Long wave generation and coastal amplification due to propagating atmospheric pressure disturbances

Meteotsunamis are long waves generated by displacement of a water body due to atmospheric pressure disturbances that have similar spatial and temporal characteristics to landslide tsunamis. NAMI DANCE that solves the nonlinear shallow water equations is a widely used numerical model to simulate tsunami waves generated by seismic origin. Several validation studies showed that it is highly capable of representing the generation, propagation and nearshore amplification processes of tsunami waves, including inundation at complex topography and basin resonance. The new module of NAMI DANCE that uses the atmospheric pressure and wind forcing as the other inputs to simulate meteotsunami events is developed. In this paper, the analytical solution for the generation of ocean waves due to the propagating atmospheric pressure disturbance is obtained. The new version of the code called NAMI DANCE SUITE is validated by comparing its results with those from analytical solutions on the flat bathymetry. It is also shown that the governing equations for long wave generation by atmospheric pressure disturbances in narrow bays and channels can be written similar to the 1D case studied for tsunami generation and how it is integrated into the numerical model. The analytical solution of the linear shallow water model is defined, and results are compared with numerical solutions. A rectangular shaped flat bathymetry is used as the test domain to model the generation and propagation of ocean waves and the development of Proudman resonance due to moving atmospheric pressure disturbances. The simulation results with different ratios of pressure speed to ocean wave speed (Froude numbers) considering sub-critical, critical and super-critical conditions are presented. Fairly well agreements between analytical solutions and numerical solutions are obtained. Additionally, basins with triangular (lateral) and stepwise shelf (longitudinal) cross sections on different slopes are tested. The amplitudes of generated waves at different time steps in each simulation are presented with discussions considering the channel characteristics. These simulations present the capability of NAMI DANCE SUITE to model the effects of bathymetric conditions such as shelf slope and local bathymetry on wave amplification due to moving atmospheric pressure disturbances.

Folklore Transformed in Bartók’s Dance Suite

This chapter focuses on Bartók's Dance Suite from 1923, a sometimes underestimated piece that displays a provocative relation to the political circumstances of its composition. Drawing from certain sources as well as an analysis of the work and its genesis, the chapter argues that the Dance Suite appears as an ambitious and original work, embodying what Bartók himself once described as an “Integritäts-Idee” (idea of integrity), a term alluding at once to a quality of unbroken wholeness and to a state of uprightness or unimpaired soundness. Moreover, this chapter contends that the Dance Suite shows a political attitude different from what had earlier been characteristic of Bartók.

A dance to the music of Herrmann: a figurative dance suite

This chapter argues that Herrmann’s Echoes owes much to Herrmann’s film work, and in particular has resonances with his scores for Vertigo, Psycho and Marnie. Taking a musicological approach to Herrmann’s concert and film score work, it finds in Herrmann’s music a potent ability to subtly support Vertigo’s narrative development and sonically make manifest its underlying psychological thrust without the need to resort to slavish and literal translation and therefore reduplication of the visual into the aural and musical. In addition, it sets Herrmann’s work within the context of Hitchcock’s oeuvre, examining firstly the musical relationship between Herrmann and Lyn Murray, and the stylistic agreement between them: Murray’s score for To Catch a Thief is more heterogeneous than that of his sometime friend, and a significant proportion is diegetic, drawing strongly on jazz and popular music, while at the same time looking to influences such as early Britten and Prokofiev.

“A History of Man and His Desire”: Ferruccio Busoni and Faust

Relying on knowledge of Karl Engel's edition of the Volksschauspiel, Karl Simrock's version of the puppet play, Gotthold Lessing's Faust fragments, and versions of the Faust legend by Christopher Marlowe and Johann Wolfgang von Goethe, among others, Ferruccio Busoni crafted his own hybrid libretto that depicts a mystical and broadminded Faust. Busoni's music reflects the richness of Faust's mind, combining heterogeneous timbres, forms, and styles. Busoni juxtaposes a Gregorian Credo, Palestrina-style choral settings, a reformation hymn, a Baroque instrumental dance suite, an organ fantasia, recitatives, a lyrical ballad, and orchestral variations, with impressionistic symphonic writing, and experimental passages. While stylistic heterogeneity can be heard throughout many of his mature instrumental and vocal works, Busoni also used this heterogeneity in a descriptive way in Doktor Faust to characterize Faust. At the same time, Busoni sought to write “a history of man and his desire” rather than of a man and the devil. It is Faust's own dark side, rather than the devil, that distracts him and prevents him from completing his greatest work. With Kaspar removed from the plot, Mephistopheles, who as spirit is not always distinct from Faust the man, becomes Faust's alter ego. This duality is expressed musically when Faust assumes Mephistopheles's characteristic intervals. Although Busoni's incomplete Doktor Faust, BV 303, has already been studied by several scholars, including Antony Beaumont, Nancy Chamness, and Susan Fontaine, there is still no detailed analysis of Busoni's treatment of Faust. Through analyses of autobiographical connections, Busoni's early settings of Faustian characters, and the text and music in Doktor Faust, with special attention on the Wittenberg Tavern Scene that has no precedent among the versions of the Faust legend, this article reveals Busoni's vision of Faust as a broadminded, and yet conflicted character, shaped idiosyncratically to convey Busoni's personal artistic ideals. In so doing, the article not only contributes to ongoing discourse about Doktor Faust, but also expands knowledge about ways the Faust legend was interpreted and set musically in the early twentieth century through intertextual comparisons.

