Thematische Bibliographien / Origin of violin

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Auswahl der wissenschaftlichen Literatur zum Thema „Origin of violin“

Autor: Grafiati

Veröffentlicht am 28. Juni 2021

Zuletzt aktualisiert am 4. Februar 2022

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Zeitschriftenartikel zum Thema "Origin of violin"

Raymaekers, Wim. „Bridge shapes of the violin and other bowed instruments, 1400–1900: the origin and evolution of their design“. Early Music 48, Nr. 2 (Mai 2020): 225–50. http://dx.doi.org/10.1093/em/caaa027.

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Abstract As one goes back in time, the number of extant bowed instruments decreases gradually, and this is particularly true for loose parts such as bridges, pegs and tailpieces. The current article traces the development of bridges of instruments of the violin family, based on a study of extant instruments and around 800 iconographic sources. This study reveals the origins of the various elements of bridges found on modern instruments of the violin family, and reconstructs the different stages of their evolution. Many elements of the modern violin bridge were already present, sometimes hidden, in bowed-instrument bridges of the 16th century. The extensive appendices and many line drawings offer today’s researchers, makers and restorers the possibility of providing historically informed bridges that are less fantasized than those hitherto often encountered on restorations or reconstructions of old instruments.

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Macedo, Tahysa Mota, Cecília Gonçalves Costa, Haroldo Cavalcante de Lima und Claudia Franca Barros. „Wood anatomy of historic French violin bows made of Pernambuco wood“. IAWA Journal 41, Nr. 3 (28.07.2020): 320–32. http://dx.doi.org/10.1163/22941932-bja10011.

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Abstract Paubrasilia echinata is recognized as the best wood in the manufacture of high-quality bows for string instruments. The wood anatomy of five historic French violin bows of the 19th and 20th century made of Pernambuco wood were investigated in order to reveal the wood anatomic features of these historical bows, to determine which P. echinata morphotype (arruda, café or laranja) was used in their manufacture and to identify the state of origin of the wood. Five bow samples were compared to 33 P. echinata specimens from the Brazilian states of Rio de Janeiro, Bahia, Paraíba and Rio Grande do Norte. The wood anatomical features were compared by means of principal component analysis, which revealed the type of axial parenchyma and percentage of tissue to be the most important to sort specimens. The best wood anatomical features previously described for high-quality bows were corroborated here and the bows in general showed similar wood anatomical features. Based on wood anatomy we found that the violin bows were most similar to the samples from the arruda morphotype derived from the States of Paraíba and Rio Grande do Norte by presenting scanty, unilateral and vasicentric axial parenchyma without confluences forming bands, higher percentage of fibres and lower percentage of axial parenchyma. We can therefore suggest that the historical French violin bows studied here were all made of the arruda morphotype from the Brazilian Northeast region helping explain the preference of the French explorers for this region.

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Fedyukov, Vladimir Ilyich, Ekaterina Yurevna Saldaeva, Maria Sergeyevna Chernova und Vasilii Yuryevich Chernov. „Research into Dendro-Acoustic Properties of Intro-duced Clones’ Wood as Material for Manufacturing Musical Instruments“. South-east European forestry 10, Nr. 2 (03.11.2019): 173–79. http://dx.doi.org/10.15177/seefor.19-18.

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Background and Purpose: Studies of the physical-mechanical and acoustic properties of maple wood as a potential material for musical instruments manufacturing are extremely scarce. Related to this, dendro-acoustic studies of maples introduced by geographic origin are of great practical importance in order to create target plantations with predicted technical quality of wood. Materials and Methods: Maples from abroad introduced by geographic origin into the Botanical Garden of the Volga State University of Technology of the Republic of Mari El of Russia were used for the research. For comparison, the Norway maple of local origin ( Acer platanoides L.) was selected. The studies were carried out by the frequency-amplitude method for determining Young's dynamic modulus and the acoustic constant of sound emission according to the criterion of academician N. Andreyev. Results: It was revealed that there are differences in the density and dendroacoustic indices of maple wood of local origin and maple trees introduced by geographic origin. Norway maple ( Acer platanoides L.) turned out to possess the largest acoustic constant characterizing the resonant properties of wood. Introduced maple trees, plane-tree maple ( Acer pseudoplatanus L.) and sugar maple ( Acer saccharinum L.) are only slightly inferior in terms of this indicator. Conclusions: The dendroacoustic properties of maple wood are generally much lower than that of resonant spruce. Consequently, the acoustic role of maple wood in the back plates of the violin and other string instruments is completely different than that of the top plate made from the resonant material of coniferous species. To reveal this difference in more detail, comparative studies and dendroacoustic identification of maple wood in blanks and musical instruments with different levels of acoustic characteristics are necessary.

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Kao, Josephine Amber. „The Intrinsic Duality of Movement and Sound: Investigating the Intersections of Dance and Music Through Bach“. Congress on Research in Dance Conference Proceedings 2012 (2012): 85–89. http://dx.doi.org/10.1017/cor.2012.10.

