scholarly journals Bassoon in the 16–17 centuries: the issues of the bassoon practice development

2020 ◽  
Vol 19 (19) ◽  
pp. 139-150
Author(s):  
Oleksandr Pastukhov
Keyword(s):  
Symphony Orchestra ◽  
Reciprocal Relationship ◽  
Scientific Publications ◽  
Main Research ◽  
Basso Continuo ◽  
Antonio Vivaldi ◽  
Wide Range ◽  
Baroque Era ◽  
And Performance ◽  
The Relationship

Background. The article deals with the interaction of the constructive evolution of the instrument and the development of bassoon performing of the 16–17 centuries. The aesthetics of that time was associated with the search for new expressive means, realization of which could be ensured by new instruments with rich and expressive sound. One of such instruments is bassoon; it was during the Baroque era when the bassoon took its shape and the sound image we know today. Thanks to technical evolution, the instrument acquired new artistic capabilities and new sound quality. A new repertoire was formed; bassoon became the part of such instrumental genres as sonata and concerto, it was firmly fixed in the score of the symphony orchestra. In music science, there are a number of studies devoted to wind instruments, the most significant of which are researches by G. Abadzhyan, V. Apatskiy L. Belenov, V. Berezin, V. Bohdanov, N. Volkov, V. Gromchenko, Yu. Dolzhikov, V. Kachmarchyk, V. Lebedev, V. Popov, I. Pushechnikov, Yu. Usov, and A. Kiziliayev. There are works, which focus on the bassoon, its history, expressive and technical capabilities (G. Abadzhyan, V. Apatskiy, V. Bubnovich, N. Karaulovsky, S. Levin, V. Leonov, V. Popov, V. Starko, Anthony Baines). It is worth noting the rather important and comprehensive work by V. Apatskiy “Bassoon from A to Z”. There are numerous scientific publications of international woodwind performers associations, such as the International Double Reed Society, the Australian double reed community, the British double reed community, the Japan bassoon society, the Finnish double reed community. The purpose of the article is to reveal the specifics of the relationship between the structural improvements of the bassoon and the performance on the bassoon in the period of 16–17 centuries. Achieving this goal will help to perform tasks such as a historical overview of the development of the bassoon in the Baroque era and identify the relationship between constructive changes, artistic possibilities, repertoire potential (including the genre palette of the instrument) and composer work for the bassoon of this period. The presented article is a material used in the candidate’s dissertation, which is devoted to a wide range of issues of performance on the bassoon from the origins to the present. Methodology. The main research methods are historical, organological and performing. The historical method is associated with the characterization of the historical conditions of origin and development of the bassoon; the organological method is necessary to establish the connection between the constructive changes of the instrument with the new quality of its sound; the performing method helps to reveal new tendencies in bassoon performance of the 16–17 centuries from the new repertoire to the functional purpose of the instrument. Research results. Around the middle of the 17th century, fundamental changes occurred in the construction of the bassoon. They were caused by the need to regulate the overall tuning system of the instrument in such a way that it could participate in joint music-making with other instruments, as well as by the desire to make the instrument more portable. At the turn of the 16–17 centuries, in the process of bassoon chromatization as the result of complication of composer creativity, fundamental changes were made in the design of the instrument: new “chromatic” holes and valves, as well as fork fingering appeared. It was all connected with the formation of certain musical and aesthetic needs and developed along with them. So, the evolution of the bassoon 16–17 centuries led to such qualitative changes in the sound of the instrument as: softness of the tone, pitch control, expansion of the working range, great power of sound, ease of playing the instrument. The above-mentioned factors entailed fundamental changes in the composers’ attitude towards the instrument. The bassoon enters a more complex functional level in the works of various music genres (interlude to the comedy “La Pellegrina” by Girolamo Bargalia, “Sacrae symphoniae” by Giovanni Gabrieli, “Messa a 4 voci et Salmi” by C. Monteverdi, “Fantasy for basso continuo” by Bartolome deSelma-i-Salaverde, sonata “Lamonica” by PhilipFriedrich Bodekher, nine sonatas for solo bassoon and basso continuo by Giovanni Antonio Bertoli, sonata for two bassoons by Philipp Friedrich Buchner, opera “Il pomo d’oro” by Antonio Cesti, singspiel “Seelewig” by Sigmund Theophil Staden). The role of Antonio Vivaldi in the formation of the concerto, including concerto for bassoon, is difficult to overestimate, and thirty-nine Vivaldi’s concertos for bassoon are evidence of that. The creative work of Antonio Vivaldi affected Johann Sebastian Bach, who wrote bassoon parts in his works of different genres. George Philippe Telemann, Bach’s contemporary, is known for a large number of pieces with bassoon parts. Conclusions. Constructive changes resulted in the arrival of the bassoon to a new timbre, figurative-intonational, genre, and performance level. Meanwhile, there is a linear rather than reciprocal relationship between the above-mentioned levels. On the one hand, there is a direct dependence in the evolution of bassoon performance: new constructive features – technical capabilities of the instrument – more individual timbre character – new expressive possibilities – solo parts – solo pieces. On the other hand, all this creates new requirements both for the performer and for the instrument, which brings the situation back to the need for further search. The results of this research can be used in further studies devoted to the history and theory of bassoon performance in the historical, organological and genre-stylistic directions.

