Webern's New Quartet

Tempo ◽  
1939 ◽  
pp. 52-53
Author(s):  
Erwin Stein
Keyword(s):  
String Quartet ◽  
Structural Elements ◽  
The Third ◽  
Ternary Form

Anton Webern's String Quartet, Op. 28 (1938), is in three movements, the structural elements of which are related to classical forms. The first movement is designed as an adagio (ternary form), the second is a kind of scherzo and trio en miniature, in which neither part contains a second section or development. The third movement is an elaborate scherzo form without trio.

The Structure of a Free Speech Right

2021 ◽  
pp. 212-230
Author(s):  
Stephen Gardbaum
Keyword(s):  
Free Speech ◽  
Freedom Of Expression ◽  
Common Law ◽  
Structural Elements ◽  
The Third ◽  
The Subject ◽  
The Right ◽  
Free Speech Rights

This chapter describes the structural elements or components of a free speech right. The nature and extent of a free speech right depends upon a number of legal components. The first is the legal source of the right (in common law, statute, or a constitution) and the force of the right having regard to how it is enforced, and whether and how it can be superseded. The second component is the ‘subject’ of free speech rights, or who are the rights-holders: citizens, natural or legal persons. The third is the ‘scope’ of a free speech right, while the fourth is the kind of obligation it imposes on others: a negative prohibition or a positive obligation. The fifth component is the ‘object’ of a free speech right: who is bound to respect a right of freedom of expression and against whom the right may be asserted. Finally, there is the ‘limitation’ of a free speech right.

A PEDIATRIC-PSYCHIATRIC VIEWPOINT ON OBESITY

PEDIATRICS ◽  
1957 ◽  
Vol 20 (3) ◽  
pp. 552-556
Author(s):  
Reginald S. Lourie
Keyword(s):  
Point Of View ◽  
The Other ◽  
Structural Elements ◽  
Practical Point ◽  
The Third ◽  
History Of ◽  
Gastric Mucous ◽  
History Of Obesity ◽  
Excessive Quantity ◽  
Layer Concept

FROM the viewpoint of the pediatric psychiatrist, the problems of obesity, as seen clinically, can be thought of as having three layers. The first is constitutional, better described as physiologic, which may be broken down into genetic and structural elements. The second is psychologic, consisting of the values that food intake or the obesity itself come to have. The third layer is made of the cultural and social reactions to food and fat. These attitudes encountered inside and outside the home intermesh in their effects with the physiologic and psychologic levels. These, in turn, are also interwoven, until one cannot separate one layer from the other. However, when individual cases are scrutinized they reveal the pathology at one layer or the other to predominate and indicate where efforts to modify the abnormality might best be directed. Incidentally, the same levels operate on the other side of the coin, anorexia. From the practical point of view, let us consider the natural history of obesity and the clinical varieties one sees in practice, and let us see how the three-layer concept fits. First, as pointed out by Gordon, there is a tendency to be complacent or even pleased with obese infants. At level one, the physiologic, such constitutional factors as those present in the neonate born with an excessive quantity of pepsinogen secreted by the gastric mucous membrane could have the effect of producing as Mirsky points out, a relatively intense or even continuous hunger, and make greater demands on its mother for nursing.

scholarly journals Synthetic and Structure-Activity Relationship of Insecticidal Bufadienolides

2014 ◽  
Vol 9 (7) ◽  
pp. 1934578X1400900 ◽  
Author(s):  
Ace Tatang Hidayat ◽  
Achmad Zainuddin ◽  
Danar Dono ◽  
Wawan Hermawan ◽  
Hideo Hayashi ◽  
...  
Keyword(s):  
Insecticidal Activity ◽  
Solution Structure ◽  
Activity Relationship ◽  
Synthetic Analog ◽  
Basic Solution ◽  
Structural Elements ◽  
The Third ◽  
Structure Activity ◽  
Relationship Of ◽  
Silkworm Bombyx Mori

A new synthetic analog of bufadienolide, methyl isobryophyllinate A (1), and a known synthetic analog, methyl isobersaldegenate-1,3,5-orthoacetate (2), were obtained by methanolysis of bryophyllin A (3) and bersaldegenin-1,3,5-orthoacetate (5) in basic solution. Structure-insecticidal activity relationship studies revealed both orthoacetate and α-pyrone moieties seemed to be essential structural elements for exhibiting insecticidal activity, whereas oxygenated substituents in the C ring enhanced the insecticidal activity against the third instar larvae of silkworm (Bombyx mori).

scholarly journals A Transformational Space Structuring the Counterpoint in Adès’s “Auf dem Wasser zu singen”

2009 ◽  
Vol 15 (1) ◽  
Author(s):  
John Roeder
Keyword(s):  
String Quartet ◽  
Musical Form ◽  
The Third ◽  
Small Family ◽  
Motivic Analysis ◽  
Suitable Space ◽  
Structured Objects ◽  
The Common