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To the musician, the polyphony inherent within Bach's music offers multiple interpretations for a persuasive performance. “Which measures are climactic? Which phrases deserve rubato?” These notations of a violin score translate into movements of the bow arm and fingering for the left hand, which then convey intentions and emotions. The score does not merely imply the music to be played, but instead describes how a body moves in order to play the music and, thus, in the case of Bach, express emotion. How might the relation of polyphony and space be conceptualized through the embodiment of music to the dance artist? My research examines the musical score as a text where these intersections exist. As I integrate my training as a classical musician and dancer, I have discovered an intrinsic duality of music and movement that has led me to explore the embodiment of sound. Psychologist and music theorist, Eric Clarke, in his writings on the ecology of listening, further emphasizes this relationship by stating that the significance of music lives within its ability to convey motion and, inversely, that sound gives evidence to motion. I believe the score embraces the greater context of the performance of the music and the dance. To explore this argument, I have chosen J.S. Bach's first violin partita, where the melodic and harmonic relationships within Baroque music are well defined. This paper will demonstrate several ways in which I employ Bach's text as the point of origin and basis to inform my choreography.

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Nidecka, Ewa. „Piano concerto no. 1 by Andrzej Nikodemowicz – a hidden desire for freedom“. Notes Muzyczny 1, Nr. 9 (20.06.2018): 123–59. http://dx.doi.org/10.5604/01.3001.0012.9902.

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Piano concerto no. 1 (1994) by Andrzej Nikodemowicz (1925-2017) is among seven piano concertos written by the composer. Its first version is the Violin concerto created in 1973. Because of the difficult violin part, the composer remade the composition for the piano. The first performance of the Piano concerto no. 1 took place in 1998 in Lviv. While writing the piece, Andrzej Nikodemowicz was persecuted by the Soviet authorities in Lviv for his religious views, that is why the piece expresses his hidden desire for creative freedom. It remains close to expressionist tradition influenced by Scriabin and his idea of “unhindered power of artistic creation” and “apotheosis of the freedom of creative spirit” . The proof for the expressionist origin of Piano concerto no. 1 are the lack of melodic lines, significant dispersion of sound material, loosened rhythmic relationships, lack of tonal centralisation (full atonalism) and a special kind of musical material formation that places the tension layer on extremely different poles: from arhythmic, muffled, slowed, veiled and dreamlike, to a cascade of scattered tones and harmonies preferring sharp, extensive dissonances, passages which are maximally dense in terms of rhythm and divergent, leading to an explosion of drama. The shape of the piano part indicates a clear analogy to an expressionist character – alienated, contradicted and conflicted with the world, experiencing loneliness and suffering. Piano concerto no. 1 by Andrzej Nikodemowicz was also influenced by other 20th century composers, such as B. Bartók and I. Stravinsky (new kind of expression manifested e.g. in impulsive rhythm) and W. Lutosławski (aleatorism).

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Bezpalko, Vladyslav, und Ivan Kuzminskyi. „Musical everyday life of Volhynia in the middle of 16th ‒ early 17th cc.“ Text and Image: Essential Problems in Art History, Nr. 1 (2019): 5–32. http://dx.doi.org/10.17721/2519-4801.2019.1.01.

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The presented article is the first study of this kind, where the musical life of Volhynia of the mid 16th - early 17th century is specially considered. In the study, we almost exclusively focused on the secular segment of musical everyday life. On the basis of the analysis of historical acts, fiscal accounting documents and other sources, three thematic sections were formed. The first section is devoted to the study of musicians in Volhynia. In the fiscal accounting documents, initially the Grand Duchy of Lithuania, and later the Polish–Lithuanian Commonwealth (Lesser Poland Province of the Polish Crown), various terms are used to refer to musicians and related professions: "dudari", "skomorokhy", "skrypali", "trubachi", "medwednyky" "muzyky", "hudky". From these and other documents we learn about the number of musicians in different small settlements. Among the nicknames that were given to musicians, the "dudnyk" and "skrypka" prevail, sometimes there is a "hudka". Separately, in the act documents other music specialties are mentioned: "Jews Cantors", "organist", "pyshchyk", "trubach", "bubnist". Also, in the documents of such kind, one could find some episodes from the everyday life of the musicians. Musical instruments are discussed in the second section of the article: "kobza", "turkish kobza", "lute", "quintar lute", "violin", "italian violin", "cithara", "duda", "smyk", "truba", "bubon". The last section deals with two separate phenomena of Volhynia musical culture - music in dance and Volochebnyy ceremonies. The lack of study of Volhynia musical culture in previous years encouraged the emergence of various myths, in particular, about the poverty of the musical culture of the Volhynia autochthonous population. According to the myth, the pipe organs of the Catholic temples were brought to these territories by the Polish colonists after the Union of Lublin. However, as it is shown in the article, the first mention of the Lutsk organist dates back to the time before the Union of Lublin and the name of organist indicates his Ruthenian origin. Thus, the obtained results allow us not only to fill the gaps in Ukrainian historical musicology of the mid 16th - early 17th century, but also to hope for the appearing of similar studies of other Ukrainian lands.