Intellectual capital and performance

2018 ◽  
Vol 19 (2) ◽  
pp. 407-452 ◽  
Author(s):  
Eugénia Pedro ◽  
João Leitão ◽  
Helena Alves
Keyword(s):  
Intellectual Capital ◽  
Research Question ◽  
Empirical Studies ◽  
Content Type ◽  
Wide Range ◽  
Depth Study ◽  
Global Vision ◽  
Customer Capital ◽  
And Performance ◽  
The Relationship

Purpose The purpose of this paper is to determine the predominant classification of intellectual capital (IC), in terms of components, using the literature of reference on the relationship between IC and performance and considering multi-dimensional analysis axes (MAAs): organisational, regional and national. Design/methodology/approach A systematic literature review (SLR) is presented focussing on empirical studies on IC published in the period 1960-2016. A protocol for action is defined and a research question is raised, gathering data from the databases of: Web of Science, Scopus and Google Scholar. A social network analysis is also provided to determine the type of networks embracing groups, IC individual components and performance type. Findings Of the 777 papers included in the SLR, 189 deal with the relationship between IC and performance. The paper highlights the greater development of empirical studies starting from 2004; the organisational MAA is the most studied. The most frequently used groups of components in studies dealing with IC’s influence on performance corresponds to a triad of human capital; structural (organisational or process) capital; and relational (social or customer) capital, which determine positively the performance of organisations/regions/countries, but their influence is not linear and depends on various factors associated with the context and surrounding environment. Practical implications This study has wide-ranging implications for politicians/governments, managers and academics, providing empirical evidence about the relationships between the components of IC and performance, by MAAs, and a global vision and better understanding of how those IC components have developed and how they are related to performance. Originality/value Due to the high number of references covering a wide range of disciplines and the various dimensions (e.g. organisational, regional and national) that form IC, it becomes fundamental to carry out an SRL and systematise its MAAs to deepen knowledge about what has been discovered/developed in this domain, in terms of empirical studies, in order to situate the topic in a wider theoretical-practical context. The paper is exceptionally wide-ranging, covering the period 1960-2016. It is one of the first clarifying studies on systemisation of the literature on IC, by MAA, and an in-depth study of IC’s impact on the performance of organisations/regions and countries which may serve as a guideline for future studies using the taxonomy proposed.

scholarly journals Flight Path 2050 and ACARE Goals for Maintaining and Extending Industrial Leadership in Aviation: A Map of the Aviation Technology Space.

2019 ◽  
Vol 11 (7) ◽  
pp. 2065 ◽  
Author(s):  
Rosa Maria Arnaldo Valdés ◽  
Serhat Burmaoglu ◽  
Vincenzo Tucci ◽  
Luiz Manuel Braga da Costa Campos ◽  
Lucia Mattera ◽  
...  
Keyword(s):  
Development Program ◽  
Aircraft Design ◽  
Aviation Industry ◽  
Scientific Publications ◽  
Industrial Leadership ◽  
Wide Range ◽  
Innovation Capacity ◽  
Aeronautical Industry ◽  
Aviation Technology ◽  
And Performance

