Journal articles on the topic 'Compositional devices in recitative'
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Dill, Charles. "Rameau reading Lully: Meaning and system in Rameau's recitative tradition." Cambridge Opera Journal 6, no. 1 (March 1994): 1–17. http://dx.doi.org/10.1017/s0954586700004109.
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While Jean-Philippe Rameau left behind copious evidence of his changing beliefs as a music theorist, he remained silent about his most deeply held beliefs as a composer of opera. His occasional protestations of admiration for Lully, and his petulant responses to criticism, have formed a small basis for the large amount of commentary on his compositional career. The possibility remains, however, that Rameau's theoretical writings could offer some clues about his compositions and, more generally, about his career as a composer. I am thinking of a brief, but well-known moment in his career when theoretical remarks and compositional attitudes worked together in the performance of what we today would consider an analytical act: his commentary on Lolly's monologue, ‘Enfin it est en ma puissance’, from Act II scene 5 of Armide.Rameau published this commentary in 1754 in his Observations sur notre instinct pour la musique, as a response to Rousseau's criticism of Lolly's monologue in the Lettre sur la musique française of 1753. The commentary is well known in modern scholarship and has been the subject of a number of studies, the most thorough being Cynthia Verba's work on the evolution of implied chromaticism in Rameau's theories. Here we will be concerned less with its purely theoretical content than with how Rameau's discourse can be said to betray his compositional beliefs about setting texts to music.
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ZEISS, LAUREL ELIZABETH. "Permeable boundaries in Mozart's Don Giovanni." Cambridge Opera Journal 13, no. 2 (July 2001): 115–39. http://dx.doi.org/10.1017/s095458670100115x.
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Permeable boundaries form the musical ‘thread’ of Don Giovanni– a compositional strategy fundamental to the opera's character. Customary cadential borders get omitted or blurred; material heard early in the opera prominently returns; and all the accompanied recitative-set piece pairs act as ‘composite pieces’ – scenes in which musical material as well as dramatic function bind the accompanied recitative and aria or duet together and fuse them into one entity. ‘Permeability’ is heightened in Don Giovanni due to the supernatural elements of the plot, the title character's refusal to to submit to society's strictures, Gluck's association with the story, and Mozart's propensity for musical one-upmanship. Yet it is by no means unique to that work. Studying the relationships between accompanied recitatives and adjacent numbers reveals a ‘middleground’ of musical continuity that lies between long-range tonal plans and the motivic and tonal unities of individual numbers. Hence these passages challenge, as well as complement, some of our underlying assumptions about operatic form, and urge us to expand our definition of a ‘number’.
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Sediuk, I. O. "The originality of neoclassic principles reflection in the Sonata for two pianos by Paul Hindemith." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 56, no. 56 (July 10, 2020): 154–68. http://dx.doi.org/10.34064/khnum1-56.10.
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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.
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Cabrini, Michele. "Breaking Form through Sound: Instrumental Aesthetics, Tempêête, and Temporality in the French Baroque Cantata." Journal of Musicology 26, no. 3 (2009): 327–78. http://dx.doi.org/10.1525/jm.2009.26.3.327.
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Abstract Between Lully's death (1687) and Rameau's operatic debut (1733), composers of the tragéédie en musique experimented with instrumental effects, greatly expanding the dramatic role of the orchestra. The profusion of these effects coincides with a new aesthetic reappraisal of instrumental music in France, as can be observed in the writings of Du Bos. The tempêête constitutes one of the most remarkable examples. Its sonic violence was too strong to end with the instrumental movement that depicted it; indeed, composers often prolonged the storm scene into a series of movements all connected by thematic material and key to produce a verisimilar effect of the storm's momentum, thereby creating what I term ““the domino effect.”” By the early eighteenth century, the tempêête had become such a well established and popular topos that it began migrating to non-staged genres like the cantata. The transference of the tempest topos from the tragéédie lyrique to the French baroque cantata entailed the breaking of formal frames. Unlike the supple dramatic structure of French opera, the cantata adopted the more rigid mold of the Italian opera seria——the recitative-aria unit——which separated the flow of time into active and static moments. Three case studies——Bernier's Hipolite et Aricie (1703), Jacquet de la Guerre's Jonas (1708), and Morin's Le naufrage d'Ulisse (1712)——demonstrate how composers manipulated this mold to satisfy a French aesthetic that valued temporal continuity for the sake of verisimilitude. All three composers employ key and instrumental music to portray the storm's forward momentum across recitatives and arias, relying primarily on rhythmic energy and melodic activity to create continuity. Although each composer's musical response varies according to personal style, what emerges is a shared aesthetic and compositional strategy employed to portray an event whose relentless power transcends the temporal boundaries between recitative and aria. This aesthetic of continuity and linearity shown by French baroque composers influenced the treatment of the tempest topos in the later eighteenth-century repertory, vocal and instrumental alike, including opera, the concerto, the overture-suite, and the characteristic symphony.
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Long, Stephen. "DRONES, TRANSFORMATION AND POLARITY IN ANNA THORVALDSDÓTTIR'S ORCHESTRAL MUSIC." Tempo 69, no. 274 (September 7, 2015): 33–49. http://dx.doi.org/10.1017/s0040298215000352.
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AbstractThe music of Icelandic composer Anna Thorvaldsdóttir has been inspired by nature, not in a manner that results in specific pictorial evocation, but in the sense that her reflections on natural phenomenon are catalysts for explorations of a range of compositional polarities, including flow and stasis, stability and volatility, transparency and opacity, and expansion and contraction. Her observation of droning as a natural state has led to a dynamic creative use of drones that challenges and expands commonly held notions of their compositional potential. The article discusses their use, along with other compositional devices and processes, in the delineation of these polarities and the resulting formal structure of selected works for orchestra and chamber orchestra. These resources include disruption devices and morphing techniques that facilitate overlapping and transformation of layers of material. The particular compositional focus of each piece has led to fresh applications of these resources, imparting a distinct character to each piece and contributing to an ongoing renewal of the composer's compositional palette.
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Gershon, Talia, Kasra Sardashti, Yun Seog Lee, Oki Gunawan, Saurabh Singh, Douglas Bishop, Andrew C. Kummel, and Richard Haight. "Compositional effects in Ag2ZnSnSe4 thin films and photovoltaic devices." Acta Materialia 126 (March 2017): 383–88. http://dx.doi.org/10.1016/j.actamat.2017.01.003.
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Edwards, Brent Hayes. "The Literary Ellington." Representations 77, no. 1 (2002): 1–29. http://dx.doi.org/10.1525/rep.2002.77.1.1.
