scholarly journals Vinay Mishra and the Artistry of the Harmonium

2021 ◽  
Vol 8 ◽  
pp. 39-46
Author(s):  
Lahiru Gimhana Komangoda
Keyword(s):  
Instrumental Music ◽  
Musical Training ◽  
Fine Arts ◽  
Vocal Music ◽  
Colonial Era ◽  
Tuning Method ◽  
Equal Temperament ◽  
Hindustani Music ◽  
Tuning Methods ◽  
Music Faculty

Vinay Mishra is an accomplished Indian solo and accompanying harmonium player born and brought up in Benaras and currently residing in Delhi serving as a faculty member of the Department of Music, Faculty of Music and Fine Arts, University of Delhi. The rigorous training of both vocal and instrumental music under veteran Hindustani Music virtuosos, the academic and scholarly scope built up till the degree of PhD in Music, the realizations, and understandings on music must have conspicuously made an impact of his practice and artistry as a harmonium player. Harmonium was originated in the west and adopted by Indian musicians in the colonial era which was brought up to the present day through many artistic, cultural and political controversies, and obstacles. This work focuses on discovering the insights of the harmonium art of Vinay Mishra. Hence, his academic background, musical training, musical career, his playing style as a soloist, general techniques and techniques of accompaniment, sense of machinery, perspectives on raga Taal, and thoroughly the tuning methods were studied in-depth through personal conversations and literature resources where it was observed that modern Hindustani harmonium artists favor a typical natural tuning method over the 12 equal temperaments of the common keyboard instruments. According to him, the stable sound of the harmonium was the reason to be vocal music- friendly in classical and light vocal music accompaniment which was only interrupted by the equal temperament earlier and was later overcome by the artists and harmonium makers. The idea was also raised that apart from gaining the basic command of an instrument, a Hindustani instrumentalist may learn and practice all other aspects of Hindustani music from the teachers of other forms too. Vinay Mishra’s thoughts of machinery, musical forms, compositions, applying Hindustani vocal, and plucking string instrumental ornamentations on the Harmonium were also reviewed.

Musical training improves memory for instrumental music, but not vocal music or words

2018 ◽  
Vol 48 (1) ◽  
pp. 150-159
Author(s):  
Jonathan M. P. Wilbiks ◽  
Sean Hutchins
Keyword(s):  
Instrumental Music ◽  
Musical Training ◽  
Vocal Music ◽  
Verbal Material ◽  
The Other ◽  
Musical Experience ◽  
Facilitative Effect ◽  
Musical Excerpts ◽  
And Performance ◽  
The Brain

In previous research, there exists some debate about the effects of musical training on memory for verbal material. The current research examines this relationship, while also considering musical training effects on memory for musical excerpts. Twenty individuals with musical training were tested and their results were compared to 20 age-matched individuals with no musical experience. Musically trained individuals demonstrated a higher level of memory for classical musical excerpts, with no significant differences for popular musical excerpts or for words. These findings are in support of previous research showing that while music and words overlap in terms of their processing in the brain, there is not necessarily a facilitative effect between training in one domain and performance in the other.

scholarly journals Zarlino’s Harpsichord: A Contribution to the (Pre)History of Equal Temperament

2018 ◽  
Vol 54 (1) ◽  
pp. 5-22
Author(s):  
Nejc Sukljan
Keyword(s):  
Instrumental Music ◽  
Vocal Music ◽  
Equal Temperament ◽  
History Of

This paper deals with the tuning question as it is discussed in Gioseffo Zarlino’s principal musical-theoretical treatise, Istitutioni harmoniche (1558). First, Zarlino’s tuning system in vocal music (the syntonic diatonic) is presented; then, its shortcomings are discussed; and finally, its adjustment (temperament) for the use in instrumental music is explained.