In the last 40 years, the aeronautical industry has managed to move from a specialized sector to a worldwide leading industry. Companies, governments and associations all over the world acknowledge the importance of the aviation industry in supporting global development and the economy. However, aviation will be facing new challenges related to sustainability and performance in a technological environment in evolution. To succeed, the aeronautical industry must keep innovation as one of its main assets. It must master a wide range of technologies and then collaborate to integrate them into an aircraft design and development program. A collaborative approach to innovation is key to achieve these goals. The main purpose of this paper is to analyze the structure of technological innovation networks in the aviation industry and to characterize the map of the “Aviation Technology Space”. Two different approaches and methods are used. In one approach, we performed a bibliometric network analysis of aviation research scientific publications using a keyword co-occurrence analysis method to map the aerospace collaboration structures. Complementarily, we performed a patent analysis to evaluate the innovation capacity of the aviation industry in the cutting-edge technologies previously identified. From the results of this analysis, the paper provides recommendations for future innovation and research policies to allow the sector to fulfill the demanding goals by the year 2050.

scholarly journals The specificity of the interpretation of Rodelinda’s pa rt from G. Handel’s opera “Rodelinda”: interpretological approa

2021 ◽  
Vol 24 (24) ◽  
pp. 90-110
Author(s):  
Xin Yuan
Keyword(s):  
Vocal Music ◽  
Point Of View ◽  
Vocal Performance ◽  
Scientific Publications ◽  
Metropolitan Opera ◽  
Performance Traditions ◽  
Baroque Era ◽  
And Performance ◽  
The One ◽  
Interpretative Approach

Statement of the problem. Among the questions that arise, let us single out those that will form the basis of the proposed article devoted to women’s parts in the opera “Rodelinda”: HIP traditions and staging strategies; vocal roles and their possible modifications / transformations under the conditions of specific directing and performing solutions. Analysis of recent scientific publications shows that ‘Handeliana’ is currently very voluminous. Thus, the works of W. Dean (1969), J. Knapp (2009) and C. Hogwood (2007), which have been republished several times, are considered thoroughly; L. Silke (2014) summarized the experience of predecessors and presented new dimensions of scientific understanding of Handel’s legacy. Fundamental are the studies by L. Kirillina (2019). The problem of performing vocal music of the Baroque era has been actively discussed in the works of I. Fedoseev (1996), N. Harnoncourt (2002), G. Kaganov (2013), M. Burden (2009), A. Jones (2006), О. Kruglova (2007), G. Konson & I. Konson (2020). The purpose of the article is to single out the main parameters of the baroque performance of women’s parts in G.F. Handel’s opera “Rodelinda” taking into account the performing traditions and modern trends. The research methodology is focused on the concept of “authentic performing strategy” (Yu. Nikolaievska, 2020), positions of comparative interpretology (Ch. Zhiwei, 2012) and interpretative approach, aimed at studying the specifics of the performance versions. The scientific novelty of the article lies in the application of an interpretive approach to the study of G. F. Handel’s operas. Results. In the 1938 recording (conducted by G. Leonhard), Rodelinda was performed by the famous Cecile Reich, in 1959, 1973 – by Joan Sutherland (in London and Netherlands productions). Closer to the authentic versions is the one performed by Sophie Danneman (1996); there is also a famous recording of 2005 with Rene Fleming (Metropolitan Opera), who was brilliant as an actress (which is required by the plot), but she admired and “played” her voice a little, which does not quite correspond to the principles of authenticity. One of the stars of the Glyndebourne Festival (1998) was the performer of Rodelinda’s part – Anna Caterina Antonacci, who performed her part with the necessary psychological and vocal accents, but, perhaps, somewhat dry and removed, which is why the listener is also removed from the heroine’s tragedy. In 2011 N. Harnoncourt recorded “Rodelinda” (in the title role – Danielle de Niese, who owns the entire arsenal of means inherent in baroque performance). Lauren Woods (recording of the 2016) is one of the most famous performers of the baroque repertoire. Critics have noted her perfect articulation, acting ability and “impressive vocals”. Simone Kermes, who critics call “the mad queen of the Baroque”, is distinguished by bright and temperamental performance, especially incomparable in the interpretation of baroque operas. Conclusions. From the interpretive point of view, mastering the expressive system of Baroque vocal performance traditions, in particular the art of vocal improvisation and ornamentation, consistent with the artistic context and directorial decision, can broadcast for the modern listener the affects and meanings of Handel’s music. The established features of baroque style are marked (affect, which is usually concentrated in such positions as tempo-rhythm, tonality, text, syntax of the melody) and performance (timbre, dynamics, intonation of the melodic line, ornamentation). Rodelinda’s part has been shown to require the ability to switch from one affect to another fairly quickly. In the analyzed interpretations, modern singers (D. de Nies, J. Sutherland, S. Kermez, L. Woods, A. K. Antonacci) practically do not allow themselves to be free, but seek to follow the principles of authentic performance, which is manifested in dynamic, agogic elements, various timbre colors arias (aria of revenge, duet-consent, aria of lamento), the ability to improvise.