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The literary plays an indispensable role in the creative process and compositional technique of the great jazz composer and orchestra leader Duke Ellington. It is well known that he based a number of his pieces on literary sources and that many of his larger works in particular rely on narrative written by Ellington and/or his collaborator Billy Strayhorn, whether it was programmatic, recitative, or lyric. In all his music, Ellington was concerned with ''telling tales'' in language, not only in sounds - or more precisely, in both: composing in ways that combined words and music. This imperative is evidenced in the pieces Ellington called ''parallels,'' a word he chose in particular to highlight the formal relationship between music and literature. In some, such as the ''Shakespearean Suite'' known as ''Such Sweet Thunder,'' he used various structural approaches and instrumental techniques to achieve portraiture through the interrelationship between the musical and the literary. In other pieces, such as ''My People'' and especially ''Black, Brown and Beige,'' Ellington attempted to integrate literary texts into his music in a manner that is not programmatic. The longer pieces demonstrate that for Ellington's aesthetic, the representation of African American history necessitated a mixed, multimedia form.
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Batty, Mark. "Compositional relaxed concurrency." Philosophical Transactions of the Royal Society A: Mathematical, Physical and Engineering Sciences 375, no. 2104 (September 4, 2017): 20150406. http://dx.doi.org/10.1098/rsta.2015.0406.
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There is a broad design space for concurrent computer processors: they can be optimized for low power, low latency or high throughput. This freedom to tune each processor design to its niche has led to an increasing diversity of machines, from powerful pocketable devices to those responsible for complex and critical tasks, such as car guidance systems. Given this context, academic concurrency research sounds notes of both caution and optimism. Caution because recent work has uncovered flaws in the way we explain the subtle memory behaviour of concurrent systems: specifications have been shown to be incorrect, leading to bugs throughout the many layers of the system. And optimism because our tools and methods for verifying the correctness of concurrent code—although built above an idealized model of concurrency—are becoming more mature. This paper looks at the way we specify the memory behaviour of concurrent systems and suggests a new direction. Currently, there is a siloed approach, with each processor and programming language specified separately in an incomparable way. But this does not match the structure of our programs, which may use multiple processors and languages together. Instead we propose a compositional approach, where program components carry with them a description of the sort of concurrency they rely on, and there is a mechanism for composing these. This will support not only components written for the multiple varied processors found in a modern system but also those that use idealized models of concurrency, providing a sound footing for mature verification techniques. This article is part of the themed issue ‘Verified trustworthy software systems’.
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Gribelyuk, Michael A., Sanjay Mehta, Jeffrey B. Johnson, and Lee Kimball. "Two-dimensional dopant potential mapping in a fin field effect transistor by off-axis electron holography." Journal of Applied Physics 132, no. 4 (July 28, 2022): 045702. http://dx.doi.org/10.1063/5.0091586.
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Progress in the development of nanometer scaled Fin Field Effect Transistor (FinFET) devices is affected by a lack of understanding of relevant dopant diffusion phenomena due to limited experimental data. In particular, 2D dopant potential mapping by electron holography in 3D FinFET devices has been challenged by the overlap of electrically active fins, metal films, and dielectric films in the electron beam direction. This paper presents methodology on how to map dopant potential in modern FinFET devices. A custom-device structure was developed, which preserved all essential features of the device manufacturing process. The dopant reconstruction method is suggested to account for the presence of materials other than silicon fin between fins. A comparison of lateral dopant potential profiles with device simulations offers agreement within 0.32 V. Compositional non-uniformity of materials between fin devices is identified as the main limiting factor. A further reduction of compositional non-uniformity should allow for quantitative 2D dopant potential mapping with high sensitivity to probe the effects of dopant segregation, deactivation, and diffusion kinetics in 3D FinFET devices at the nanometer scale.
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Pandey, Manish, Gaurav Kapil, Kazuhiko Sakamoto, Daisuke Hirotani, Muhammad Akmal Kamrudin, Zhen Wang, Kengo Hamada, et al. "Efficient, hysteresis free, inverted planar flexible perovskite solar cells via perovskite engineering and stability in cylindrical encapsulation." Sustainable Energy & Fuels 3, no. 7 (2019): 1739–48. http://dx.doi.org/10.1039/c9se00153k.
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Liu, Lifeng, Yi Hou, Weibing Zhang, Dedong Han, and Yi Wang. "Ozone Treatment Improved the Resistive Switching Uniformity of HfAlO2Based RRAM Devices." Advances in Condensed Matter Physics 2015 (2015): 1–5. http://dx.doi.org/10.1155/2015/714097.
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HfAlO2based resistive random access memory (RRAM) devices were fabricated using atomic layer deposition by modulating deposition cycles for HfO2and Al2O3. Effect of ozone treatment on the resistive switching uniformity of HfAlO2based RRAM devices was investigated. Compared to the as-fabricated devices, the resistive switching uniformity of HfAlO2based RRAM devices with the ozone treatment is significantly improved. The uniformity improvement of HfAlO2based RRAM devices is related to changes in compositional and structural properties of the HfAlO2resistive switching film with the ozone treatment.
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Huh, Junghwan, Hoyeol Yun, Dong-Chul Kim, A. Mazid Munshi, Dasa L. Dheeraj, Hanne Kauko, Antonius T. J. van Helvoort, SangWook Lee, Bjørn-Ove Fimland, and Helge Weman. "Rectifying Single GaAsSb Nanowire Devices Based on Self-Induced Compositional Gradients." Nano Letters 15, no. 6 (May 12, 2015): 3709–15. http://dx.doi.org/10.1021/acs.nanolett.5b00089.
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Santra, Tuhin Subhra, and Fan-Gang Tseng. "Editorial for the Special Issue on Micro/Nanofluidic Devices for Single Cell Analysis, Volume II." Micromachines 12, no. 8 (July 26, 2021): 875. http://dx.doi.org/10.3390/mi12080875.
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Ishimaru, Manabu, Robert M. Dickerson, and Kurt E. Sickafus. "Microstructural and Compositional Characterization of SiC-On-Insulator Structures." Microscopy and Microanalysis 5, S2 (August 1999): 770–71. http://dx.doi.org/10.1017/s1431927600017177.
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As the size of Si integrated circuit structures is continually reduced, interest in semiconductor-oninsulator (SOI) structures has heightened. SOI structures have already been developed for Si using oxygen ion implantation. However, the application of Si devices is limited due to the physical properties of Si. As an alternative to Si, SiC is a potentially important semiconductor for high-power, high-speed, and high-temperature electronic devices. Therefore, this material is a candidate for expanding the capabilities of Si-based technology. In this study, we performed oxygen ion implantation into bulk SiC to produce SiC-on-insulator structures. We examined the microstructures and compositional distributions in implanted specimens using transmission electron microscopy and a scanning transmission electron microscope equipped with an energy-dispersive X-ray spectrometer (STEM-EDX).Figures 1(a) and 2(a) show bright-field images of 6H-SiC implanted with 180 keV oxygen ions at 650 °C to fluences of 7xl017 and 1.4xl018 cm−2, respectively. Three regions with distinct image contrast are apparent in Figs. 1(a) and 2(a), as indicated by A, B, and C.
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Xu-Yang, Yangjunjie, Rémi Losno, Fabrice Monna, Jean-Louis Rajot, Mohamed Labiadh, Gilles Bergametti, and Béatrice Marticorena. "Compositional data analysis (CoDA) as a tool to evaluate a new low-cost settling-based PM<sub>10</sub> sampling head in a desert dust source region." Atmospheric Measurement Techniques 14, no. 12 (December 8, 2021): 7657–80. http://dx.doi.org/10.5194/amt-14-7657-2021.
