OBSERVATIONS LAWS COMPOSITIONAL WORK OF THE ARTIST WITH THE UPPER REGISTER

Heart rate, heart rate variability, stroke volume, and cardiac output were measured while six college students and six professionals played trumpet. One-minute rest periods were followed by 1 minute of playing exercises designed to assess the effects of pitch and articulation. Heart rate and heart rate variability increased during playing, but stroke volume decreased. Changes in heart rate between resting and playing were greater for students, although beat-to-beat variability was larger for professionals in the upper register. These results suggest that expertise is characterized by greater physiological efficiency.

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VI. The Stained Glass of the Chapel of the Vyne and the Chapel of the Holy Ghost, Basingstoke

Archaeologia ◽

10.1017/s0261340900008006 ◽

1982 ◽

Vol 107 ◽

pp. 141-152 ◽

Cited By ~ 4

Author(s):

H. G. Wayment

Keyword(s):

Virgin Mary ◽

Henry Viii ◽

Stained Glass ◽

The South ◽

Holy Ghost ◽

North East ◽

The North ◽

East End ◽

Upper Register ◽

Patron Saints

Among the few ensembles of stained glass which survive in this country from the early Renaissance the windows of the Chapel of the Vyne, near Sherborne St. John, Hampshire, are one of the most remarkable (pl. XL). Though much smaller in scale and extent than the glass in King's College Chapel, Cambridge, they are no less distinguished in quality, and their state of preservation is almost as good. Moreover, there are still in existence important fragments from a larger but closely related set which formerly stood in the Chapel of the Holy Ghost at Basingstoke. Both sets were evidently commissioned by Sir William, later Baron Sandys, a distinguished soldier and administrator who, without ever reaching the highest levels, served Henry VIII both at home and abroad from the beginning of the reign until his death in 1540. After campaigning in Guienne and Picardy early in the reign he was appointed Treasurer of Calais from 6th October 1517, and spent much of the next nine years there. Meanwhile he had married Margery, the niece and heiress of Sir Reginald Bray, one of Henry VII's most trusted administrators, and begun the reconstruction of the Vyne which had belonged to the Sandys family since the midfourteenth century. There had since the twelfth century been a chapel of the Virgin in the grounds, and this foundation he incorporated into the eastern end of the house itself. Sir William's chapel measures 35 ft. in length, 19 in width, and 25 in height (10·67 × 5·79 × 7·62 m.). The apsidal east end ie three-sided, and in the east wall and the two canted walls are three windows, each consisting of three transomed lights forming an upper and lower register. The lower lights represent donors at prayer supported by their patron saints: King Henry VIII can be recognised in the east window with St. Henry the Emperor; in the north-east Catherine of Aragon with St. Catherine of Alexandria; and in the south-east the king's sister, Margaret, Queen of Scots, with St. Margaret issuing from the dragon. In the upper register three Passion scenes proceed from south to north: in the south-east Christ carries his cross from right to left, assisted by Simon of Cyrene, while St. Veronica, the Virgin Mary and her attendant women move towards him from the left; in the east is a narrative Crucifixion animated by a large number of figures; and in the north-east the resurrected Christ scatters the astonished soldiers to either side.

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Origins of the Berlin Painter

The Journal of Hellenic Studies ◽

10.2307/629289 ◽

1950 ◽

Vol 70 ◽

pp. 23-34 ◽

Cited By ~ 1

Author(s):

Martin Robertson

Keyword(s):