The third movement of Thomas Adès’s string quartet Arcadiana features a complex, free textural counterpoint that seems resistant to the transformational analysis of the common sort that focuses, as does motivic analysis, on a small family of structured objects. However, by choosing a suitable space of very elementary objects, the pitch processes of the various streams can be represented in an animation that shows how they are coordinated to create musical form.

scholarly journals Dohnányi und die Tradition Das Klavierquintett Nr. 2 es-Moll, op. 26 (1914)

2018 ◽  
Vol 59 (3-4) ◽  
pp. 301-308
Author(s):  
David Vondráček
Keyword(s):  
String Quartet ◽  
Franz Schubert ◽  
Formal Concept ◽  
Antonin Dvorak ◽  
Piano Quintet ◽  
The Third ◽  
Piano Quartet ◽  
Double Function ◽  
A Minor ◽  
Symmetric Structures

Abstract Dohnányi's Second Piano Quintet in E-flat minor was written in 1914 and is less well-known than his first one dating from 1895. The composer has been called a traditionalist, so it is worth examining how tradition appears in this work. The outer movements of the three-movement-form are both elegiac and weighty. The beginning bears the key signature of E-flat major instead of minor, but the keys are changing rapidly as the piece progresses. This is reminiscent of Franz Schubert or of Antonín Dvořák, for instance in his Piano Quartet (op. 87) inspired by Brahms. The third movement's opening is a homage to Beethoven's late String Quartet in A Minor (op. 132). While the latter works on a sub-thematic level, Dohnányi presents an elaborated theme in fugal technique, which in 1914 was a more conservative approach than Beethoven's in 1825. For Dohnányi, the symmetric structures are not a way out of traditional tonality (unlike for Bartók, who also frequently used symmetries), but rather are a way of extending it. The formal concept is no less interesting. The recapitulation of the first movement's material within the third is evocative of the double-function form used by Franz Liszt. While Liszt conflated the traditional multi-movement form into a new one-movement form, Dohnányi – so to speak – concealed the characteristics of the new one-movement form inside a traditional three-movement form. Thus, one could ask if the accusations against Dohnányi for being a traditionalist are justified. Perhaps instead we should reconsider how traditionalism and modernity are situated in our own set of aesthetic values.

scholarly journals ETHNO-TERRITORIAL GROUPS OF UDMURTS: STATUS OF SOURCES, PROBLEMS AND RESULTS

2019 ◽  
Vol 13 (3) ◽  
pp. 503-519
Author(s):  
Nadezhda Ivanovna Shutova
Keyword(s):  
Internal Structure ◽  
River Basin ◽  
Structural Elements ◽  
Archaeological Data ◽  
The Third ◽  
The Common ◽  
Main Factors ◽  
The Right ◽  
Burial Grounds ◽  
Joining Process

The paper's theme is the internal structure of the Udmurt ethnos of the 19 - early 20 centuries. An overview of the main territorial and local divisions of the Udmurts was made according to the following indicators (criteria): the language, the location of the late Udmurt burial grounds of the 16 - first half of the 19 centuries, the costume complexes, the settling (inhabiting) zones of the main clan groups. The modern ethnological definitions such as ethnographic, ethnic, territorial and local groups used to denote structural elements of ethnos are given in the paper. To reveal the theme the author analyses three main directions. The first is the beliefs and rites of the Udmurts living in the 19 and early 20 centuries, the second is the problem of territories' colonization and the process of the ethnographic groups' formation, and the third is the main factors that influenced the Udmurts' formation. Within the first direction the all-Udmurt religious traits as well as the most important peculiarities of the beliefs and cult practices both of the Northern and Southern Udmurt groups are traced according to the folklore and ethnographic materials. Within the second direction the basic aspects of the colonization of four territorial groups' regions such as the Middle Vyatka River territories, the Cheptsa River basin, the southern part of modern Udmurtia, and the area between the right bank of the Lower Vyatka River and the Lower Kama River are explored according to the medieval archaeological data. The overall characteristics of the archaeological places and the results of their study, as well as the process of the population's formation at the above mentioned four regions are defined at the same time. Some poorly studied aspects of the problem under consideration are indicated. Within the third direction the four main factors for the joining process of the Udmurt ethnos formation are indicated. Among them are the common Perm base of all ethno-territorial Udmurt groups, then the long development including such sociocultural association as the Volga-Kama region, and also the consolidating functions of large district and territorial shrines, as well as the influence of the Bulgarian and Russian cultures

scholarly journals Kajian Akulturasi Pada Aspek Intramusikal Dalam Komposisi Musik Program “Watu Pinawetengan”

SELONDING ◽  
2019 ◽  
Vol 13 (13) ◽  
Author(s):  
Yudi Novrian Komalig
Keyword(s):  
Cultural Change ◽  
String Quartet ◽  
Music Composition ◽  
Agricultural Land ◽  
Musical Composition ◽  
Acculturation Process ◽  
The Third ◽  
Music Program ◽  
Percussion Instrument ◽  
Agricultural Areas