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Abstract. This paper presents a new sampling head design and the method used to evaluate it. The elemental composition of aerosols collected by two different sampling devices in a semi-arid region of Tunisia is compared by means of compositional perturbation vectors and biplots. This set of underused mathematical tools belongs to a family of statistics created specifically to deal with compositional data. The two sampling devices operate at a flow rate in the range of 1 m3 h−1, with a cut-off diameter of 10 µm. The first device is a low-cost laboratory-made system, where the largest particles are removed by gravitational settling in a vertical tube. This new system will be compared to the second device, a brand-new standard commercial PM10 sampling head, where size segregation is achieved by particle impaction on a metal surface. A total of 44 elements (including rare earth elements, REEs, together with Al, As, Ba, Be, Ca, Cd, Co, Cr, Cu, Fe, K, Li, Mg, Mn, Mo, Na, Ni, P, Pb, Rb, S, Sc, Se, Sr, Ti, Tl, U, V, Zn, and Zr) were analysed in 16 paired samples, collected during a 2-week field campaign in Tunisian dry lands, close to source areas, with high levels of large particles. The contrasting meteorological conditions encountered during the field campaign allowed a broad range of aerosol compositions to be collected, with very different aerosol mass concentrations. The compositional data analysis (CoDA) tools show that no compositional differences were observed between samples collected simultaneously by the two devices. The mass concentration of the particles collected was estimated through chemical analysis. Results for the two sampling devices were very similar to those obtained from an online aerosol weighing system, TEOM (tapered element oscillating microbalance), installed next to them. These results suggest that the commercial PM10 impactor head can therefore be replaced by the decanter, without any measurable bias, for the determination of chemical composition and for further assessment of PM10 concentrations in source regions.
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Kaiser, Daniel, Swapnadip Ghosh, Sang M. Han, and Talid Sinno. "Modeling and simulation of compositional engineering in SiGe films using patterned stress fields." Molecular Systems Design & Engineering 1, no. 1 (2016): 74–85. http://dx.doi.org/10.1039/c6me00017g.
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Semiconductor alloys such as silicon–germanium (SiGe) offer attractive environments for stress-driven compositional engineering of quantum-confined structures that are the basis for a host of current and future optoelectronic devices.
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Hananto, Paulus Dwi, and Pande Made Sukerta. "Mixed Choir and Instruments in the Composition of the Worship Music of the Stations of the Cross." Harmonia: Journal of Arts Research and Education 20, no. 2 (December 27, 2020): 231–41. http://dx.doi.org/10.15294/harmonia.v20i2.24843.
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The station of the cross is an event of the Passion story of Jesus Christ carrying the cross from the Pilate’s palace to the hill of Golgotha. On that journey, Jesus endured torture and humiliation, both from Roman soldiers and Jews. Based on this story, the objective of the research is to describe the process of developing a new compositional composition based on the story of the journey in the format of a choir and a musical ensemble. The research method used in this research is descriptive qualitative. Data collection was carried out through observation, interviews, and documents. After all data has been collected, the next process is to determine the use of scales, instrumentation, and composition based on rhythmic and melodic motifs, time signature, key signature, tempo, and composition of song texts. The choice of musical signs is adjusted to the meaning of the lyrics used. The composition of the Song of the Station of the Cross which is composed is a combination of a mixed choir consisting of soprano, alto, tenor, and bass with a musical ensemble. The novelty of the composition of the Song of the Station the Cross lies in the use of the style of baroque passions (1600-1750), aria, and recitative combined with modern harmonies, namely the use of the seventh tone, the ninth tone, and the thirteenth tone of a chord, and the use of Indonesian as the whole text of the composition
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Schweitzer, Claudia. "Study on French Baroque singing by accent and intonation segmentation." Journal of Speech Sciences 7, no. 2 (September 20, 2019): 09–30. http://dx.doi.org/10.20396/joss.v7i2.15003.
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The baroque music is modelled on the language, so the claim of the composers of the time and the report of the musicians and musicologists of today. It is thus national because it always refers to a specific language. Typically, we consider as a proof the work of the composer Jean-Baptiste Lully who, as the saying goes, would have formed his recitatives according to the declamation of the actress Champmeslé. Starting from a specific linguistic material, Baroque music is national: it is French, Italian, German, English ... Numerous studies, in particular musicological, have shown the treatment of language rhythm among composers. In this article we will discuss the subject from a wider angle and try to show by an accentuated and intonational segmentation of the text and the melody composed by the musicians, to what extent the prosody of French and the French Baroque music correspond.We use the prosodic segmentation model proposed by Piet Mertens for French, and we base our study on a body of recitatives, because this genre is considered extremely close to declamation, and therefore to the spoken language. Despite the differences between the language used in the compositions and the standard Parisian French of the 21st century, due to the style and evolution of French, Mertens' approach proves to be convincing in describing the compositional setting of the text by composers French Baroque. The research thus confirms the close proximity between textual and musical prosody for the French Baroque recitative.
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Peacock, Anna C., Stuart J. MacFarquhar, Yohann Franz, Antoine F. J. Runge, Sakellaris Mailis, Swe Z. Oo, Vinita Mittal, Harold M. H. Chong, and Ozan Aktas. "Laser processed semiconductors for integrated photonic devices -INVITED." EPJ Web of Conferences 238 (2020): 01001. http://dx.doi.org/10.1051/epjconf/202023801001.
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We report results of laser processing of amorphous silicon and silicon-germanium semiconductor materials for the production of integrated photonic platforms. As the materials are deposited and processed at low temperatures, they are flexible, low cost, and suitable for multi-layer integration with other photonic or electronic layers. We demonstrate the formation of waveguides via crystallization of pre-patterned silicon components and functional microstructures through crystallization and compositional tuning of silicon-germanium alloy films. These results open a route for the fabrication of high density, multi-functional integrated optoelectronic chips.
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Parikh, Pritesh, Corey Senowitz, Don Lyons, Isabelle Martin, Ty J. Prosa, Michael DiBattista, Arun Devaraj, and Y. Shirley Meng. "Three-Dimensional Nanoscale Mapping of State-of-the-Art Field-Effect Transistors (FinFETs)." Microscopy and Microanalysis 23, no. 5 (August 31, 2017): 916–25. http://dx.doi.org/10.1017/s1431927617012491.
