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Sensors ◽  
2022 ◽  
Vol 22 (2) ◽  
pp. 614
Author(s):  
Haowen Wang ◽  
Jiangbo Huang ◽  
Longhuan Liu ◽  
Shanqiang Qin ◽  
Zhihong Fu

The pulsed eddy current (PEC) inspection is considered a versatile non-destructive evaluation technique, and it is widely used in metal thickness quantifications for structural health monitoring and target recognition. However, for non-ferromagnetic conductors covered with non-uniform thick insulating layers, there are still deficiencies in the current schemes. The main purpose of this study is to find an effective feature, to measure wall thinning under the large lift-off variations, and further expand application of the PEC technology. Therefore, a novel method named the dynamic apparent time constant (D-ATC) is proposed based on the coil-coupling model. It associates the dynamic behavior of the induced eddy current with the geometric dimensions of the non-ferromagnetic metallic component by the time and amplitude features of the D-ATC curve. Numeral calculations and experiments show that the time signature is immune to large lift-off variations.


2021 ◽  
Vol 24 (24) ◽  
pp. 71-89
Author(s):  
Sagalova Hanna

Background. For anyone creating his own interpretational version of a work which belongs to Baroque culture it is highly important to understand semantics of a given key, which in this day and age becomes a valuable asset to reveal the composer’s intention, including the works like French Suite in D minor by J. S.Bach. The approach, suggested in the article, elaborates existing studies, providing them with new meaning. The aim of the article is to reveal the significance of a key in the Baroque music, particularly in J. S. Bach’s works, as a premise for present-day musicians creating new versions of performance. Methodology of a research is founded on historically-theoretical and interpretational methods of analysis. Results. The genre of a keyboard suite holds an important place in J. S. Bach’s legacy. French Suite in D minor is the first one among others. Allemande is written in accordance with the customs of their time. At the same time, tonal development of each movement reflects general aesthetic principles of movement, realizing pivotal idea of the genre. The change in tonal reference points, which happens in the frameworks of Tonic – Dominant relations, shows diverse colours and tension of the development within one key. Allemande’s harmonic complexity exposes semantical sense of the key, which influences other dances. Sarabande is presented as a concentration of ‘funebre’ lyricism, the sense of Gigue is reconstructed due to the change of expected time signature 3/8 to 4/4 and usage of pulsating dotted notes. Courante and two Menuettos are marked by a certain simplicity and “transfiguration” of musical language, which causes not only a genre, but also imagery and semantical contrast. French Suite in D minor is a relatively difficult material for creation of performer’s interpretation. Contrasts of tempo and mood of the dances typical for this genre are not so obvious in this suite as compared to other J. S. Bach’s suites in minor keys. General atmosphere of reserve and inner tension is stressed by the key of D minor, which shapes the whole cycle’s character. Conclusions. The above mentioned peculiarities of J. S. Bach’s French Suite in D minor define the performance interpretation, designed to reveal dialectic unity of opposites in compositionally-dramaturgical structure of the Suite. The performer chooses means, aimed both at creation of macro-unity and at reveal of typological features of the suite genre which is based on contrast. One of the main factors contributing to unity is tempo of performance: apart from quite similar tempos of Allemande and Courante, Gigue is noteworthy, too, as its tempo due to peculiarity of melody and pathos, uncommon for the genre, is “decelerated” in a natural way. Suite contrast can be revealed through articulation and touche, as well as through tempo in view of singularity of Sarabande. Basing on the piece under analysis, we may state that in Baroque era D minor key was already interpreted as a bearer of complex and profound meaning, devoid of mundane, as a subjective key, retaining, however, possibility to be used to reveal objective generalising senses. Thus, we think it should be a “zone of special attention” for performers.


Sensors ◽  
2021 ◽  
Vol 21 (19) ◽  
pp. 6494
Author(s):  
Jeremiah Abimbola ◽  
Daniel Kostrzewa ◽  
Pawel Kasprowski

This paper presents a thorough review of methods used in various research articles published in the field of time signature estimation and detection from 2003 to the present. The purpose of this review is to investigate the effectiveness of these methods and how they perform on different types of input signals (audio and MIDI). The results of the research have been divided into two categories: classical and deep learning techniques, and are summarized in order to make suggestions for future study. More than 110 publications from top journals and conferences written in English were reviewed, and each of the research selected was fully examined to demonstrate the feasibility of the approach used, the dataset, and accuracy obtained. Results of the studies analyzed show that, in general, the process of time signature estimation is a difficult one. However, the success of this research area could be an added advantage in a broader area of music genre classification using deep learning techniques. Suggestions for improved estimates and future research projects are also discussed.