scholarly journals The originality of neoclassic principles reflection in the Sonata for two pianos by Paul Hindemith

2020 ◽  
Vol 56 (56) ◽  
pp. 154-168
Author(s):  
I.O. Sediuk
Keyword(s):  
20Th Century ◽  
Modern World ◽  
Main Theme ◽  
Paul Hindemith ◽  
Ensemble Technique ◽  
Basso Continuo ◽  
Wide Range ◽  
Baroque Era ◽  
Slow Tempo ◽  
Aesthetic Ideas

Background. The neoclassicism of the first decades of the 20th century turned to be a kind of opposition to atonalism, which captured many radical composers. The supposed “bilingualism” of neoclassicism opened wide perspectives for individual concepts realization, broadening the boundaries of new knowledge of the Baroque and early classicism. Instrumental sonata, including the Sonata for Two Pianos naturally entered the neoclassical trend mainstream in a number of others, non-symphonic classical and romantic genres, compensating for the rejection of effective dramaturgy by enhancing the contrast between the cycle’s parts, thus tending to Baroque cyclic compositions. For Paul Hindemith, whose name is always associated with this art movement, “communication” with musical past was not an instant hobby but something that determined the focus of his creative thought. Objectives. The article’s purpose is to reveal the peculiarity of neoclassic principles embodiment in the Sonata for Two Pianos by P. Hindemith, to consider its composition, semantic and structural units. Methods. The study’s methodology is based on historicism principle, which involves the study of artistic phenomena being connected with the established musical art experience, and a comprehensive approach that allows involving of different methods of music analysis. Results. Sonata for Two Pianos (1942) consists of five movements; each one has its name. P. Hindemith’s individual approach to the sonata genre is usually evaluated in terms of the artist’s refusal of traditional composition, changes in sonata form, which often includes dramatic function changing. This is due to the desire to make equal all the forms involved in the cycle, in particular the most important polyphonic ones. The movements’ names “The Bells”, “Allegro”, “Canon”, “Recitative”, “Fugue” reveal the suite’s features. “The Bells” opening the cycle show a wide range of musical associations: from French harpsichordists gravitating to sound expression to representatives of different national cultures of the 20th century. The textured thematic drawing of the part reveals another modus of play with tradition expressing itself in improvisational principle domination and Baroque fantasy revival. The Old English verse text preceding “Recitative” reminds of 16–17th century program compositions and shows connection with opera art. “Recitative” combines concise musical phrases typical for Baroque culture vocal genres and typical rhythm formulas that embody the freedom of language intonation and bring in improvisation and allusion on basso continuo. The reference to Baroque era polyphony is evidenced by “Canon” and “Fugue”. In the “Canon”, polyphonic interaction is reached by two piano parties and not by individual voices of the four-voice ensemble texture. The slow tempo Lento, the static movement of musical thought, where “step” pulsation is felt in 4/8 metrics, unusual for classic and romantic culture, the predominance of quiet sound implies tragic pathetic element in “Recitative”. These two parts, “Canon” and “Recitative”, constitute a complementary semantic pair as play modes of tragic imagery embodiment through Baroque era high style, its objective and subjective beginnings. Actually, sonata genre is represented only by the second part “Allegro” with its fast tempo, clarity of form, volitional character of the main theme, scherzo grace of the subsidiary theme, large coda. The composer maintains contrast method choosing his complex of expressive means for each exposition sections. The Sonata is finished by a grand three-theme fugue with metro-rhythmic design associated with the corresponding polyphonic music structures, and more, the initial fifth step corresponds to J. S. Bach’s “Fugue Art”. The first theme’s imperative character establishes the dramatic imagery as fundamental in Sonata’s artistic concept. Its intonational content is characterized by fourth and fifth interval structures, some of them are creating the frame of the whole cycle. The second theme is more melodic and contrasting. The bass register of the third theme in rhythmic augmentation, the wave-like pattern of its melodic line covering the range of the diminished octave, is perceived as embodying of the modern thinking tension, the “echo” of Baroque era aesthetic ideas. The artistic idea of the Sonata for Two Pianos by P. Hindemith is built on drama concentration, overcoming suite separation of the parts and reflecting the full life realities and the inviolability of Universe laws. Conclusions. Sonata for Two Pianos by P. Hindemith returns to its origins thanks to the 20th century artists’ interest to the Baroque culture, demonstrating irregular genre boundaries and the ability to maintain high polyphony means, unregulated cycle and synthesis of several compositional principles within one work. The neoclassical principles did not deprive the Sonata of being presented in that time’s social and spiritual events, and allowed it to generalize modern world conflicts with the help of established semantic and compositional units. Thus, P. Hindemith’s Sonata for Two Pianos preserves its own approach to musical experience and possibilities of ensemble technique distinguished in almost full absence of performing competition idea, dialogism in its traditional reflection while retaining the parties’ equality.