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AbstractThe semiconductor industry has seen tremendous progress over the last few decades with continuous reduction in transistor size to improve device performance. Miniaturization of devices has led to changes in the dopants and dielectric layers incorporated. As the gradual shift from two-dimensional metal-oxide semiconductor field-effect transistor to three-dimensional (3D) field-effect transistors (finFETs) occurred, it has become imperative to understand compositional variability with nanoscale spatial resolution. Compositional changes can affect device performance primarily through fluctuations in threshold voltage and channel current density. Traditional techniques such as scanning electron microscope and focused ion beam no longer provide the required resolution to probe the physical structure and chemical composition of individual fins. Hence advanced multimodal characterization approaches are required to better understand electronic devices. Herein, we report the study of 14 nm commercial finFETs using atom probe tomography (APT) and scanning transmission electron microscopy–energy-dispersive X-ray spectroscopy (STEM-EDS). Complimentary compositional maps were obtained using both techniques with analysis of the gate dielectrics and silicon fin. APT additionally provided 3D information and allowed analysis of the distribution of low atomic number dopant elements (e.g., boron), which are elusive when using STEM-EDS.
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Taurino, A., M. Catalano, M. Lomascolo, A. Persano, A. Convertino, and L. Cerri. "Morphological and compositional effects of FIB nanopatterning of multilayer metal/semiconducting devices." Physica E: Low-dimensional Systems and Nanostructures 41, no. 4 (February 2009): 734–38. http://dx.doi.org/10.1016/j.physe.2008.12.001.
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Zhao, Jiayuan, Rouhollah Tavakoli, and Mohammad Mahdi Tavakoli. "Synergistic interface and compositional engineering of inverted perovskite solar cells enables highly efficient and stable photovoltaic devices." Chemical Communications 55, no. 62 (2019): 9196–99. http://dx.doi.org/10.1039/c9cc04364k.
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Kramer, Joseph. "Sounds of Wow: Tape Composition and the Poetics of the Index." Leonardo Music Journal 27 (December 2017): 56–57. http://dx.doi.org/10.1162/lmj_a_01016.
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Sound artist Joseph Kramer discusses the function of indexical signs when working with magnetic tape and tape loops to elicit a nonsymbolic connection to the past. Compositional and technological strategies using custom devices to employ indexical signification are described.
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Dougherty, William. "ON HORATIU RADULESCU'S FIFTH STRING QUARTET (‘BEFORE THE UNIVERSE WAS BORN’) OP. 89." Tempo 68, no. 268 (March 20, 2014): 34–45. http://dx.doi.org/10.1017/s0040298213001666.
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AbstractHoratiu Radulescu's Fifth String Quartet, ‘before the universe was born’, is a shining example of his radical compositional approach. With an intense interest in creating a rich, numinous sound-world constructed firmly on principles of nature, science and ancient philosophy, Radulescu developed a unique compositional language that breaks with traditional musical conventions. In hopes of illuminating the inner workings behind his often enigmatic compositional process, this article examines various aspects relating to Radulescu's Fifth Quartet: the work's formal construction, with a focus on its notation and overall large-scale harmonic development; the Quartet's rhythmic devices and their link to the philosophical underpinnings that drive the work; the extended instrumental string techniques employed throughout, the sounds they achieve, and how they are executed; and the work's spectral pitch organisation.
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Dolp, Laura. "Viennese Moderne and Its Spatial Planes, Sounded." 19th-Century Music 33, no. 3 (2010): 247–69. http://dx.doi.org/10.1525/ncm.2010.33.3.247.
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Abstract The opening of Mahler's ““Der Abschied”” from Das Lied von der Erde demonstrates a special set of musical conditions that include spare textures, a wide disposition of instrumental forces, and the effect of temporal suspension. This transparency allows the process of individuation and exchange between musical elements to come to the fore, especially in relation to timbre. Through this passage Mahler highlights voices that work in synthesis with those that are juxtaposed. The first half of the study explores how this music is defined spatially through this process. It then proposes that this space is historically meaningful because Mahler's construction of musical space is analogous to the visual tensions in the landscape works of his artistic contemporaries Gustav Klimt and Egon Schiele. In both musical and visual context, these tensions reflect the diversity of the Viennese Moderne through their ephemeral and laconic qualities. Mahler's compositional tendency to ““suspend”” time and flatten the sonic plane gave his critics fodder for an ideological argument that involved ornamentation versus organic development, since his methods reflected ambiguously on the nineteenthcentury tradition of teleologically based symphonic forms. ““Abschied”” derived its relevancy from neither static surface nor motivic development but by its capacity to suggest unique spatial relationships. The movement initiates a timbrally and rhythmically nuanced recitative, in the form of subtle decays and articulated renewals. Like Klimt's superimposed visual planes, which create a synthetic relationship between figure and ground, Mahler's music suggests incremental distances between subjects. The economy of his music relates also to Schiele's laconic subjects. In Mahler's landscapes, both types of experiments coexist.
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Qin, Xinshun, Fangzhou Liu, Tik Lun Leung, Wenting Sun, Christopher C. S. Chan, Kam Sing Wong, Lidija Kanižaj, Jasminka Popović, and Aleksandra B. Djurišić. "Compositional optimization of mixed cation Dion–Jacobson perovskites for efficient green light emission." Journal of Materials Chemistry C 10, no. 1 (2022): 108–14. http://dx.doi.org/10.1039/d1tc04743d.
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The use of mixed spacer cations in quasi-2D Dion–Jacobson perovskites results in changes in film phase composition and efficient funneling for optimal composition. Optimal composition devices achieve a maximum EQE of 12.85% with TPPO passivation.
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Murakami, Masanori, Yasuo Koide, Miki Moriyama, and Susumu Tsukimoto. "Development of Electrode Materials for Semiconductor Devices." Materials Science Forum 475-479 (January 2005): 1705–14. http://dx.doi.org/10.4028/www.scientific.net/msf.475-479.1705.
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Recent strong demands for optoelectronic communication and portable telephones have encouraged engineers to develop optoelectronic devices, microwave devices, and high-speed devices using heterostructural compound semiconductors. Although the compound crystal growth techniques had reached at a level to control the compositional stoichiometry and crystal defects on a nearly atomic scale by the advanced techniques such as molecular beam epitaxy and metal organic chemical vapor deposition techniques, development of ohmic contact materials (which play a key role to inject external electric current from the metals to the semiconductors) was still on a trial-and-error basis. Our research efforts have been focused to develop, low resistance, refractory ohmic contact materials using the deposition and annealing techniques for n-GaAs, p-ZnSe, InP, p-SiC p-CdTe etc. It was found the growth of homo- or hetero–epitaxial intermediate semiconductor layers (ISL) was essential for low resistance contact formation. The importance of hetero-structural ISL was given taking an example of n-type ohmic contact for GaAs.
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Baroni, Marco. "Linguistic generalization and compositionality in modern artificial neural networks." Philosophical Transactions of the Royal Society B: Biological Sciences 375, no. 1791 (December 16, 2019): 20190307. http://dx.doi.org/10.1098/rstb.2019.0307.