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Золотарьова, Н. С., und Т. О. Оліферовська. „ВПЛИВ ВИКОНАВСЬКОЇ ШКОЛИ НА ІНТЕРПРЕТАЦІЮ ТВОРУ (на прикладі віолончельного концерту А. Дворжака)“. Музикознавча думка Дніпропетровщини, Nr. 15 (04.11.2019): 149–63. http://dx.doi.org/10.33287/221912.

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The purpose of this article is analysis of possible versions concerning the interpretation of the Antonin Dvorak’s concert for cello with orchestra, h-moll or. 104, their origin and influence on the manner of performance. Moscow and Leningrad schools are taken as an example. Schools of S. Kozolupov and O. Strimer represent vividly different views on means of theory and interpretation. In my opinion, the most colorful and controversial on the matter of interpretation are the following representatives of the music schools: M. Rostropovich as a representative of the S. Kozolupov views and D. Shafran for O. Strimer school. These cellists are interesting not only because of their vivid difference in the vision of theory and interpretations of music works, but also by the fact that they have made a lot of effort to popularize the cello and bring it to the level of solo instrument as high as the violin and piano. The methods of this research consist of historical, empirical, practical, interpretive-comparative approaches, which are based on examination of performance versions through the prism of the pedagogical schools influence on the aspects of the art-technological plan. The scientific novelty consists in the lack of material on the comparison of interpretative versions of the concert for cello A. Dvorak h-moll op. 104 performed by Soviet cellists Mstislav Rostropovich and Daniil Shafran, in terms of the influence of "school" on technical techniques and artistic vision of the work, which is considered as an example, in his genre, of the most striking combinations of deep lyricism, drama and the need for a masterly skills of instrument proficiency. It’s one of a few favorite concerts of the Romantic era among the soloists of cello. Thus, it contains a broad background for an interpretative analysis. Conclusions. Comparison of interpretative versions, as a method of performing analysis contributes to a vivid representation of the artistic content of the work, helps to find its own style combining already used technical and agogic techniques of the performance with new artistic views.

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Simpson, Sarah. „Violent Origins of Continents“. Scientific American 302, Nr. 1 (Januar 2010): 60–67. http://dx.doi.org/10.1038/scientificamerican0110-60.

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FAGAN, JEFFREY, und SANDRA WEXLER. „FAMILY ORIGINS OF VIOLENT DELINQUENTS*“. Criminology 25, Nr. 3 (August 1987): 643–70. http://dx.doi.org/10.1111/j.1745-9125.1987.tb00814.x.

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Dereń, Przemysław J., Dagmara Stefańska, Maciej Ptak, Mirosław Mączka, Wiktoria Walerczyk und Grzegorz Banach. „Origin of Violet-Blue Emission in Ti-Doped Gahnite“. Journal of the American Ceramic Society 97, Nr. 6 (23.02.2014): 1883–89. http://dx.doi.org/10.1111/jace.12858.

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Dissertationen zum Thema "Origin of violin"

Yu, Tao-Chang. „Spanish dances for violin their origin and Influences /“. College Park, Md.: University of Maryland, 2006. http://hdl.handle.net/1903/3847.

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Thesis (D.M.A.) -- University of Maryland, College Park, 2006.
Thesis research directed by: Music. Title from t.p. of PDF. Includes discussion of the Spanish dances by Pablo de Sarasate, Introduction and rondo capriccioso, op. 28 by Camille Saint-Saëns, Symphonie espagnole, op. 21 by Édouard Lalo, Spanish dance in E minor by Granados, transcribed by Kreisler, Tango by Albeníz, and Carmen fantasie by Waxman. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.

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Lawson, Sonya Ruth. „The origins and development of the use of violins, violas, and cellos in jazz in the United States of America /“. view abstract or download file of text, 2003. http://wwwlib.umi.com/cr/uoregon/fullcit?p3080590.

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Corvo, Kenneth N. „Attachment and violence in the families of origin of domestically violent men“. Case Western Reserve University School of Graduate Studies / OhioLINK, 1993. http://rave.ohiolink.edu/etdc/view?acc_num=case1056726244.

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Estades, Basavilbaso Gualberto 1928. „Origens e desenvolvimento tecnico da viola“. [s.n.], 1995. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284249.

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Orientador: Lafayette de Moraes
Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-07-20T10:11:45Z (GMT). No. of bitstreams: 1 EstadesBasavilbaso_Gualberto_D.pdf: 8178465 bytes, checksum: 5005859f1017b993543cfd9d3f18f87c (MD5) Previous issue date: 1995
No informado
Not informed.
Doutorado
Doutor em Artes

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Destribois, Clemence Theodora. „Examining the Origins of the Late Baroque Monothematic Fugue:A Study of Seventeenth-Century Fugue in Italian Violin Music“. BYU ScholarsArchive, 2012. https://scholarsarchive.byu.edu/etd/3350.