The United Nations and Human Rights

2020 ◽  
Keyword(s):  
Human Rights ◽  
United Nations ◽  
International Court Of Justice ◽  
International Court ◽  
Wide Range ◽  
Human Rights Treaties ◽  
The United Nations ◽  
And Performance ◽  
The Relationship ◽  
Significant Attention

The very concept of human rights implies governmental accountability. To ensure that governments are held accountable for their treatment of citizens and others, the United Nations has established a wide range of mechanisms to monitor compliance, and to seek to prevent as well as respond to violations. The panoply of implementation measures that the UN has taken since 1945 has resulted in a diverse and complex set of institutional arrangements, the effectiveness of which varies widely. Inevitable instances of politicization and the hostile or ambivalent attitude of most governments has often endangered the fragile progress made on the more technical fronts. In addition, there are major problems of underfunding and insufficient expertise. The complexity of these arrangements and the difficulty in evaluating their impact makes a comprehensive guide of the type provided here all the more indispensable. This book critically examines the functions, procedures, and performance of each of the major UN organs dealing with human rights, including the Security Council and the International Court of Justice as well as the more specialized bodies monitoring the implementation of human rights treaties. Significant attention is devoted to the considerable efforts at reforming the UN’s human rights machinery, as illustrated most notably by the creation and operation of the Human Rights Council. The book also looks at the relationship between the various bodies and the potential for major reforms and restructuring.

Self-efficacy and academic performance in first-semester organic chemistry: testing a model of reciprocal causation

2016 ◽  
Vol 17 (4) ◽  
pp. 973-984 ◽  
Author(s):  
Sachel M. Villafañe ◽  
Xiaoying Xu ◽  
Jeffrey R. Raker
Keyword(s):  
Organic Chemistry ◽  
Academic Performance ◽  
Self Efficacy ◽  
Reciprocal Relationship ◽  
Equation Modeling ◽  
Negative Experience ◽  
Reciprocal Causation ◽  
And Performance ◽  
The Relationship ◽  
Snowball Effect

Self-efficacy is an affective learning outcome that has been associated with academic performance and retention in STEM. Self-efficacy has been defined as students' beliefs about their ability to complete a given task, and it can be affected by a student's positive or negative experience in a course. In this study, students' chemistry self-efficacy in an organic chemistry course and its reciprocal causation relationship with performance in the course was examined using structural equation modeling (SEM). Organic chemistry self-efficacy (OCSE) was measured five times during the semester and students' scores in four term exams and a final exam were used as measures of performance. Five different models were proposed and tested to explain the relationship between OCSE and performance. A reciprocal causation model with an exam snowball effect was found to best explain the relationship between OCSE and performance compared to other alternative models including a reciprocal causation model without the snowball effect and an autoregressive model. This model suggests a significant positive relationship between OCSE and performance throughout the semester, providing empirical support for the reciprocal relationship of these two measures. Implications for research and instruction are discussed in terms of the reciprocal relationship between self-efficacy and performance.

