from "popular" to "high art" status has proven advantageous in some respects, awarding an unprecedented level of respectability and increased recognition of artistic merit. This is particularly significant, though bittersweet, for many African American jazz innovators who after persevering for years through much racial strife, are finally receiving long overdue accolades. The road from brothels and speakeasys to Lincoln Center was a long and hard-fought one. Doors to institutional funding, concert halls, and universities (i.e., "the privileged white establishment") are open to the jazz world to an unprecedented extent. Programs such as Jazz at Lincoln Center certainly can be seen as a victory for those musicians and proponents of jazz, such as John Lewis, Milt Jackson, Charles Mingus, Leonard Feather, Barry Ulanov, Stanley Crouch, and Albert Murray, among others, who have demanded that the music be taken seriously and afforded a respectability absent in much of its history. Along with newly-established jazz programs in colleges and concert halls has come a demand for jazz scholarship to both supply teaching materials and to determine a canon of "great works" to be preserved through performance. A subject worthy of study is also worthy of rigorous academic analysis and documentation, and accordingly, numerous doctoral dissertations in recent years have focused on jazz. No longer is the construction of jazz historical narratives left primarily to musicians, journalists, and critics; they are now also being written by trained scholars in musicology, ethnomusicology, history, and cultural studies. With the emergence of this new literature and strong institutional support, as well as the release of influential documentaries and compilations, such as Ken Burns's Jazz and its spin-off recordings, we are at an important juncture in the construction of the jazz historical narrative. Now is an opportune time, as the canon is being reconstructed, to stop and ask, what history is being written? What history is being unwritten

Multivariate curve resolution of time course microarray data

BACKGROUND: Modeling of gene expression data from time course experiments often involves the use of linear models such as those obtained from principal component analysis (PCA), independent component analysis (ICA), or other methods. Such methods do not generally yield factors with a clear biological interpretation. Moreover, implicit assumptions about the measurement errors often limit the application of these methods to log-transformed data, destroying linear structure in the untransformed expression data. RESULTS: In this work, a method for the linear decomposition of gene expression data by multivariate curve resolution (MCR) is introduced. The MCR method is based on an alternating least-squares (ALS) algorithm implemented with a weighted least squares approach. The new method, MCR-WALS, extracts a small number of basis functions from untransformed microarray data using only non-negativity constraints. Measurement error information can be incorporated into the modeling process and missing data can be imputed. The utility of the method is demonstrated through its application to yeast cell cycle data. CONCLUSION: Profiles extracted by MCR-WALS exhibit a strong correlation with cell cycle-associated genes, but also suggest new insights into the regulation of those genes. The unique features of the MCR-WALS algorithm are its freedom from assumptions about the underlying linear model other than the non-negativity of gene expression, its ability to analyze non-log-transformed data, and its use of measurement error information to obtain a weighted model and accommodate missing measurements

Simplicity in Visual Representation: A Semiotic Approach

Simplicity, as an ideal in the design of visual representations, has not received systematic attention. High-level guidelines are too general, and low-level guidelines too ad hoc, too numerous, and too often incompatible, to serve in a particular design situation. This paper reviews notions of visual simplicity in the literature within the analytical framework provided by Charles Morris' communication model, specifically, his trichotomy of communication levels—the syntactic, the semantic, and the pragmatic. Simplicity is ultimate ly shown to entail the adjudication of incompatibilities both within, and between, levels.Peer Reviewedhttp://deepblue.lib.umich.edu/bitstream/2027.42/68281/2/10.1177_105065198700100103.pd

Analysis data and code for "Estimated transmissibility and impact of SARS-CoV-2 Variant of Concern 202012/01 in England"

Analysis data and code for: Estimated transmissibility and impact of SARS-CoV-2 Variant of Concern 202012/01 in England

Analysis data and code for "Estimated transmissibility and impact of SARS-CoV-2 lineage B.1.1.7 in England"

Analysis data and code for "Estimated transmissibility and impact of SARS-CoV-2 lineage B.1.1.7 in England