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Paul M. Walker points out the importance of three seventeenth-century manuscripts which, according to him, reflect the origins of the late Baroque monothematic fugue. The documents present a new "model" with specific criteria to write monothematic fugues. Walker suggests that the criteria presented in these manuscripts are first found in seventeenth-century Italian violin ensemble fugues. This thesis traces the development of seventeenth-century monothematic fugues and how they compare with the criteria presented in the manuscripts, with a particular emphasis on Italian violin ensemble fugues. The manuscripts indeed present a new "model" to write monothematic fugues as compared to earlier models. Generally speaking, the criteria included in the manuscripts are more present in monothematic fugues found in seventeenth-century violin ensemble music than in keyboard music of the same period. However, many of these imitative pieces present characteristics of fugato (rather than "true" fugues) and cannot be compared with the manuscripts' criteria. Therefore, the documents are important from a theoretical standpoint but their practical application in seventeenth-century violin music is not as clear or systematic as Walker implies.

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Nordström, Annika. „Violent offenders with schizophrenia : quantitative and qualitative studies focusing on the family of origin“. Doctoral thesis, Umeå universitet, Psykiatri, 2004. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-298.

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The focus of the thesis is on violent offenders with schizophrenia and their relatives. The aims were to explore incidence of violent crimes, the extent to which family members were victims, to investigate individual background factors among violent offenders, and to identify psychotic symptoms and triggering factors associated with fatal violence. In addition, parents were interviewed to build an understanding of their experiences and emotional reactions. One study examined all 369 male individuals who had committed a violent crime (assault, homicide or attempt to any of these crimes), who in a pre-trial forensic psychiatric evaluation (FPE) during 1992-2000 were diagnosed with schizophrenia, and who were referred to forensic psychiatric treatment. Although the majority of the 615 victims was unacquainted to the offenders, family members or male acquainted were most at risk of being severely injured or killed as victims. Background factors were studied for the 207 Swedish offenders who for their first time were subjects of a FPE during the study period. There were indications that those offenders who targeted family members had an earlier onset and more severe course of their mental illness. During the study period, 48 offenders committed homicides. Of the 52 victims, 83% were family members or acquainted to the offender. Those who killed a family member had more often delusions and/or hallucinations, were less often intoxicated, had to a lesser extent committed a previous violent crime and they were younger at the time of the homicide. Parents, who were interviewed, were very emotionally involved in their adult sons, although they were not living together. Ignorance regarding the diagnosis of their son and his criminality negatively influenced the contacts, both between parent and son and between parent and professionals in psychiatry. However, the referral to forensic psychiatric treatment gave the parents hope for a positive development.

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Nordström, Annika. „Violent offenders with schizophrenia : quantitative and qualitative studies focusing on the family of origin /“. Umeå : Dept. of Clinical Sciences, Univ, 2004. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-298.

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Damas, Carlos Alexandre Mourão de Carvalho e. „Violino e tecnologia: origem e evolução tecnológica entre os séculos XV e XXI“. Master's thesis, Faculdade de Ciências Sociais e Humanas, Universidade Nova de Lisboa, 2012. http://hdl.handle.net/10362/8310.

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Dissertação de mestrado para obtenção do Grau de Mestre em Artes Musicais – Estudos em Música e Tecnologias
A evolução tecnológica que o violino foi sofrendo ao longo dos séculos, poderá ser justificada por necessidades artísticas e técnicas dos intérpretes, o fator estético e a beleza do instrumento, foram também, focos de interesse para colecionadores e fabricantes. No presente trabalho, consideramos que o violino é um instrumento de corda friccionada com arco, assim, teremos em consideração não só a origem do violino em si, mas também a origem do arco - visto que, no contexto que definimos para este trabalho, só com o aparecimento do arco podemos determinar a origem do violino. Encontramos vestígios do violino em muitos continentes e civilizações, e para muitos especialistas este terá tido origem na Ásia central, no entanto, desde os primeiros estudos conhecidos sobre a história e evolução do violino, têm sido escritas teorias diversas sobre as origens deste instrumento. Assim parece-nos fundamental voltar a indagar sobre a proveniência e origem do violino, de forma a tentar clarificar as razões ou necessidades que levaram à evolução do instrumento. Considera-se que o violino atingiu elevados níveis de perfeição com o aparecimento da escola italiana de Luthiers na segunda metade do século XVI, os seus mestres realizaram experiências tendo-se baseado em métodos científicos, e a fisionomia do instrumento não voltou a sofrer alterações consideráveis desde essa época, foram no entanto realizados alguns melhoramentos aquando do aparecimento de novos repertórios que exigiam do instrumento capacidades específicas. Neste contexto, questionamo-nos sobre o objetivo que se pretendia atingir com as alterações principais realizadas no instrumento até ao século XIX.

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Isaacs-Martin, Wendy Jane. „A violent origin : a Girardian analysis of the scapegoating of Ali ibn Abu Talib in Shi'ite tradition“. Doctoral thesis, University of Cape Town, 2008. http://hdl.handle.net/11427/8197.