Music as part of culture is always changing. These changes can occur due to several things, one of them through acculturation. Acculturation is the intercultural contact of culturally intercultural groups that leads to cultural change for the group.Acculturation can be seen in a musical genre that combines two cultural idioms. One of them is the musical composition of Watu Pinawetengan program which will be described in this article. The composition of Watu Pinawetengan music program is a music program with string quartet format and instrument of tambur (percussion instrument of Minahasa). This musical composition consists of three movements, where each movement is inspired from Minahasa folklore about the origin of the division of agricultural areas. The first movement tells the story of the daily life of the Minahasan people. The second move tells the story of the conflict that occurred in the fight over agricultural land. While the third movement tells about negotiations to resolve conflicts in the division of agricultural areas.The musical composition of the program combines the ethical idioms of Minahasa music and western music. These idioms are manifested in the intramusic aspect, whether they are realized as melodies or harmonies. The merging of these two idioms will result in an acculturation. This acculturation process will be described in this article. What intramusical aspects are acculturated, the extent to which acculturation causes change, and which culture is stronger in its influence on other cultures. Keywords: Music, Composition.

scholarly journals Sonata-Formal Functions and Transformational Processes in the First Movement of Rochberg’s String Quartet No. 6

2009 ◽  
Vol 15 (1) ◽  
Author(s):  
Mustafa Bor
Keyword(s):  
String Quartet ◽  
Sonata Form ◽  
Transformational Theory ◽  
The Third ◽  
Development Section ◽  
Musical Structures ◽  
Event Series ◽  
Set Up

To the extent that it represents the actual temporal event-series of a composition, transformational theory can reveal some interesting correlations between the formal functions of sections and the transformations that characterize them. For example, the changes in characteristic transformations in the first movement of George Rochberg’s sixth string quartet articulate specific functions familiar in sonata form. The differing types of transformations (transposition versus inversion) in the first two sections set up a contrast analogous to that of the first and second themes. The third section functions as a development section, blending both types of transformations found in the exposition. Reprises of these types, and their contrast, define the function of the last two sections as a recapitulation, in which the second-theme group is metaphorically transposed. Rochberg has been criticized for mimicking conventional musical structures, but this analysis demonstrates how he successfully reinvents a tonal form with non-tonal transformations.

scholarly journals Structure Preserving Exemplar-Based 3D Texture Synthesis

2021 ◽  
Author(s):  
Andrew Babichev ◽  
Vladimir Alexandrovich Frolov
Keyword(s):  
Neural Network ◽  
3D Model ◽  
Texture Synthesis ◽  
Error Function ◽  
Synthesis Method ◽  
Structural Elements ◽  
The Third ◽  
3D Texture ◽  
Additional Image ◽  
Network Approaches

In this paper we propose exemplar-based 3D texture synthesis method which unlike existing neural network approaches preserve structural elements in texture. The proposed approach does this by accounting additional image properties which stand for the preservation of the structure with the help of a specially constructed error function used for training neural networks. Thanks to the proposed solution we can apply 2D texture to any 3D model (even without texture coordinates) by synthesizing high quality 3D texture and using local or world space position of surface instead 2D texture coordinates (fig. 1). Our solution is based on introducing 3 different error components in to the process of neural network fitting which helps to preserve desired properties of generated texture. The first component is for structuredness of the generated texture and the sample, the second component increases the diversity of the generated textures and the third one prevents abrupt transitions between individual pixels.

Gene expression of potential morphogens during hair follicle and tooth formation: a review

1993 ◽  
Vol 5 (4) ◽  
pp. 345 ◽  
Author(s):  
BA Panaretto
Keyword(s):  
Growth Factors ◽  
Bone Morphogenetic Proteins ◽  
Structural Elements ◽  
Complex Phase ◽  
Tooth Formation ◽  
Merino Sheep ◽  
Receptor Complexes ◽  
The Third ◽  
Mammalian Homologue ◽  
The Times

Early work on the morphogenesis of hairs and teeth was largely descriptive histology and established the times and order of visible initiation of anlagen and their patterns of development. However, in the last 30 years, many growth factors have been discovered; more recently, their expression during morphogenesis has been determined and immunohistochemistry has enabled the visualization of structural elements of organs. This review is concerned primarily with aspects of these recent phases of research with respect to the formation of hairs and, to a lesser degree, teeth. The expression of several growth factors including bone morphogenetic proteins 2 and 4, the glycoprotein tenascin, the proteoglycan syndecan, and the expression of the mammalian homologue of Notch, cadherins and epimorphin is examined here during the early stages of organogenesis, primarily to review the type of research that should be extended to the organogenesis of wool fibres in Merino sheep. Signal transduction, the third and increasingly complex phase of research that is now rapidly developing, follows the establishment of ligand-receptor complexes during morphogenesis and is included here in a preliminary way.

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