The Body ◽

Upper Arm ◽

Upper Register

The vase illustrated in pll. Vl–IX(a) and figs, 1 and 2 is a red-figure volute-krater belonging to the Museum of Ethnology and Archaeology at Cambridge, and now deposited on loan at the Fitzwilliam Museum. It came to the Museum of Ethnology and Archaeology in 1886 with the Barrett Collection, but nothing further is known of its history. It was attributed to the Berlin Painter by Professor J. D. Beazley in Attische Vasenmaler, and in his Berliner Maler he classed it among the half-dozen earliest works of the master. Until recently it was severely repainted, but has now been cleaned. Much is missing; the surface is rubbed, and the restorer had not hesitated to plane away the edges of fragments where he could not arrange a clean fit; but it remains a fine and interesting piece.Modern are: foot, with much of the lower part, including most of the rayed area and lower part of reverse figure; volute of one handle; rim, upper register and most of lower register of neck on obverse; patches on body and reverse neck (evident in photographs). The foot has been restored on the model of a complete volute-krater decorated by the same artist some years later. In the body pictures relief-contour is used rather sparingly, as usual in this artist's work; the small figures on the neck, like those on the London volute-krater, show a much fuller use of it. Thinned glaze is used for the usual inner body-markings; on the youth on B, however, they have all been obliterated, except for the end of one line on the back and of one on the upper arm. On this figure it is also used for drapery folds running from the righthand contour, both in the area about the waist and across the leg.

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Air Flow in the Upper Register

Folia Phoniatrica et Logopaedica ◽

10.1159/000263399 ◽

1970 ◽

Vol 22 (3) ◽

pp. 231-238 ◽

Cited By ~ 8

Author(s):

R.E. McGlone

Keyword(s):

Air Flow ◽

Upper Register

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The Expressive Potential of the Upper Fingerboard in Classical String Performance

10.31234/osf.io/5nxtw ◽

2020 ◽

Author(s):

Caitlyn Trevor ◽

Johanna Devaney ◽

David Huron

Keyword(s):

Emotional Communication ◽

Instrumental Performance ◽

Emotional Speech ◽

Acoustic Features ◽

Communication Practice ◽

The Third ◽

The Common ◽

Upper Register

Classical string players must decide how to finger musical passages–decide which fingers should play each note and where on the fingerboard. String pedagogues agree that fingerings should be guided by two priorities–musicality and facility–with musicality taking precedence. However, how musicality considerations impact fingering decisions is not always clear. Some advice suggests that playing higher up the fingerboard (approaching the bridge) on a lower string can yield a more emotional sound than playing lower on the fingerboard (closer to the scroll) on a higher string. Research in emotional speech offers a possible explanation. When highly emotional, people often speak higher in their vocal range. Moving up higher on the fingerboard on a lower string (and therefore playing in the upper register of that string) might mimic this vocal emotional communication practice thereby conveying a higher emotionality. Three studies test the conjectured effect. The first investigates whether listeners can reliably distinguish between high and low fingerboard playing. The second tests the hypothesis that melodies played higher up the fingerboard are perceived as more emotionally intense. The third examines how fingerboard location affects acoustic features. The results dispute the common pedagogical assumption that expressive vocal practices translate to instrumental performance.

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Discrimination of Simultaneous Melodies

Journal of Research in Music Education ◽

10.2307/3345716 ◽

1999 ◽

Vol 47 (2) ◽

pp. 101-110 ◽

Cited By ~ 3

Author(s):

Helga R. Gudmundsdottir

Keyword(s):

First Graders ◽

Fifth Graders ◽

Older Children ◽

Computer Keyboard ◽

The One ◽

Upper Register

This study examined first-, third-, and fifth-graders' ( n = 73) ability to hear two simultaneous melodies. Two familiar melodies and one unfamiliar melody were used as the stimuli. The pairs of simultaneous melodies were presented in different register and timbre combinations. The children were asked to press specially labeled keys on a computer keyboard to indicate which song(s) they heard. Responses were recorded by a computer. The older children identified two simultaneous melodies faster and more accurately than the younger ones did. While 70% of the first graders reported hearing two melodies and identified them with 75 % accuracy, more than 95% of the fifth graders reported hearing two melodies and identified them with 97%) accuracy. Children who were able to correctly identify two simultaneous melodies identified the melody in the upper register first significantly more often than the one in the lower register. However, when the melodies were played with contrasting timbres (trumpet and piano), they tended to identify the trumpet melody before they identified the piano melody regardless of register. Children who were only able to identify one melody tended to focus on the upper melody when the timbre was the same in both registers, but when the melodies were played with contrasting timbres, they attended to the trumpet melody regardless of register.