Dari Tari ke Musik: Pembentukan Musik Suita Pada Era Musik Barok

ABSTRACTSuite as a musical form was composed by many Baroque composers. It was built and based on dances which is popular in the Renaissance or Baroque eras. This paper tries to understand the way composers adapt one form of art to another form, that is from dance to music, which is widely known as ecranisation. To grasp it in depth, this paper firstly describes what dance musics consist in suite. Secondly, it describes the dances which form the dance music. To make it clear, it also describes the essence of dance that makes it possible the transformation from dance to music. The result shows that the transformation does happen because of the abstract essence in dance was transformed into notes in music. This process is revealed by using the method of phenomenology of Maurice Merleau- Ponty.Keywords: music, dance, suite, ecranisation, inspiration, transformation, movement, noteABSTRAKMusik suita yang banyak digubah pada era musik Barok dibangun dari sejumlah gerakan musik yang berasal-usul dari tari-tari yang populer di era Renaisans/ Barok. Tulisan ini berusaha memahami bagaimana komponis mengalihwahanakan seni yang ada: dari tari ke musik. Untuk memahami kejadian itu, penulis memaparkan gerakan musik apa saja yang terdapat di dalam suita, setelah itu dipaparkan tari-tari yang menjadi sumber inspirasi komponis. Setelah didapatkan gambaran lengkap mengenai musik dan tari yang relevan, perlulah dipahami apa yang terdapat di dalam tari sehingga bisa diserap oleh komponis untuk kemudian dikeluarkan kembali dalam bentuk musik. Dari paparan itu terlihatlah bahwa transformasi dari tari ke musik hanya mungkin karena adanya transformasi gagasan abstrak yang terdapat di dalam tari untuk kemudian diekspresikan dalam bentuk nada-nada, dan hal itu semua hanya bisa dipahami dengan menggunakan metode fenomenologi dari Maurice Merleau-Ponty.Kata kunci: musik, tari, suita, alih wahana, inspirasi, transformasi, gerakan, nada

The Creative Process in Music from Mozart to Kurtág

This book opens the door to the composer's workshop, investigating not just the final outcome but the process of creative endeavor in music. Focusing on the stages of composition, the book maintains that the most rigorous basis for the study of artistic creativity comes not from anecdotal or autobiographical reports, but from original handwritten sketches, drafts, revised manuscripts, and corrected proof sheets. It explores works of major composers from the eighteenth century to the present, from Mozart's piano music and Beethoven's Piano Trio in F to Kurtág's Kafka Fragments and Hommage à R. Sch. Other chapters examine Robert Schumann's Fantasie in C, Mahler's Fifth Symphony, and Bartók's Dance Suite. Revealing the diversity of sources, rejected passages and movements, fragmentary unfinished works, and aborted projects that were absorbed into finished compositions, the book illustrates the wealth of insight that can be gained through studying the creative process.

BUXTEHUDE AND THE DANCE OF DEATH: THE CHORALE PARTITA AUF MEINEN LIEBEN GOTT (BUXWV 179) AND THE ARS MORIENDI IN THE SEVENTEENTH CENTURY

In his chorale partita Auf meinen lieben Gott (BuxWV 179) Dieterich Buxtehude combines the (sacred) genre of the chorale with the (secular) genre of a dance suite by modelling the variations of the partita on popular dances. This essay explores the Sitz im Leben of the composition and shows that it was part of a larger trend to turn hymn settings into keyboard pieces that borrowed stylistic features from contemporary dances. At the same time, the choice of the hymn has to be understood within the context of contemporary piety and the ars moriendi in particular. Both aspects converge in the musical and religious practices of the educated middle class in the second half of the seventeenth century in northern Germany.