Vasyl Bezkorovayny’s vocal works in Ukrainian music of the first half of the XX century

2019 ◽  
pp. 500-515
Author(s):  
Nataliia Kosaniak
Keyword(s):  
Choral Music ◽  
Instrumental Music ◽  
Symphony Orchestra ◽  
Vocal Music ◽  
The United States ◽  
Musical Life ◽  
Western European ◽  
Vocal Works ◽  
Post War ◽  
Talented Artist

Vasyl Bezkorovayny (1880–1966) was a talented artist, an active figure in the musical life of Galicia and a representative of post-war Ukrainian emigrants in the United States of America. He wrote more than 350 works of various genres. Among them are compositions for symphony orchestra; vocal works — for chorus, ensembles or solo singing; chamber and instrumental music — for piano, violin, zither, cello; music for dramatic performances. The article deals with the archival and musicological analysis of expressive and stylistic features of V. Bezkorovayny’s vocal works, based on the materials of Stefanyk Lviv National Library of Ukraine. Attention is paid to the place of the composer’s vocal masterpieces in the context of Ukrainian vocal music of the first half of the XX century. The most important achievements of the composer related to the genres of choral and chamber vocal music. In style, the composer’s works combine the influences of M. Lysenko, composers of the «Peremyshl school» and Western European romantic and post-romantic models. The original secular choral music of V. Bezkorovayny covers genres of songs, plays, and large-form choirs. In his solo songs the influences of romantic western European music and Ukrainian folk songs affected the formation and approval of the composer’s style. Keywords: vocal music, chorus, solos, melodic-intonation means, harmony, rhythm.

scholarly journals High-Order Filtered PID Controller Tuning Based on Magnitude Optimum

Mathematics ◽  
2021 ◽  
Vol 9 (12) ◽  
pp. 1340
Author(s):  
Damir Vrančić ◽  
Mikuláš Huba
Keyword(s):  
A Priori ◽  
Higher Order ◽  
Process Models ◽  
Pid Controllers ◽  
Tuning Method ◽  
Output Noise ◽  
Pid Controller Tuning ◽  
Output Time ◽  
Tuning Methods ◽  
Measured Input

The paper presents a tuning method for PID controllers with higher-order derivatives and higher-order controller filters (HO-PID), where the controller and filter orders can be arbitrarily chosen by the user. The controller and filter parameters are tuned according to the magnitude optimum criteria and the specified noise gain of the controller. The advantages of the proposed approach are twofold. First, all parameters can be obtained from the process transfer function or from the measured input and output time responses of the process as the steady-state changes. Second, the a priori defined controller noise gain limits the amount of HO-PID output noise. Therefore, the method can be successfully applied in practice. The work shows that the HO-PID controllers can significantly improve the control performance of various process models compared to the standard PID controllers. Of course, the increased efficiency is limited by the selected noise gain. The proposed tuning method is illustrated on several process models and compared with two other tuning methods for higher-order controllers.

scholarly journals Analysis of the Soft-Switching Tuning Effect on the Figures of Merit Involved in the Design of a Class-E Amplifier with Finite DC-Feed Inductance

Electronics ◽  
2021 ◽  
Vol 10 (14) ◽  
pp. 1705
Author(s):  
Ingrid Casallas ◽  
Robert Urbina ◽  
Carlos-Ivan Paez-Rueda ◽  
Gabriel Perilla ◽  
Manuel Pérez ◽  
...  
Keyword(s):  
Case Studies ◽  
Output Power ◽  
Soft Switching ◽  
Figures Of Merit ◽  
Tuning Method ◽  
Tuning Process ◽  
Tuning Methods ◽  
Zero Voltage ◽  
Voltage Switching ◽  
Class E