2021 ◽  
Vol 25 (4) ◽  
pp. 455-469
Author(s):  
Rachel Douglass

Abstract In the first volume of his systemic series, German theologian Jürgen Moltmann begins his systematics with a musical metaphor; “The eschatological is not one element of Christianity, but it is the medium of Christian faith as such, the key in which everything is set …” Moltmann then goes on to propose that the eschaton is a temporal event, which breaks the logic of his initial metaphor of the key signature. This essay will explore the differences between understanding the eschaton explicated as the key that Christian hope is set as opposed to a temporal alternative, such as the time signature. Jeremy Begbie is brought into the conversation to explicate how “harmony” can guide our conversation of music theory, and Miguel De La Torre illuminates how Moltmann’s claim, which while revolutionary in many aspects, continues to rely on Eurocentric understanding of salvation history, just as music theory tends towards Eurocentrism. We also examine what we lose out on when we leave this uninterrogated. To conclude, we explore how Moltmann’s proposal about Christian hope becomes more coherent within the metaphor of key signature and right relationship instead of time signature and temporality.


Semantic Web ◽  
2021 ◽  
pp. 1-21
Author(s):  
Pasquale Lisena ◽  
Albert Meroño-Peñuela ◽  
Raphaël Troncy

An important problem in large symbolic music collections is the low availability of high-quality metadata, which is essential for various information retrieval tasks. Traditionally, systems have addressed this by relying either on costly human annotations or on rule-based systems at a limited scale. Recently, embedding strategies have been exploited for representing latent factors in graphs of connected nodes. In this work, we propose MIDI2vec, a new approach for representing MIDI files as vectors based on graph embedding techniques. Our strategy consists of representing the MIDI data as a graph, including the information about tempo, time signature, programs and notes. Next, we run and optimise node2vec for generating embeddings using random walks in the graph. We demonstrate that the resulting vectors can successfully be employed for predicting the musical genre and other metadata such as the composer, the instrument or the movement. In particular, we conduct experiments using those vectors as input to a Feed-Forward Neural Network and we report good comparable accuracy scores in the prediction with respect to other approaches relying purely on symbolic music, avoiding feature engineering and producing highly scalable and reusable models with low dimensionality. Our proposal has real-world applications in automated metadata tagging for symbolic music, for example in digital libraries for musicology, datasets for machine learning, and knowledge graph completion.


2021 ◽  
Vol 11 (16) ◽  
pp. 7350
Author(s):  
Jaeheung Lee ◽  
Yongsu Park

It is well known that conventional digital signature algorithms such as RSA and ECDSA are vulnerable to quantum computing attacks. Hash-based signature schemes are attractive as post-quantum signature schemes in that it is possible to calculate the quantitative security level and the security is proven. SPHINCS is a stateless hash-based signature scheme and introduces HORST few-time signature scheme which is an improvement of HORS. However, HORST as well as HORS suffers from pretty large signature sizes. HORSIC is proposed to reduce the signature size, yet does not provide in-depth security analysis. In this paper, we propose HORSIC+, which is an improvement of HORSIC. HORSIC+ differs from HORSIC in that HORSIC+ does not apply f as a plain function to the signature key, but uses a member of a function family. In addition, HORSIC+ uses the chaining function similar to W-OTS+. These enable the strict security proof without the need for the used function family to be a permutation or collision resistant. HORSIC+ is existentially unforgeable under chosen message attacks, assuming a second-preimage resistant family of undetectable one-way functions and cryptographic hash functions in the random oracle model. HORSIC+ reduces the signature size by as much as 37.5% or 18.75% compared to HORS and by as much as 61.5% or 45.8% compared to HORST for the same security level.


Author(s):  
Nicolas Aragon ◽  
Marco Baldi ◽  
Jean-Christophe Deneuville ◽  
Karan Khathuria ◽  
Edoardo Persichetti ◽  
...  
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2021 ◽  
Vol 57 (Supplement) ◽  
pp. 2F3-5-2F3-5
Author(s):  
Shinobu Nakagawa ◽  
Tomonari Higaki ◽  
Takanori Fujita ◽  
Yoko Takahashi ◽  
Toshifumi Tanaka ◽  
...  

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