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Includes abstract.
Includes bibliographical references (leaves 182-192).
This dissertation applies Rene Girard's theory of the scapegoat mechanism to prove that Ali ibn Abu Talib appears in Shi'ite traditions as an innocent victim. The aim is to investigate Girard's substantial body of work to determine whether Ali was a scapegoat and a victim of a conspiracy within his community. Girard's theory is founded in mimetic desire, where he incorporated external and internal mediation to form an analysis of mimetic rivalry. Using various texts to develop his theory and support his concepts, he investigated Aristotle, Plato, Stendhal, Proust, Shakespeare and Freud. He developed his theory from the interaction between friends to the incorporation of an object of desire to form the 'French triangle'. He moved from investigating this 'triangle' in personal relationships to conspiracies and subsequently to communities with regard to primitive religions. It was in the discovery of the sacred victim that Girard recognized the purpose of myth, that it concealed the role of the persecutors and that it silenced the victim. Girard then transferred his deductions to analyzing the Bible, where he identified ways in which the text gave the victim a voice. He maintains that only Jesus supported a non-violent position and embraced positive mimetic desire in the form of imitating the love of God. In reviewing Ali's life, one discovers that it reveals Girard's concepts of mimetic rivalry, conspiracy and collective violence. There is the historical Ali and the divine Imam Ali. These two positions can be reconciled by following a constitutive reductionist method for the purpose of analysis in applying the scapegoat mechanism theory. Reductionism is useful and necessary for this study. While the historical Ali reveals a victim, the divine Ali takes responsibility for his own death. The historical and the divine reveal two perspectives in relating Ali's story, one from the victim's perspective and the other from the perspective of the persecutors. However, with respect to the scapegoat mechanism, Shi'ite traditions about Ali, inclusive of historical, popular, or ghulat traditions, show that Jesus was not the only victim to reveal his innocence and embrace non-violence for positive mimesis. Rather, Ali goes further in rejecting materialism to avoid envy, encouraging his community to witness his poverty. Without the distraction of material things, Ali could demonstrate God's love. While Girard claimed that Christianity, particularly the gospels, revealed the victim's innocence in Jesus Christ, Ali brings forth a similar message of imitating the love of God. Like Jesus, he revealed that God was a loving and forgiving God; he was not an angry God that demanded sacrifice.

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Taylor, Georgina M. „Ground for common action Violet McNaughton's agrarian feminism and the origins of the farm women's movement in Canada /“. Ottawa : Library and Archives Canada, 1999. http://www.nlc-bnc.ca/obj/s4/f2/dsk2/ftp03/NQ26870.pdf.

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Bücher zum Thema "Origin of violin"

The origin and evolution of violin as a musical instrument and its contribution to the progressive flow of Indian classical music. Kolkata: Ramakrisna Vedanta Math, 2010.

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Boyden, David Dodge. The history of violin playing from its origins to 1761: And its relationship to the violin and violin music. Oxford [London]: Clarendon Press, 1990.

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Sârbu, Ion. Vioara și maeștrii ei: De la origini până azi. București: Info-Team, 1995.

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Alvergnat, Corinne. L' alto depuis son origine. Lyon: Bellier, 1999.

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Sariti, David Joseph. The Austro-German violin sonata, c. 1650: Its style and origins. [S.l.]: University of Hartford, 2005.

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Y salimos a matar gente: Investigación sobre el delincuente venezolano violento de origen popular. [Maracaibo?]: Universidad del Zulia, Ediciones del Vice Rectorado Académico, 2007.

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Juvenile violence in a winner-loser culture: Socio-economic and familial origins of the rise in violence against the person. London: Free Association Books, 1995.

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Juvenile violence in a winner-loser culture: Socio-economic and familial origins of the rise of violence against the person. London: Free Association Books, 1995.

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1931-, Burkert Walter, Girard René 1923-, Smith Jonathan Z und Hamerton-Kelly Robert, Hrsg. Violent origins. Stanford, Calif: Stanford University Press, 1987.

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Burkert, Walter, René Girard und Jonathan Z. Smith. Violent Origins. Herausgegeben von Robert G. Hamerton-Kelly. Stanford University Press, 1987. http://dx.doi.org/10.1515/9780804766265.

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Buchteile zum Thema "Origin of violin"

Bestock, Laurel. „The origins of violent imagery“. In Violence and Power in Ancient Egypt, 14–39. Abingdon, Oxon; New York, NY: Routledge, 2018. | Series: Routledge studies in Egyptology: Routledge, 2017. http://dx.doi.org/10.4324/9781315543505-2.

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Baumgartner, Mary Pat. „Violent networks: The origin and management of domestic conflict.“ In Aggression and violence: Social interactionist perspectives., 209–31. Washington: American Psychological Association, 1993. http://dx.doi.org/10.1037/10123-009.

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Taylor Porter, Nancy. „From Alpha to Omega Women: Ancient Greek Origins and Contemporary Re-visions“. In Violent Women in Contemporary Theatres, 73–124. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-57006-8_3.

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Dunlap, Alexander, und Jostein Jakobsen. „Studying the Worldeater(s): Political Ecology and Critical Agrarian Studies and Their Origins, Differences and Convergence“. In The Violent Technologies of Extraction, 43–72. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-26852-7_3.

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Lo, Sonny Shiu-Hing, Steven Chung-Fun Hung und Jeff Hai-Chi Loo. „The Legal and Political Origins of the Extradition Bill“. In The Dynamics of Peaceful and Violent Protests in Hong Kong, 51–78. Singapore: Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-15-6712-4_2.