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In the last decade, deep artificial neural networks have achieved astounding performance in many natural language-processing tasks. Given the high productivity of language, these models must possess effective generalization abilities. It is widely assumed that humans handle linguistic productivity by means of algebraic compositional rules: are deep networks similarly compositional? After reviewing the main innovations characterizing current deep language-processing networks, I discuss a set of studies suggesting that deep networks are capable of subtle grammar-dependent generalizations, but also that they do not rely on systematic compositional rules. I argue that the intriguing behaviour of these devices (still awaiting a full understanding) should be of interest to linguists and cognitive scientists, as it offers a new perspective on possible computational strategies to deal with linguistic productivity beyond rule-based compositionality, and it might lead to new insights into the less systematic generalization patterns that also appear in natural language. This article is part of the theme issue ‘Towards mechanistic models of meaning composition’.
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Дорошенко, Ю. Н., О. Я. Кравец, and Ю. С. Акинина. "COMPOSITIONAL PROCESS OF MOBILE APPLICATION DEVELOPMENT BASED ON HETEROGENEOUS SOFTWARE OBJECTS." СИСТЕМЫ УПРАВЛЕНИЯ И ИНФОРМАЦИОННЫЕ ТЕХНОЛОГИИ, no. 3(85) (September 30, 2021): 66–71. http://dx.doi.org/10.36622/vstu.2021.85.3.012.
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Несмотря на множество доступных мобильных приложений с различными формами реализации (например, компонент, услуга или приложение), потребности пользователя отличаются от одного к другому. Кроме того, мобильные устройства характеризуются разнородными программными и аппаратными конфигурациями. Таким образом, важной проблемой при разработке мобильных приложений является их развертывание на доступных разнородных устройствах. Для решения этих проблем необходим процесс композиции, позволяющий повторно использовать существующие разнородные объекты для разработки мобильных приложений в соответствии с требованиями пользователя, и чтобы поведение желаемых приложений можно было настраивать в соответствии с их различной контекстной информацией. В статье эта проблема решается на основе процесса создания мобильных приложений с учетом контекста на основе существующих гетерогенных программных объектов. Despite the many mobile applications available with different forms of implementation (for example, a component, service or application), the user's needs differ from one to another. In addition, mobile devices are characterized by heterogeneous software and hardware configurations. Thus, an important problem in the development of mobile applications is their deployment on available heterogeneous devices. To solve these problems, we need a composition process that allows us to reuse existing heterogeneous objects for developing mobile applications in accordance with the user's requirements, and so that the behavior of the desired applications can be customized according to their different contextual information. In the article, this problem is solved on the basis of the process of creating mobile applications taking into account the context on the basis of existing heterogeneous program objects.
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Cameron, Peter, and Wilfrid Hodges. "Some combinatorics of imperfect information." Journal of Symbolic Logic 66, no. 2 (June 2001): 673–84. http://dx.doi.org/10.2307/2695036.
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We can use the compositional semantics of Hodges [9] to show that any compositional semantics for logics of imperfect information must obey certain constraints on the number of semantically inequivalent formulas. As a corollary, there is no compositional semantics for the ‘independence-friendly’ logic of Hintikka and Sandu (henceforth IF) in which the interpretation in a structure A of each 1 -ary formula is a subset of the domain of A (Corollary 6.2 below proves this and more). After a fashion, this rescues a claim of Hintikka and provides the proof which he lacked:… there is no realistic hope of formulating compositional truth-conditions for [sentences of IF], even though I have not given a strict impossibility proof to that effect.(Hintikka [6] page 110ff.) One curious spinoff is that there is a structure of cardinality 6 on which the logic of Hintikka and Sandu gives nearly eight million inequivalent formulas in one free variable (which is more than the population of Finland).We thank the referee for a sensible change of notation, and Joel Berman and Stan Burris for bringing us up to date with the computation of Dedekind's function (see section 4). Our own calculations, utterly trivial by comparison, were done with Maple V.The paper Hodges [9] (cf. [10]) gave a compositional semantics for a language with some devices of imperfect information. The language was complicated, because it allowed imperfect information both at quantifiers and at conjunctions and disjunctions.
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Orlova, O. Yu. "The Compositional Function of Phonostylistic Devices in Prose (with Reference to Literary Fairy Tales)." Izvestia of the Ural federal university. Series 2. Humanities and Arts 19, no. 3 (166) (2017): 260–68. http://dx.doi.org/10.15826/izv2.2017.19.3.057.
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McKinnon, Charles H., A. John Bramley, and Steven V. Morant. "An in-line sampling technique to measure the bacterial contamination of milk during milking." Journal of Dairy Research 55, no. 1 (February 1988): 33–40. http://dx.doi.org/10.1017/s0022029900025826.
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SummaryThe development of devices to sample milk at the clawpiece and at the end of the pipeline during milking are described. The results of tests to compare the bacteriological and compositional quality of milk collected from the sampling devices or from the recorder jar or milk cans were similar, demonstrating that the samples provided accurate and representative values. The use of the in-line sampling technique, whereby samples of the milk are taken at three points during its passage through the milking plant, to assess accurately the sources of bacterial contamination of bulk tank milk on farms is discussed.
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Ferenc, Jenei Dániel, Csertő István, and Vincze Orsolya. "Elkövetőből áldozat – a csoportközi konfliktusok narratív konstrukciójának percepciója*." Magyar Pszichológiai Szemle 75, no. 3 (December 14, 2020): 407–24. http://dx.doi.org/10.1556/0016.2020.00024.
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Háttér és célkitűzések:Tanulmányunkban azokat a narratív eseménykonstrukciós eszközöket vizsgáljuk, amelyek összefüggésbe hozhatók a kollektív áldozati tudat (Bar-Tal, Chernyak-Hai, Schori és Gundar, 2009) közvetítésével és fenntartásával. Igazolni kívánjuk, hogy a László (2012) által felvázolt áldozati narratív kompozíciós eszközök (nyelvi ágencia, értékelés, és pszichológiai perspektíva csoportelfogult használata) révén közvetíthető egy csoport áldozati pozíciója. Továbbá megvizsgáljuk, hogy egy csoport konfl iktustörténetének percepcióját képes-e megváltoztatni a narratív kompozíció kísérleti úton történő manipulálása: lehetséges-e elkövetőből áldozatot kreálni pusztán a nyelvi megszerkesztettség útján?Módszer:A társas észlelési paradigmára épülő vizsgálatban nemzeti csoportok áldozati történeteinek szisztematikus nyelvi manipulációján keresztül kialakított elfogult és elfogulatlan változatát megítélve, kérdőíves módszerrel (Egyéni és Csoportvélekedés Skála, Eidelson, 2009) mértük fel a narratív kompozíciós eszközök észlelésre gyakorolt hatását.Eredmények:Az áldozati narratívum kompozíciós eszközei statisztikai értelemben is hatással voltak a bemutatott csoportok áldozati pozíciójának észlelésére. A csoportok megítélése attól függően változott, hogy a résztvevők melyik szövegváltozatot olvasták: az elfogulatlan eseményleírás esetén az „áldozati” csoport, az elfogult változat esetén az „agresszor” észlelt áldozati pozíciója válik hangsúlyosabbá. Egyúttal azt is sikerült bizonyítani, hogy pusztán a nyelvi megszerkesztettség útján megváltoztatható egy agresszor csoport észlelése, és áldozati színezettel is bemutathatók tetteik.Következtetések:A László és munkatársai által leírt narratív kompozíció közvetíti az áldozati tudattal összefüggő hiedelmeket, és a csoport szemantikus szerepe képes felülírni az objektíven meghatározott cselekményszerepeket.Background and goals:In this paper we explore the narrative event-constructional devices that can be linked to the transmission and sustainment of collective victim consciousness (Bar-Tal, Chernyak-Hai, Schori, and Gundar, 2009). Our goal is to verify that with the narrative compositional devices (linguistic agency, evaluation, group-biased use of psychological perspective) described by László (2012), a group’s victim position can be transmitted. It is further explored, if the perception of a group’s confl ict-story can be altered by the experimental manipulation of the narrative composition: is it possible to create a victim from a perpetrator by just the linguistic composition?Method:The study is based on the social perception paradigm, in which biased and unbiased variants of national groups’ victimhood stories were created through systematic linguistic manipulation. The effect of the narrative compositional devices on the perception of the stories was evaluated with a questionnaire (Individual- and Group Beliefs Scale, Eidelson, 2009).Results:The narrative compositional devices of the victimhood narrative had a statistically signifi cant effect on the perception of the introduced groups’ victimhood position. The evaluation of the groups changed according to which variant of the story was introduced: in the case of the unbiased event-description, the „victim” group’s victim position is salient; and in the case of the biased event-description, the „perpetrator” group’s victim position becomes more salient. In addition, it is demonstrated that the perception of a perpetrator group can be changed by only the narrative construction and their actions can acquire a „victim tone”.Conclusion:The narrative compositional devices described by László et al. transmit the beliefs linked to victimhood consciousness, and the group’s semantic role can overwrite the objectively defi ned roles.