scholarly journals Exploring the Relationship Between Mental Well-Being, Exercise Routines, and the Intake of Image and Performance Enhancing Drugs During the Coronavirus Disease 2019 Pandemic: A Comparison Across Sport Disciplines

2021 ◽  
Vol 12 ◽  
Author(s):  
Mami Shibata ◽  
Julius Burkauskas ◽  
Artemisa R. Dores ◽  
Kei Kobayashi ◽  
Sayaka Yoshimura ◽  
...  
Keyword(s):  
Adult Population ◽  
Well Being ◽  
Weight Lifting ◽  
Addictive Behaviors ◽  
Activity Group ◽  
Wide Range ◽  
And Performance ◽  
Performance Enhancing Drugs ◽  
The Relationship ◽  
Performance Enhancing

Introduction: Physical distancing under the coronavirus disease 2019 (COVID-19) pandemic had a significant impact on lifestyles, including exercise routines. In this study, we examined the relationship between mental health and addictive behaviors, such as excessive exercise and the use of image and performance enhancing drugs (IPEDs) across 12 sport disciplines.Materials and methods: A large cross-sectional sample of the adult population (N = 2,295) was surveyed. The mean age was 33.09 (SD = 11.40). The number of male participants was 668 (30.0%). The use of IPEDs was assessed in conjunction with psychometric measures such as the Exercise Addiction Inventory (EAI) and the Appearance Anxiety Inventory (AAI). The participants were grouped into activity group (AG) and non-activity group (NAG) according to the presence or absence of their exercise habits. The results were compared between these groups, as well as across sport disciplines, while taking into account the relationship between different psychological measures and IPEDs consumption.Results: The frequency of IPEDs use was higher among AG (34.6%) than NAG (14.6%), although AG participants reported less history of addictions (7.1%) than NAG (11.8%). The logistic regression analysis revealed that scores equal to or above cutoff points, in both the EAI and AAI, predicted the IPEDs use. Regarding the differences across the various sport disciplines, those who were involved in practicing Weight Lifting and Cross Fit were found to be more at risk of excessive exercising and more inclined to use a wide range of IPEDs.Conclusions: Although exercise could help to increase well-being and prevent addictions during the COVID-19 pandemic, our results show that those in the AG are particularly vulnerable to excessive IPEDs use. Sport disciplines associated with higher EAI and AAI scores have also shown a higher tendency to excessive IPEDs use. Furthermore, the factor of having above the cutoff scores in EAI or AAI in each sport could indicate larger IPEDs consumption regardless of the discipline. In light of the current findings, it is necessary to better define the “non-excessive” levels of exercise in various sport disciplines and an adequate intake of IPEDs to ensure the safety and well-being of people during a pandemic.

Releasing the 'Loudie'

2020 ◽  
Author(s):  
◽  
Christian Kjos
Keyword(s):  
18Th Century ◽  
Historical Sources ◽  
Early Music ◽  
Basso Continuo ◽  
Wide Range ◽  
Keyboard Music ◽  
Music Community ◽  
Baroque Era ◽  
Oriented Approach