This paper explores the design of a Class-E amplifier with finite DC-feed inductance using three tuning methods. Furthermore, this work quantifies the impacts of the tuning process (referred to in this paper as the tuning effect) on the main figures of merit (FoMs) of this amplifier. The tuning goals were to guarantee two conditions: zero voltage and zero voltage derivative switching (i.e., soft-switching tuning). To the best of the authors’ knowledge, systematic tuning methods have not been analyzed before for this amplifier topology. Two of them are based on the iterative component tuning process, and they have been explored previously in the design of the conventional class-E amplifier with an RF choke inductance. The last tuning method explores the simultaneous adjustment of the control signal period and one amplifier capacitor. The analyzed tuning methods were validated by extensive simulations of case studies, which were designed following the power specifications of the Qi standard. In 100% and 96% of the case studies, zero voltage switching (ZVS) and zero-derivative voltage switching (ZDS) were achieved, respectively. Furthermore, we identified an unexpected behavior in the tuning process (referred to in this paper as the turning point), which consisted of a change of the expected trend of the soft-switching (i.e., ZVS and ZDS) point, and it occurred in 21% of the case studies. When this behavior occurred and converged to at least ZVS, the tuning process required more iterations and a large number of tuning variables. Additionally, after the tuning process, the total harmonic distortion and output power capacity were improved (i.e., in 78% and 61% of the case studies, respectively), whereas the output power, drain and added power efficiencies deteriorated (i.e., in 83%, 61% and 65% of the case studies, respectively) in the overall case studies. However, we could not identify an improvement in the overall FoMs related to the soft-switching tuning. Furthermore, the tuning impact was significant and produced some improvements and some deleterious effects for the FoMs in each case study, without a clear trend by FoMs or by tuning method. Therefore, the amplifier designer may choose the more favorable tuning method and the related FoM trade-offs for the required design specifications.

scholarly journals Tuning of Nacelle Feedback Gains for Floating Wind Turbine Controllers Using a Two-DOF Model

2020 ◽  
Author(s):  
Eben Lenfest ◽  
Andrew J. Goupee ◽  
Alan Wright ◽  
Nikhar Abbas
Keyword(s):  
Production Performance ◽  
Offshore Wind ◽  
Feedback Gain ◽  
Tuning Method ◽  
Floating Offshore Wind Turbines ◽  
Integral Controller ◽  
Proportional Integral Controller ◽  
Angular Displacements ◽  
Tuning Methods ◽  
Tuning Strategy

Abstract Designing a collective blade pitch controller for floating offshore wind turbines (FOWTs) poses unique challenges due to the interaction of the controller with the dynamics of the platform. The controller must also handle the competing objectives of power production performance and fatigue load management. Existing solutions either detune the controller with the result of slowed response, make use of complicated tuning methods, or incorporate a nacelle velocity feedback gain. With the goal of developing a simple control tuning method for the general FOWT researcher that is easily extensible to a wide array of turbine and hull configurations, this last idea is built upon by proposing a simple tuning strategy for the feedback gain. This strategy uses a two degree-of-freedom (DoF) turbine model that considers tower-top fore-aft and rotor angular displacements. For evaluation, the nacelle velocity term is added to an existing gain scheduled proportional-integral controller as a proportional gain. The modified controller is then compared to baseline land-based and detuned controllers on an example system for several load cases. First-pass results are favorable, demonstrating how researchers can use the proposed tuning method to efficiently schedule gains for adequate controller performance as they investigate new FOWT configurations.

scholarly journals A Historical Perspective of Mangalavattiyam

2021 ◽  
Vol 3 (2) ◽  
pp. 1-10
Author(s):  
Suganya Aravinthon
Keyword(s):  
Instrumental Music ◽  
Historical Perspective ◽  
Vocal Music ◽  
Research Paper ◽  
Musical Instruments ◽  
The Other ◽  
Historical Study ◽  
Solo Music ◽  
Musical Genres ◽  
Over Time

From the earliest days of the Tamil music tradition, music was considered to be a combination of vocal music, instrumental music and dance. Each of these musical genres is closely intertwined. Knowledge of one helps to know about the other. Instrumental music has been interpreted as accompaniment to solo music and dance and as a solo specialty. In Bharata's book 'Natyashasthram', musical instruments are generally divided into four categories as nerve (tata) hole (kasira) ¸ skin (avanatta) ¸ kana (kanja). In this context, it is a research paper on the history and use of the Nagaswaram and thavil instruments, which are referred to today as the Mangala Vaathyam, which the Tamils ​​have merged with their culture.  This article also examines in detail the ideological changes that have taken place over time in the use of these two musical instruments. At the same time, the use of these instruments in the sociological context is taken into account. Finally, this article is a historical study of the lineage of musicians who have mastered these instruments.