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Carrozza, Marco. "Teacher of Orators by Lucian: compositional techniques and contamination of genres." Minerva. Revista de Filología Clásica, no. 35 (December 21, 2022): 37–59. http://dx.doi.org/10.24197/mrfc.35.2022.37-59.
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This paper aims to analyse both the refined devices of literary contamination and the textual techniques that permeate Teacher of Orators by Lucian of Samosata, a pamphlet which attacks the lack of moderation of certain fashionable members of the Second Sophistic. Besides evaluating Lucian’s criticism in an impartial way, this paper offers an analysis of the relationship among the dialogue itself and other literary genres, such as theatre and the contemporary Sophistic declamations. Furthermore, the present study explores the parodic nature of the work and focuses on investigating the overlapping in the different levels of meaning, as typical of parodic operation.
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Thulin, Samuel. "Situated Composition in Emerging Mobile Sound Production Technologies and Practices." Organised Sound 22, no. 1 (March 7, 2017): 73–82. http://dx.doi.org/10.1017/s1355771816000352.
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This article introduces the concept of ‘situated composition’, examining it in relation to developments in mobile sound production technologies and practices. Situated composition draws attention to the specific circumstances in which sound production and compositional activity take place. With mobile devices and apps offering heightened mobility and ease-of-use, ways of working with sound increasingly may be undertaken in a wide range of contexts outside of controlled environments specifically designed for sound work such as studios. Situated composition emphasises the interconnections between the situation in which composition unfolds and the process of composition, approaching composition as inherently distributed and collaborative in multiple ways. This article begins by considering how to situate mobile audio production apps, then moves on to elaborate the concept of situated composition and investigate specific practices. Drawing primarily on interviews carried out with fourteen composers, sound artists, musicians and producers who use mobile devices and apps in their sound work, as well as on podcasts, forums and my own work as a sound artist, I identify seven approaches to using mobile interfaces, focusing particularly on practitioners’ relationships with the surroundings where compositional activity unfolds.
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Gui, Ning, Vincenzo De Florio, and Chris Blondia. "Run-Time Compositional Software Platform for Autonomous NXT Robots." International Journal of Adaptive, Resilient and Autonomic Systems 2, no. 2 (April 2011): 37–50. http://dx.doi.org/10.4018/jaras.2011040103.
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Autonomous Robots normally perform tasks in unstructured environments, with little or no continuous human guidance. This calls for context-aware, self-adaptive software systems. This paper aims at providing a flexible adaptive middleware platform to seamlessly integrate multiple adaptation logics during the run-time. To support such an approach, a reconfigurable middleware system “ACCADA” was designed to provide compositional adaptation. During the run-time, context knowledge is used to select the most appropriate adaptation modules so as to compose an adaptive system best-matching the current exogenous and endogenous conditions. Together with a structure modeler, this allows robotic applications’ structure to be autonomously (re)-constructed and (re)-configured. This paper applies this model on a Lego NXT robot system. A remote NXT model is designed to wrap and expose native NXT devices into service components that can be managed during the run-time. A dynamic UI is implemented which can be changed and customized according to system conditions. Results show that the framework changes robot adaptation behavior during the run-time.
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PUECHNER, R. A., D. S. GERBER, R. DROOPAD, and G. N. MARACAS. "NONLINEAR ELECTROABSORPTION IN ASYMMETRIC TRIANGULAR QUANTUM WELI SELF-ELECTRO-OPTIC EFFECT DEVICES." Journal of Nonlinear Optical Physics & Materials 01, no. 03 (July 1992): 473–91. http://dx.doi.org/10.1142/s0218199192000236.
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The electroabsorptive behavior of asymmetric triangular quantum wells (ATQW) in the active region of a p-i-n self-electro-optic effect device (SEED) structure is experimentally investigated. Excition transition energies are measured by photoluminescence and photocurrent spectroscopy at room temperature and at low temperatures. Room-temperature excitonic linewidths of 9.2 meV for a 265-Å ATQW have been obtained. The electric field modulation of excitonic absorption in ATQWs with compositional grading, both increasing and decreasing in the growth direction is presented. When compared with a similar rectangular quantum-well device, it is observed that ATQWs have intrinsically higher responsivity, comparable room temperature linewidths, and higher device on/off ratios.
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Ruiz, Nazaret, Verónica Braza, Alicia Gonzalo, Daniel Fernández, Teresa Ben, Sara Flores, José María Ulloa, and David González. "Control of Nitrogen Inhomogeneities in Type-I and Type-II GaAsSbN Superlattices for Solar Cell Devices." Nanomaterials 9, no. 4 (April 17, 2019): 623. http://dx.doi.org/10.3390/nano9040623.
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Superlattice structures (SLs) with type-II (GaAsSb/GaAsN) and -I (GaAsSbN/GaAs) band alignments have received a great deal of attention for multijunction solar cell (MJSC) applications, as they present a strongly intensified luminescence and a significant external quantum efficiency (EQE), with respect to the GaAsSbN bulk layers. Despite the difficulties in characterizing the distribution of N in dilute III-V nitride alloys, in this work we have obtained N-compositional mappings before and after rapid thermal annealing (RTA) in both types of structures, by using a recent methodology based on the treatment of different scanning transmission electron microscopy (STEM) imaging configurations. Texture analysis by gray level co-occurrence matrixes (GLCM) and the measurement of the degree of clustering are used to compare and evaluate the compositional inhomogeneities of N. Comparison with the Sb maps shows that there is no spatial correlation between the N and Sb distributions. Our results reveal that a better homogeneity of N is obtained in type-I SLs, but at the expense of a higher tendency of Sb agglomeration, and the opposite occurs in type-II SLs. The RTA treatments improve the uniformity of N and Sb in both designs, with the annealed sample of type-II SLs being the most balanced structure for MJSCs.