My artistic research project at the Norwegian Academy of Music aims to highlight the role of the harpsichord player and the interpretation of basso continuo in G. F. Handel’s continuo cantatas – i.e. cantatas for one voice with continuo accompaniment only. How the continuo realization is shaped in performance of this repertoire is crucial to the overall sound since there are no other obbligato instruments, unlike in the instrumental cantatas. A wide range of possible solutions emerge in the intersection between improvisation, composition, imagination, and speculation within a source-oriented approach. To give these cantatas a musical guise that is rarely heard among performer’s today, I focus on an advanced and soloistic harpsichord continuo that includes different use of imitation, counterpoint, harmonic additions, ‘duet-making’ with the vocal part and other rarely heard features; inspired by certain German 18th-century continuo treatises such as Heinichen’s Der Generalbass in der Composition (Dresden, 1728), Mattheson’s Grosse Generalbass-schule (Hamburg, 1731) and Daube’s General-Bass in drey Accorden (Leipzig, 1756) in addition to several preceding Italian(ate) and English sources, as well as idioms from Handel’s own keyboard music. There are frequently significant discrepancies between how historical sources describe basso continuo playing and how today’s harpsichordists interpret and perform their part within the context of the HIP-movement. In the last decades, two contrasting approaches stand out: those who accompany discretely with few parts and a transparent accompaniment: unofficially nicknamed ‘Softies’; and those who play generally fuller: ‘Loudies’ – from which my project receives its title. With this project, I aim to deepen the understanding of the discipline of continuo playing and to develop realizations that go beyond mere chordal playing often heard today in a much-neglected repertoire by one of the greatest composers of the Baroque era. Hopefully, this will challenge existing views and conventions among several branches of today’s early music community, where strong performers and personas foster strong opinions.

The Relationship Between Crystal Structure and Performance as Optical Recording Media In Te-Ge-Sb Thin Films

1991 ◽  
Vol 230 ◽  
Author(s):  
D. Strand ◽  
J. Gonzalez-Hernandez ◽  
B. S. Chao ◽  
S. R. Ovshinsky ◽  
P. Gasiorowski ◽  
...  
Keyword(s):  
Crystallization Rate ◽  
Phase Segregation ◽  
Optical Recording ◽  
Recording Media ◽  
X Ray Diffraction ◽  
Thermal Crystallization ◽  
Wide Range ◽  
And Performance ◽  
The Relationship ◽  
Induced Crystallization

AbstractThe crystallization properties of Te-Ge and Te-Ge-Sb alloys prepared by thermal evaporation were analyzed using various characterization techniques. Similar to previous results, our data for Te-Ge shows that alloys that deviate slightly from Te50Ge50 stoichiometry show drastically slower crystallization kinetics. Raman spectroscopy and x-ray diffraction show that alloys having non-stoichiometric atomic ratios phase separate during crystallization into a Te50Ge50 phase plus pure crystalline tellurium or germanium. It is this relatively slow process of phase segregation which limits the crystallization rate. Phase segregation during crystallization of non-stoichiometric Te-Ge can be eliminated by adding antimony to samples having a tellurium concentration of from 45 to 55 atomic percent over a wide range of Ge:Sb ratios. These alloys can have laser induced crystallization times of less than 50 nsec. The thermal crystallization temperature is reduced only slightly when antimony is substituted for germanium.

Relationship and performance: sociometric and bibliometric study of the scientific production of the graduate program in accounting at Unisinos

2016 ◽  
Vol 9 (2) ◽  
pp. 164
Author(s):  
Otávio Augusto Morais Aires ◽  
Alaís Daiane Zdziarski ◽  
June Alisson Westarb Cruz ◽  
Michael Willian Citadin ◽  
Daniela Torres da Rocha
Keyword(s):  
Graduate Program ◽  
Descriptive Analysis ◽  
Scientific Production ◽  
Scientific Publications ◽  
Social Actors ◽  
Final Consideration ◽  
Statistical Approaches ◽  
And Performance ◽  
The Relationship ◽  
Sociometric Methods

The relationship between the ability to relate social actors and their performance has achieved great attention recently, indicating the need for respect among various stakeholders and their environments. Accordingly, following Torres et al. (2013), this article analyzes the scientific publications of the researchers at the Graduate Program in Accounting at Vale do Rio dos Sinos University (Unisinos) from 2007 to 2012 based on their relational perspectives and performance. Based on an analysis of curriculum lattes of those surveyed, and through sociometric methods, bibliometrics, social network analysis, and other statistical approaches, the program was identified and studied. The program has 13 researchers who presented 605 scientific publications distributed among the Annals of Congress and periodicals. These publications represent a score of 1.620 in the first three years (2007-2009) and 3.260 in the second (2010-2012), and were analyzed individually (perresearcher) with indicators of the centrality of networks. A descriptive analysis was based on the performance points of the researchers and their relational perspectives, noting, as a final consideration, a predominant direct and persistent association between indicators of relationship researchers and their performance in points (Qualis score). 

Sign in / Sign up

Export Citation Format

Share Document