Effects of Background Music on Phonological Short-Term Memory

1989 ◽  
Vol 41 (1) ◽  
pp. 107-122 ◽  
Author(s):  
Pierre Salamé ◽  
Alan Baddeley
Keyword(s):  
Instrumental Music ◽  
Short Term Memory ◽  
Exclusion Process ◽  
Vocal Music ◽  
Background Music ◽  
Theoretical Interpretation ◽  
Short Term ◽  
Noise Condition ◽  
Trained Subjects ◽  
Immediate Memory

Immediate memory for visually presented verbal material is disrupted by concurrent speech, even when the speech is unattended and in a foreign language. Unattended noise does not produce a reliable decrement. These results have been interpreted in terms of a phonological short-term store that excludes non-speechlike sounds. The characteristics of this exclusion process were explored by studying the effects of music on the serial recall of sequences of nine digits presented visually. Experiment 1 compared the effects of unattended vocal or instrumental music with quiet and showed that both types of music disrupted STM performance, with vocal music being more disruptive than instrumental music. Experiment 2 attempted to replicate this result using more highly trained subjects. Vocal music caused significantly more disruption than instrumental music, which was not significantly worse than the silent control condition. Experiment 3 compared instrumental music with unattended speech and with noise modulated in amplitude, the degree of modulation being the same as in speech. The results showed that the noise condition did not differ from silence; both of these proved less disruptive than instrumental music, which was in turn less disruptive than the unattended speech condition. Theoretical interpretation of these results and their potential practical implications for the disruption of cognitive performance by background music are discussed.

Academic Realism, Korean

2018 ◽  
Author(s):  
Kwon Heangga
Keyword(s):  
Art Education ◽  
Fine Arts ◽  
Representative Government ◽  
Art Exhibition ◽  
The West ◽  
Colonial Era ◽  
Experimental Art ◽  
Conservative Nature ◽  
Art Forms ◽  
Japanese Colonial

Academic Realism refers to the mainstream style of Western painting from the Japanese colonial era (1910–45), as exemplified by works shown at the Joseon Art Exhibition (1922–44), the representative government exhibition in Korea. In the West, Academism is characterized by classical features, but Korean Academism was marked by a somewhat compromised blend of Realism and Impressionism. The style is "compromised" because the Korean artists making Western paintings at the time had mostly received Academism through their art education in Japan. Two of the movement’s representative artists are Lee Ma-dong (1906–81) and Kim In-seung (1911–2001), both of whom graduated from the Tokyo School of Fine Arts and became the major artists of the Joseon Art Exhibition. After Korean independence in 1945, Modernism and various experimental art forms emerged, and Academic Realism was heavily criticized for its conservative nature. However, it continued to exert its influence as the preferred style of the National Art Exhibition of Korea (Gukjeon) (1949–81), and as a necessary skill for students hoping to enter art school.

Integrated Control/Display Unit vs. Dedicated Control Heads for Radio Tuning in a KC-135 Flight Simulator

1981 ◽  
Vol 25 (1) ◽  
pp. 258-262
Author(s):  
Debra A. Warner ◽  
David R. Gunning
Keyword(s):  
Integrated Control ◽  
Flight Simulator ◽  
Pilot Performance ◽  
Tuning Method ◽  
Display Unit ◽  
Subjective Opinion ◽  
Tuning Methods

A two-part study was conducted in a KC-135 flight simulator to determine the appropriateness of replacing dedicated control heads with an integrated control/display unit (CDU) for accomplishing cockpit communication (UHF, HF) and navigation (VOR) radio tuning. The CDU is being evaluated as a means of decreasing pilot workload to potentially enable a proposed reduction in KC-135 crew size. During both individual tuning tasks and simulated missions, time and error data were collected comparing pilot performance for the two tuning methods. Although subjective opinion favored the CDU concept, objective results indicated that the conventional tuning method (except HF) was faster. Various features of the CDU plus relative subject inexperience using the CDU were probable contributers to these unexpected results. Subsequent reevaluation is scheduled to occur incorporating changes which are designed to enhance CDU operability.

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