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Wu, Chenjing, and Manwen Yao. "Dielectric tunable characteristics of compositional-gradient BaTi1−xSnxO3 thin films." Journal of Advanced Dielectrics 11, no. 04 (August 2021): 2150019. http://dx.doi.org/10.1142/s2010135x21500193.
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Compositional-gradient [Formula: see text][Formula: see text]O3 thin films on Pt(100)/Ti/SiO2/Si substrates are fabricated with sol–gel using spin coating. All of the structures of the prepared thin films are of single-phase crystalline perovskite with a dense and crack-free surface morphology. BTS10/15/20 thin film exhibits enhanced temperature stability in its dielectric behavior. The temperature coefficient of capacitance [Formula: see text] in the temperature range from [Formula: see text]C to [Formula: see text]C is [Formula: see text]C and that of [Formula: see text] in the temperature range from [Formula: see text]C to [Formula: see text]C is [Formula: see text]C. Furthermore, the thin films show low leakage current density and dielectric loss. High and stable dielectric tunable performances are found in BTS10/15/20 thin films: the dielectric tunability of the thin films is around 20.1% under a bias voltage of 8 V at 1 MHz and the corresponding dielectric constant is in the range between 89 and 111, which is beneficial for impedance matching in circuits. Dielectric tunability can be obtained under a low tuning voltage, which helps ensure safety. The simulated resonant frequency of the compositional-gradient BTS thin films depends on the bias electric field, showing compositional-gradient BTS thin films could be used in electrically tunable components and devices. These properties make compositional-gradient BTS thin films a promising candidate for dielectric tuning.
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Gorman, Brian P., Andrew G. Norman, and Yanfa Yan. "Atom Probe Analysis of III–V and Si-Based Semiconductor Photovoltaic Structures." Microscopy and Microanalysis 13, no. 6 (November 14, 2007): 493–502. http://dx.doi.org/10.1017/s1431927607070894.
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The applicability of atom probe to the characterization of photovoltaic devices is presented with special emphasis on high efficiency III–V and low cost ITO/a-Si:H heterojunction cells. Laser pulsed atom probe is shown to enable subnanometer chemical and structural depth profiling of interfaces in III–V heterojunction cells. Hydrogen, oxygen, and phosphorus chemical profiling in 5-nm-thick a-Si heterojunction cells is also illustrated, along with compositional analysis of the ITO/a-Si interface. Detection limits of atom probe tomography useful to semiconductor devices are also discussed. Gaining information about interfacial abruptness, roughness, and dopant profiles will allow for the determination of semiconductor conductivity, junction depletion widths, and ultimately photocurrent collection efficiencies and fill factors.
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Mymryk, Mykhailo. "Saxophone in V. Runchak’s Chamber and Instrumental Creativity: TimbroExpressive and Technical-Performance Aspects." Часопис Національної музичної академії України ім.П.І.Чайковського, no. 2(55) (June 16, 2022): 82–95. http://dx.doi.org/10.31318/2414-052x.2(55).2022.266549.
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The conceptual aspects of using the saxophone's timbre and expressive capabilities in V. Runchak's chamber-instrumental work are characterized from the point of view of a comprehensive analysis of ideological and figurative paradigms that reflect and represent the artist's spiritual and philosophical searches. It has been found that the composer's appeal to ancient layers of culture, historical styles of the past is not accidental in this sense. The characteristic features of the enrichment of the intertextual content of V. Runchak's chamberinstrumental works are explained by the skillful use of non-traditional and modified performance devices and techniques of playing the saxophone. The factors of the formation of an imaginary artistic and performing image in the process of stage interpretation are determined in each program musical work. They appear in author text inserts and comments. The specifics of V. Runchak's use of the saxophone's timbre and expressive capabilities in chamber-instrumental creativity are described, taking into account the technical and performance capabilities of the specified instrument. It has been proven that the artist uses non-traditional and modified performance devices and techniques of playing the saxophone exclusively as a compositional and textural calibrated "movement", and not as a " invention for the sake of invention". The specific means of implementing elements of other compositional systems in the author's language are substantiated, taking into account the historically and factually determined ontological significance, aimed at: creating in the listener's imagination "author-controlled" images, ideas and feelings; expansion of stylistic attributes and involvement of a wide range of new or updated technological techniques, polystylistic principles, classical and romantic genre invariants; creative search for conditionally coexisting two opposite genre-forming factors — conditional dialogue between genre classical, historically composed prototypes and author's form-creating innovations and genre paradoxes; application of modern compositional techniques — aleatorics, cluster modeling, layered polyphony, sonoristics, etc.
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Hull, R. "Direct Transmission Electron Microscope Observations of Doping Variations in InP-Based Semiconductor Laser Diodes." Microscopy and Microanalysis 4, S2 (July 1998): 648–49. http://dx.doi.org/10.1017/s1431927600023369.
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The ability to map semiconductor doping distributions with high spatial resolution (∽10 nm) and high compositional sensitivity (of order 1 ppm) is of enormous importance to the microelectronics and optoelectronics industry. Although several methods (e.g. scanning capacitance microscopy, masked secondary ion mass spectroscopy, secondary electron microscopy, electron holography) are under development, no technique currently offers the combination of sufficient resolution, sensitivity and reproducibility to fully address characterization requirements. In this paper, we describe development of a technique which utilizes focused ion beam (FIB) sputtering and transmission electron microscopy (TEM) to enable direct imaging of dopant distributions in InP-based semiconductor devices, with spatial resolution of order 10 - 30 ran, and compositional sensitivity of order 1017 cm-3 (i.e. 5 ppm).Laser diode samples are prepared for TEM imaging using a FEI 200 30 kV Ga+ focused ion beam system. A schematic of the relevant structure is shown in Figure 1(a).
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Al Rabea, Adnan I., Mahmud S. Alkoffash, Feras Almatarneh, and Basim Alhadidi. "The Methods of Synthesis of Multilevel Circuits of Compositional Micro Program Control Units." Applied Mechanics and Materials 110-116 (October 2011): 5429–36. http://dx.doi.org/10.4028/www.scientific.net/amm.110-116.5429.