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Destro, Adriana. „Narrating the Execution of Jesus. Followers, Buriers and Witnesses Confronting the Violent Death of the Leader“. In JAOC Judaïsme antique et origines du christianisme, 539–75. Turnhout: Brepols Publishers, 2017. http://dx.doi.org/10.1484/m.jaoc-eb.5.111720.

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Zilincik, Samuel, und Isabelle Duyvesteyn. „Deterrence: A Continuation of Emotional Life with the Admixture of Violent Means“. In NL ARMS, 455–74. The Hague: T.M.C. Asser Press, 2020. http://dx.doi.org/10.1007/978-94-6265-419-8_24.

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AbstractDeterrence is more than anything a psychological mechanism. It depends on emotions that orchestrate processes across organisms to deal with the challenges of the present and the future. However, deterrence scholarship has had a turbulent relationship with emotions. The main aim of this chapter is to review what we know and what we do not know about emotions and deterrence. The secondary aim is to develop a dynamic and interactive emotion-centric model of deterrence to explain where and how emotions play a role in such a mechanism. We combine the methods of theoretical analysis and literature review to achieve these aims. Our findings indicate that emotions give a new meaning to deterrence by changing the nature of the theory and by highlighting problems of practice. More specifically, scholars should reconsider both the means and the ends of deterrence. Practitioners should be aware that deterrence efforts are hard to sustain and may produce emotional effects detrimental to their original purpose.

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Leshem, Oded Adomi, und Eran Halperin. „Hope During Conflict“. In Historical and Multidisciplinary Perspectives on Hope, 179–96. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-46489-9_10.

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Abstract The most deeply rooted international conflicts are termed intractable conflicts. Intractable conflicts are violent disputes that demand extensive investment from the rival parties and persist for a long time. These conflicts also share a more subjective quality: those embroiled in such severe disputes perceive them as innately irresolvable. Unsurprisingly, after decades of intergroup violence and hostility, citizens’ hope for peace is almost absent. Yet hope is an essential component in the pursuit of any political change, including the pursuit of peace. To promote the resolution of intractable conflicts, it is vital to accurately assess the levels of hope for peace in these severe disputes and explore hope’s origins and broader political consequences. This chapter addresses some of these issues by presenting the findings of a large-scale survey on hope for peace administered in one of the most longstanding intractable disputes today, the Israeli-Palestinian conflict. The survey is part of a larger global attitudes project that aims to map the hopes for peace of citizens living in conflict zones. Examining hope for peace among Palestinians from the West Bank and the Gaza Strip, and Jews from Israel, this chapter reaveals some of the demographic and sociopolitical antecedes of hope for peace and demonstrate hope’s effect on braoder political attitudes. Overall, findings suggest that hope is not only an obvious outcome of a successful peace process; it is also one of its sources.

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Reiter, Walter S. „Rhetoric“. In The Baroque Violin & Viola, 239–54. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190922696.003.0023.

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The origin and purpose of rhetoric is explained and the strong links between rhetoric and music, mentioned by writers from the ancient world to modern times, detailed. Much Baroque music is not melodic, multiple sources tell us, but is written “in the manner of a discourse,” the aim being to influence the emotions of the listener through the many purposeful details of which it is formed. To be effective, music composed in this way must be played with this in mind: seeking to impose a lyrical way of playing appropriate to later musical styles will be ineffective. Readers are encouraged to examine the devices orators use to persuade their audiences and apply those skills to develop a more rhetorical way of playing; one exercise teaches students to “speak music.” Rhetorical devices such as punctuation, tessitura, abruptio, tirata, and parenthesis are listed, explained, and illustrated with corresponding literary and musical examples.

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„Exploring Bowed-String Sound“. In Advances in Early Childhood and K-12 Education, 20–44. IGI Global, 2020. http://dx.doi.org/10.4018/978-1-7998-3359-8.ch002.

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Bowed-string instruments contain a wealth of exploratory opportunities and illustrate the framework to apply flow theory to strings teaching and learning. In this chapter, the author analyzes how strings students, including very young children, experience flow by listening and exploring the sound of strings. The author also investigates the origin of bowed-strings instrument historically and illustrates violin pedagogy in a historical context. The chapter discusses Leopold Mozart, Auer, Flesh, Ivan Galamian, and Ruggero Ricci with a special emphasis on their sound production.

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Konferenzberichte zum Thema "Origin of violin"

Ahadzade, M. B. „BASICS OF THE AZERBAIJAN VIOLIN SCHOOL: ORIGIN, DEVELOPMENT AND TRADITIONS“. In IV International symposium «Humanities and Social Sciences in Europe: Achievements and Perspectives». Prague: Premier Publishing s.r.o., 2019. http://dx.doi.org/10.29013/iv-symposium-pp-4-8-11.

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Cojocaru, Daniela. „THE FOLKLORIC ORIGINS IN RUSTIC TRIO FOR VIOLIN, VIOLA AND CELLO BY ION GHIGA“. In 5th SGEM International Multidisciplinary Scientific Conferences on SOCIAL SCIENCES and ARTS SGEM2018. STEF92 Technology, 2018. http://dx.doi.org/10.5593/sgemsocial2018h/61/s15.055.