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The Sound of Sirens: Siren Stelae in Classical Attic Cemeteries

10.26686/wgtn.17008102 ◽

2021 ◽

Author(s):

◽

Alex Oldfield

Keyword(s):

Traditional View ◽

Classical Period ◽

Greek Mythology ◽

Folk Tales ◽

Ancient Literature ◽

Upper Register ◽

Distinguishing Features ◽

Over Time

<p>The aim of this thesis is to look at how and why the siren is featured in Classical Attic cemeteries and how its mythical characteristics lead to its appropriateness in such a context. The exact origins of the siren are unknown, although it has been suggested that they stem from the folk tales of sailors at sea, or shared ideas from other cultures. Despite such unknown variables, the siren figure that is considered in this thesis is that found in Greek mythology, frequently remembered for her encounter with Odysseus on his journey home from Troy and ability to enchant sailors with her irresistible song. Typically combining the features of a bird’s body and a woman’s head, the creature known as the siren can also be seen in ancient depictions on vases, jewellery boxes and female toilette objects. During the Classical Period (479-323BC) the bird-women hybrid sirens are used as a decorative feature on top of funerary stelae in Attic cemeteries. The siren can be seen in two different forms in the funerary context, specifically in relation to their placement and representation on stelae: relief images of the creatures in the roof sima of the upper register of the tombstone, and sculpted in the round perched on top. The presence of the siren in this context can provide a constant mourner as well as inviting the viewer to grieve for the deceased. The first chapter details the siren’s character and role in early ancient literature and art, specifically relating to their mythological corpus. Discussion will focus on the evolution of their character and their appearance over time, as well as identifying distinguishing features which make the siren a unique figure. It is also necessary in this section to establish a distinction between the siren and the mythological harpy who combines the similar bird-woman features to make up a very different creature (particularly evident in a commonly misnamed Lycian sarcophagus, the ‘Harpy tomb’.) The second chapter outlines the timeframe of the use and presence of funerary stelae featuring sirens in Attic cemeteries, predominantly found in the Kerameikos, with references to the legislation which may have affected them. This section covers examples of the presence of sirens in this context including, but not exclusive to, images in relief depicted in the roof sima, along with other figures, as well as the limited freestanding sculptures of sirens seen perched above stelae. I will also analyse the ‘traditional’ view of the sirens as ‘soul birds’ as suggested by various scholars, particularly those from the early 1900s. The final chapter looks at the appropriateness of the siren in a funerary context and attempts to identify the reasons why they were used for such a purpose. In order to answer these questions, it is important to look at the reception of these pieces by mourners and passers-by alike and the possible relationship between those that view the sculpture in such a setting and the piece itself.</p>

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Brian May and Roger Taylor

10.1093/oso/9780197526736.003.0005 ◽

2021 ◽

pp. 93-106

Author(s):

Nick Braae

Keyword(s):

Hard Rock ◽

Frequent Use ◽

Singing Style ◽

And Performance ◽

Upper Register

This chapter analyses the vocal techniques of Brian May and Roger Taylor in their limited roles as lead singers of Queen. May’s distinct techniques revolve around imprecise pitching inflections, variable vibrato, and a thinner tone in the upper register, all of which connote a sense of untrained naturalness. Taylor’s singing is marked by a wide vibrato, frequent use of vocal distortion, and rhythmic delivery that does not conform to the metrical grid. His singing style is one that connotes improvisation and performance freedom. It is argued that the two singers’ approaches align well with strands of rock authenticity as established by Allan Moore—May with folk-rock singers, such as Dylan or Springsteen; Taylor with hard rock and blues-derived singers, such as Plant or Hendrix.