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On the basis of theoretical and experimental researches the new structures and formal methods of compositional micro program control units design are proposed. It is shown that optimization of hardware in the unit of microinstructions’ addressing can be achieved by application of the methods of multilevel implementation of automata with “hardware” logic, that need adaptation to the peculiarities of compositional micro program control units. It is proposed to use the methods of the logic conditions’ encoding, the codes of the states, the codes of the operational linear chains and their classes, and also the addresses of microinstructions. The new structures and methods of design were developed for all known structures of compositional micro program control units. The proposed methods permit to decrease the amount of programmable logic devices in the automaton of addressing’s circuit from 12% to 42% in comparison with known methods of design. The analytical estimations of hardware amount as the function of characteristics of initial flow-chart have been made up. These methods permit to expand the class of synthesizable control units. The conducted researches permit to find an area of the effective application of proposed methods of design. The purpose of work is minimization of number of the large-scale integrated circuit in circuit of automatons of addressing of CMCU due to application of methods of a structural reduction. The analysis of methods of realization of algorithms of control, element basis, methods of a structural reduction, methods of synthesis and optimization of compositional micro program control units are executed, the primary goals of researches are formulated.. (Abstract)
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Sytar, V. I., K. M. Sukhyy, O. S. Kabat, and I. I. Nachovnyi. "Polymeric compositional materials based on polycarbonate for units of devices for transform solar into thermal energy." Journal of Engineering Sciences 4, no. 1 (2017): F 1—F 7. http://dx.doi.org/10.21272/jes.2017.4(1).f1.
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Lannelongue, K., M. De Milly, R. Marcucci, S. Selevarangame, A. Supizet, and A. Grincourt. "Compositional Grounded Language for Agent Communication in Reinforcement Learning Environment." Journal of Autonomous Intelligence 2, no. 3 (November 15, 2019): 1. http://dx.doi.org/10.32629/jai.v2i3.56.
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In a context of constant evolution of technologies for scientific, economic and social purposes, Artificial Intelligence (AI) and Internet of Things (IoT) have seen significant progress over the past few years. As much as Human-Machine interactions are needed and tasks automation is undeniable, it is important that electronic devices (computers, cars, sensors…) could also communicate with humans just as well as they communicate together. The emergence of automated training and neural networks marked the beginning of a new conversational capability for the machines, illustrated with chat-bots. Nonetheless, using this technology is not sufficient, as they often give inappropriate or unrelated answers, usually when the subject changes. To improve this technology, the problem of defining a communication language constructed from scratch is addressed, in the intention to give machines the possibility to create a new and adapted exchange channel between them. Equipping each machine with a sound emitting system which accompany each individual or collective goal accomplishment, the convergence toward a common ‘’language’’ is analyzed, exactly as it is supposed to have happened for humans in the past. By constraining the language to satisfy the two main human language properties of being ground-based and of compositionality, rapidly converging evolution of syntactic communication is obtained, opening the way of a meaningful language between machines.
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O'Shea, Janet. "At Home in the World? The Bharatanatyam Dancer As Transnational Interpreter." TDR/The Drama Review 47, no. 1 (March 2003): 176–86. http://dx.doi.org/10.1162/105420403321250071.
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Bharatanatyam dancers often explain what they are about to perform, offering an introduction to the dance and to the particular narrative to be enacted. This kind of preperformance synopsis brings into play an English verbal framework and a South Indian choreographic one. The explanation interprets the “Eastern” choreography through the “Western” linguistic system. This spoken interlocution risks representing bharatanatyam more as a means of entry into a cultural field of reference than as a set of choreographic choices and compositional devices.
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Nunney, Tim, and Richard White. "Characterizing Materials for Energy Generation Using X-ray Photoelectron Spectroscopy (XPS)." Microscopy Today 19, no. 2 (February 28, 2011): 22–28. http://dx.doi.org/10.1017/s1551929511000022.
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In order to meet the challenges of more economical and environmentally benign energy production, a new generation of complex materials and devices are being developed, including thin film solar cells, fuel cells, and batteries. In all stages of development there is a requirement for materials characterization and analysis, from the initial development stages through to testing of the finished product. Most materials need to be analyzed for compositional homogeneity across surfaces and also for confirmation of film thickness and layer chemistry.
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Paiuk, Gabriel. "Tactility, Traces and Codes: Reassessing timbre in electronic media." Organised Sound 18, no. 3 (November 12, 2013): 306–13. http://dx.doi.org/10.1017/s1355771813000289.
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This article starts by arguing that in diverse approaches to electronically produced sound in music of recent times a shift in focus has occurred, from the creation of novel sounds to the manipulation of sound materials inherent in a culture of electric and electronic devices of sound production.Within these practices, the use of lo-fi devices, circuit-bending, cracked electronics and a resurfacing of older technologies is coupled with digital technology in a process which emphasises the devices characteristic modes of sound production and artefacts. Electronic sound becomes regarded as embedded on a reservoir of qualities, memories and registers of technologies that inhabit our sound environment.From this starting point our apprehension of technologically produced sound is reassessed, constituted as the crossing of particular conditions of production and reception, cultural traces and codes inherent in the practices and characteristics of media.This perspective lays the ground for a compositional approach that exposes and problematises the interaction of these multiple conditions.
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Morrison, Landon. "Strange yet Familiar Sounds in Zosha Di Castri’s String Quartet No. 1." Circuit 28, no. 2 (September 12, 2018): 83–98. http://dx.doi.org/10.7202/1051294ar.
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This paper presents a detailed analysis of Zosha Di Castri’s String Quartet No. 1 (2016), situating the work in relation to the composer’s still-nascent oeuvre and showing how it contains a diverse mix of stylistic impulses within its relatively compact form. The concept of defamiliarization, borrowed from literary criticism, provides a useful theoretical basis for understanding the work. By presenting familiar musical figures within strange new contexts, Di Castri effectively bypasses habitual modes of reception and encourages the listener to engage more actively with the work’s multi-coded discourse. This revivification of perceptual awareness is accomplished using a number of compositional techniques, including the juxtaposition or superimposition of contrasting materials, the transformation of motives, and the distortion of formal syntax. Taken together, these defamiliarizing devices mount an aesthetic intervention that playfully subverts compositional norms, allowing Di Castri to take a decisive step forward in the development of her own musical style.
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Gajdardziska-Josifovska, M. "Reflection electron microscopy of triangular quantum wells." Proceedings, annual meeting, Electron Microscopy Society of America 51 (August 1, 1993): 828–29. http://dx.doi.org/10.1017/s0424820100149970.
Full textAbstract:
Asymmetric triangular quantum wells (ATQW) have recently been developed to improve the absorption and emission characteristics of opto-electronic devices. A triangular compositional gradient is produced during epitaxial growth of AlxGa1-xAs on GaAs by either continuous variation of x or by alternate deposition of thin layers of the two compounds where the ratio of the layer thickness produces an average alloy composition. The knowledge of the compositional profile of the actual ATQW, as derived from HREM, has proven essential for the description of the photo-emission properties of the device. Recently, the technique of reflection electron microscopy has also been applied to multiple rectangular quantum wells of GaAs/AlxGa1-xAs with the encouraging result that layers with 1% Al can be distinguished from the GaAs layers. In this work we investigate the applicability of REM to characterization of ATQW.Triangular quantum wells were grown by MBE, employing the digital alloy method. Fig. 1 shows a schematic representation of the nominal thickness and composition of the studied ATQW.