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Babu, K. Sowri. „Violet luminescence and its origin in ZnO nanoparticles prepared by co-precipitation method“. In INTERNATIONAL CONFERENCE ON RENEWABLE ENERGY RESEARCH AND EDUCATION (RERE-2018). Author(s), 2018. http://dx.doi.org/10.1063/1.5047977.

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Lee, B. H., J. C. Park und M. H. Kim. „Two-Dimensional Vessel-Motion/Liquid-Sloshing Interactions and Impact Loads by Using a Particle Method“. In ASME 2010 29th International Conference on Ocean, Offshore and Arctic Engineering. ASMEDC, 2010. http://dx.doi.org/10.1115/omae2010-20532.

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The violent free-surface motions interacting with floating vessels containing inner liquid tanks are investigated by using the newly developed Moving Particle Semi-implicit (MPS) method for 2-dimensional incompressible flow simulation. In the present numerical examples, many efficient and robust algorithms have been developed to improve the overall quality and efficiency in solving various highly nonlinear free-surface problems and evaluating impact pressures compared to the original method proposed by Koshizuka and Oka (1996). For illustration, the improved MPS method is applied to the simulation of nonlinear floating-body motions, violent sloshing motions and corresponding impact loads, and vessel motions with inner liquid tanks. It is seen that the roll amplitudes can be significantly reduced due to the presence of the sloshing tank when the excitation frequencies are away from the lowest sloshing natural frequencies. The developed numerical tools can be used to the study of vessel motions with liquid cargo or design of passive anti-rolling devices.

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Han, Jeongwon, Jungmo Yang, Byung Soo William Lee und Shinill Kang. „Fabrication of Metallic Stamp With 30 nm Hole Array Using UV Nanoimprinting and Nanoelectroforming“. In ASME 2008 International Manufacturing Science and Engineering Conference collocated with the 3rd JSME/ASME International Conference on Materials and Processing. ASMEDC, 2008. http://dx.doi.org/10.1115/msec_icmp2008-72237.

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With increasing demands for products with nano scale patterns manufactured by nanoreplication processes such as nanoinjection molding, nanoimprinting, and etc, fabrication of molds or stamps with nano patterns has become a priority for successful manufacturing of nano patterned products. In this study, a metallic stamp with nano hole array pattern was fabricated by ultra-violet (UV) nanoimprinting process and nanoelectroforming process. For the fabrication of the original silicon master, electron-beam (E-beam) lithography and inductively coupled plasma (ICP) etching process were used. Polymeric nano pillar array pattern, called polymeric master, was replicated from the original silicon master by UV nanoimprinting process. For the successful demolding during UV nanoimprinting process, self assembled monolayer (SAM) of fluoroctatrichlorosilane (CF3(CH2)8SiCl3) was deposited on the original silicon master. With this approach, the expensive silicon master could be reused many times as a master mold. Nickel seed layer as conductive layer was deposited onto the polymeric master using sputtering process. Nanoelectroforming process using nickel sulfamate solution (Ni(NH2SO3)2·4H2O) was carried out to fabricate the metallic nano stamp. Metallic nano stamp which has hole array pattern with diameter of 30 nm and pitch of 50 nm was successfully fabricated by the proposed method. Nanoinjection molding of 30 nm pillar array pattern as a nano data storage media using the present metallic stamp is the subject of ongoing research.

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Han, Kai, Geng Fu, Changlu Zhao, Bolan Liu und Shibo Ma. „An Experimental Study of the Vaporization Characteristics of Diesel-Benzyl Azides Blend Droplets“. In ASME 2013 Internal Combustion Engine Division Fall Technical Conference. American Society of Mechanical Engineers, 2013. http://dx.doi.org/10.1115/icef2013-19072.

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An experimental study of diesel-benzyl azides blend droplets vaporization characteristics was carried out to study the reasons of diesel-benzyl azides blend shortened combustion duration using suspended droplet device and a high-speed video camera. Experiments were performed at atmospheric pressure, ambient temperature range 480–933 K, and initial droplet diameter of 0.98, 1.42, 1.88 mm. The results show a shorten in diesel-benzyl azides blend droplet lifetime by 10% compared to diesel droplet at 1.42 mm initial droplet diameter and 933 K ambient temperature companion to puffing. The above results support the original idea of designing diesel-benzyl azides blend where the energy released by the decomposition of azides improves the vaporization and the release of nitrogen leads to the breakup of the droplet. In addition, it is observed that the blend lifetime decrease with increasing ambient temperature compared to diesel droplet lifetime. More nitrogen is released and the expansion of bubbles is more violent with increasing initial droplet diameter.

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Jamesh, Asma. „Drowsy Driver Detection using MSER Feature Detection and Binarization on MATLAB“. In International Conference on Women Researchers in Electronics and Computing. AIJR Publisher, 2021. http://dx.doi.org/10.21467/proceedings.114.31.