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After the fall of Babylon: A new look at the presentation scene on Assurbanipal relief BM ME 124945–6

Iraq ◽

10.1017/s0021088900000899 ◽

2008 ◽

Vol 70 ◽

pp. 105-125 ◽

Cited By ~ 1

Author(s):

J. Novotny ◽

C. E. Watanabe

Keyword(s):

British Museum ◽

The Other ◽

First Person ◽

The North ◽

Right Hand ◽

The Right ◽

Upper Register ◽

The City ◽

Wheeled Vehicles ◽

Ground Line

BM ME 124945–6, a relief of Assurbanipal, was discovered in the ruins of Room M (the so-called ‘Throne Room’) of the North Palace in the Assyrian capital of Nineveh, and is now on display in the British Museum (Fig. 1). The slabs are divided into two registers: an upper register and a lower register, which are separated by a broad wavy band, each side of which forms the bank of a river. Two rivers flow horizontally in parallel in the centre of the slabs. The presentation scene appears in the lower register, which shows the Assyrian king Assurbanipal (668–631 BC) reviewing war spoils taken from Babylon after the city was captured by the Assyrian army in late 648 BC. The aim of this paper is to examine the spoils represented on the relief and, by carefully analysing Assurbanipal's inscriptions, to clarify how textual accounts of the event or events are reflected in the narrative scheme of the composition.The presentation scene is further divided into three rows by simple horizontal lines, each forming a ground line that normally indicates the recession of space based on the principle of “vertical perspective” in which distant figures are placed higher than nearer ones. The king is represented on the right of the scene, occupying the upper and middle rows (Fig. 2). He is mounted on a chariot and is accompanied by courtiers and soldiers who all face to the left of the scene. An epigraph is engraved above the horses of the king's chariot. On the far side of the scene, Assyrian soldiers, in the upper row, proceed towards the king. The first person is a eunuch raising his right hand; he is followed by a bearded man (Fig. 3). Then there are three soldiers, each holding a particular item of booty (Fig. 4). These men are followed by two wheeled vehicles: one is carried on the shoulders of several men (Fig. 5) and the other pulled by a group of soldiers (Fig. 6). To the far left of the scene, prisoners are led away by soldiers. In the middle row, four foreigners face right (Fig. 7), and behind them stand two scribes making a record in front of one pile of bows and quivers and another of severed heads (Fig. 8). More soldiers follow from the left with a team of horses. The lower row shows a procession of prisoners; all of them move from left to right (Fig. 9). To the far left, there are two sets of chariots, the horses of which are being led by soldiers (Figs. 10 and 11). The overall composition, except for the lower row, is arranged symmetrically facing to the centre, with special emphasis on the king.

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A Volute Krater at Taranto

The Journal of Hellenic Studies ◽

10.2307/626859 ◽

1934 ◽

Vol 54 (2) ◽

pp. 175-179 ◽

Cited By ~ 2

Author(s):

A. Dale Trendall

Keyword(s):

The Other ◽

Upper Register

In April 1898 at Ceglie near Bari there was discovered a large tomb, the principal contents of which consisted of a number of vases, some entire but most of them in a fragmentary condition, which were later acquired by the Taranto Museum, where they now are. Two of these vases, both large volute kraters, on account of the great interest of the subjects and of the general excellence of their composition and drawing, are of the highest importance for the study of early South Italian pottery and it seems surprising that they have remained so long unpublished, despite an ever-increasing amount of literature about them. One, published earlier in the present year, depicts (a) seated Dionysus surrounded by his followers and (b) on the upper register, Perseus terrifying the silens with the Gorgon's head, and below, dancers at the festival of the Karneia. The other vase (Plates VIII, IX) is even more richly figured as it has separate scenes on the neck as well. Its obverse shews (i) a scene from the fight between the Centaurs and Lapiths, (ii) the birth of Dionysus; and the reverse, (i) Herakles served by silens, (ii) an Amazonomachy. Two are subjects common in the repertory of the vase painter, two are rare.

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