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Every year, 1.5 lakh people die in road mishaps in India. Among these accidents, 40% are due to ‘Drowsy or Sleep Driving’. According to several statistics, almost all commercial private drivers tend to drive continuously for 10 hours a day. Nearly all road accidents caused due to lack of sleep and drowsiness are highly hazardous and fatal. Drowsy Driver Detection Algorithm acquires real-time video and captures snapshots using an external Webcam. Using the Viola-Jones Algorithm, the face and the eyes of the driver are detected. The original RGB eye image is converted to a Gray image and then into a Binary image. Two techniques, Maximally Stable Extremal Regions Feature Detection and Binarization are deployed to determine the status of the driver. This research paper focuses on the development of a MATLAB algorithm to alert the driver or the co-passenger on-time by plotting the MSER Features and thresholding the acquired real-time images.

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Khonsari, S. V., G. L. England, S. M. H. Parvinnia und E. Hajialiakbari-Fini. „Innovative Structural Joint Tolerates High Rotational and Shear Overload“. In ASME 2004 23rd International Conference on Offshore Mechanics and Arctic Engineering. ASMEDC, 2004. http://dx.doi.org/10.1115/omae2004-51494.

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A new beam-to-column (horizontal brace-to-leg) and bracing-to-frame (diagonal brace-to-horizontal brace/leg) connection was developed. It is a comprehensive package in which the solution to all of the shortcomings and deficiencies of all conventional and/or commonly used connections is provided. The major deficiency of basically all the existing beam-to-column connections is their inability to deliver large rotations. In this devised connection, it has been solved by using a totally different geometry—a geometry which does not restrict the joint from deforming freely in a smooth, uniform and non-violent manner. Such mode of deformation, if delivered by a ductile material, should lead to a high energy dissipation capacity. Especially, if the ductility of the constituting material of the connection is not degraded as a result of fabrication operations, or if so, it is restored through practicing a suitable heat treatment process, e.g. annealing, the energy dissipation capacity should improve substantially. Moreover, in order to attract the damage and prevent it from spreading through the beam (bracing) and the column (leg), whose replacement is formidable, the connection should work in a ‘sacrificial’ capacity. This, together with making it ‘replaceable,’ will reduce the cost of aftermath repair substantially, while replacing the damaged beam or column, if possible, is very costly. In addition to its high rotational (bending) capacity, at least 6 times those of conventional joints (depending on the connection design), its ‘shear deformation capacity’ is quite considerable, absolutely incomparable with those of its conventional counterparts, which are virtually ‘nil.’ This connection is a ‘self-contained separate entity’ which comprises two parallel attachment plates between which two circular, or else, tubes are laid and fixed through welding, though alternatively the whole combination can be produced by extrusion. In the ‘original version’ of the connection, the two plates are laid in a parallel relation with the axis of bending, whereas in its ‘alternate version,’ they are laid in an orthogonal relation with the axis of bending. Tests carried out on specimens of the two distinct versions of the connection proved all its claimed characteristics, both in shear and bending. In particular, those carried out more recently, not reported in previous papers (OMAE’02-28264 & OMAE’03-37292), were quite revealing with regard to the ‘shear strength’ and the ‘shear deformation capacity’ of the original version (horizontally-laid-tube, HLT, version) of the connection—far beyond what was expected by the authors.

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Caniglia, Maria Rossana. „La Torre di San Francesco a Palmi nelle vedute di Edward Cheney del 1823: immagini di un baluardo scomparso del sistema difensivo vicereale della Calabria Ultra“. In FORTMED2020 - Defensive Architecture of the Mediterranean. Valencia: Universitat Politàcnica de València, 2020. http://dx.doi.org/10.4995/fortmed2020.2020.11479.

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The Tower of San Francesco in Palmi in the views of Edward Cheney of 1823: images of a disappeared bulwark of the viceregal defensive system of Calabria UltraTo oppose the phenomenon of waves of Turks threatening the most exposed areas of the Kingdom of Naples, the viceregal government ordered from 1535 the construction of a continuous and articulated chain of defensive coastal towers. In Calabria, on behalf of the Viceroy Pedro di Toledo, the Marquis Francesco Pignatelli developed a project to identify the most suitable and strategic sites where to build the towers along the Tyrrhenian and Ionian coasts. This network included 69 towers in Calabria Ultra and 33 in Calabria Citra, clearly visible from each other at a maximum distance of six thousand steps. Most of these towers have lost their original function over time, and after the taking of Algiers in 1830, some were used as customs posts or torri semaforiche, and then be permanently abandoned. Today almost all of them are ruins. The cartographic sources and above all the iconographic ones, testify the importance of this defensive system of towers suspended between the land and the sea and arranged one after the other, real sentinels of the Mediterranean. On this occasion, the focus is on the Tower of San Francesco, was probably built in 1565, in Capo Barbi in Palmi, along the Tyrrhenian side between Reggio Calabria and Capo Vaticano. The bulwark was destroyed in 1956. The Tower of San Francesco, as evidenced by historical cartography and the views of Antonio Minasi in 1779 and Richard Keppel Craven in 1821, was portrayed in three drawings made by Edward Cheney during his travel to Calabria in May 1823. These views identify the characteristics of the architectural typology of the tower and the relationships with the town of Palmi; to relate it to the coastal towers of Pietre Nere (Taureana) and Capo Rocchi (Bagnara); and finally to the landscape of the Costa Viola up to the Strait of Messina.

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