Relevant bibliographies by topics / Motets

Academic literature on the topic 'Motets'

Author: Grafiati
Published: 4 June 2021
Last updated: 29 July 2024

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Journal articles on the topic "Motets"

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Bokulich, Clare. "REMAKING A MOTET: HOW AND WHEN JOSQUIN’S AVE MARIA … VIRGO SERENA BECAME THE AVE MARIA." Early Music History 39 (September 4, 2020): 1–73. http://dx.doi.org/10.1017/s0261127920000017.

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How and when did Josquin’s Ave Maria … virgo serena become one of the most famous Renaissance motets? It is widely held that the motet’s modern standing is directly rooted in its Renaissance reception. And yet beyond its relatively robust circulation and placement at the beginning of Petrucci’s first printed book of motets, little evidence remains as to how Josquin’s now-famous motet was perceived during and shortly after the composer’s life. In responding to this paucity of information, Part I of this article traces a reception history for Ave Maria that considers how the motet was reworked in parody masses and motets, analysing the specific ways in which later composers both engaged with and departed from Josquin’s techniques. Part II turns to the work’s modern reception, mining the scholarly literature, survey texts and recordings for clues as to how the motet’s significance has shifted throughout the twentieth century. The article concludes by proposing that this site-specific approach may be useful in comprehending the extensive stylistic changes that occurred between c. 1480 and the mid-sixteenth century.
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Smith, Norman E. "The Earliest Motets: Music and Words." Journal of the Royal Musical Association 114, no. 2 (1989): 141–63. http://dx.doi.org/10.1093/jrma/114.2.141.

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The birth of a genre surely is one of the most fascinating occurrences in the history of music, and no genre of medieval music had a more interesting birth than the motet. Study of the motet in modern times found special impetus and direction in 1898 when Wilhelm Meyer announced his discovery of the origin of the motet in the discant clausulae of the Notre Dame organa. Demonstrating the musical identity of certain Latin motets and discant clausulae, he concluded that the motet arose through the addition of Latin texts to the melismatic upper voices of the two-voice clausulae and was thereby able to explain for the first time the previously baffling and unprecedented verse structures of many motet texts. In doing so, he at the same time made it clear that he understood the French motet to be of later origin than the Latin and brushed aside special questions concerning the French type, such as, for example, its most provocative feature: its characteristic use of refrains. How was one to understand the presence of refrains in a French motet supposedly derived from a sacred, liturgical model? This and other difficult questions refused to disappear, and they continued to be raised from time to time, but Meyer's explanation of the origin of the motet gained general acceptance, most decisively and influentially from Friedrich Ludwig. All of Ludwig's writings on the motet bespeak his endorsement of Meyer's position, but nowhere more explicitly than in the Repertorium:These compositions [discant clausulae] were still more important by virtue of the fact that they served in rather large numbers as musical sources of motets, at first for Latin motets and later, although in more limited numbers, also for French motets - a fact, first recognized for the Latin motets by Wilhelm Meyer in 1898 (Der Ursprung des Motetts), claiming central importance for the history of music about 1200.
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Clark, Alice V. "Listening to Machaut's Motets." Journal of Musicology 21, no. 4 (2004): 487–513. http://dx.doi.org/10.1525/jm.2004.21.4.487.

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In a significant number of his motets, Guillaume de Machaut uses melodic repetition to provide audible cues to their talea structure. He further breaks or alters that repetition in order to call attention to final talea statements, thereby providing a sounding clue to the motet's end. The use of this technique in a genre well known for its intellectual complexities seems to show a special concern for the unprepared listener, a concern that is less clearly manifested in the work of other motet composers in 14th-century France. This has implications both for how we see Machaut in relation to his contemporaries and for how we may approach his motets today.
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Melamed, Daniel R. "The Authorship of the Motet "Ich lasse dich nicht" (BWV Anh. 159)." Journal of the American Musicological Society 41, no. 3 (1988): 491–526. http://dx.doi.org/10.2307/831462.

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The eight-voice motet Ich lasse dich nicht (BWV Anh. 159) has been attributed both to J. S. Bach and to his father's cousin Johann Christoph Bach (1642-1703). A new look at the sources and transmission of the motet makes clear that the attribution to the older Bach was a nineteenth-century speculation that must be rejected. With the question of the motet's authorship reopened, the evidence shows that Ich lasse dich nicht is indeed by J. S. Bach. The oldest source, partly in Bach's hand, may be securely dated to the Weimar period, making the motet one of Bach's earliest extant vocal works. This dating challenges the widely-held assumption that Bach wrote all his motets in Leipzig, and forces a reevaluation of the dating of his other motets.
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Clark, Alice V. "New tenor sources for fourteenth-century motets." Plainsong and Medieval Music 8, no. 2 (October 1999): 107–31. http://dx.doi.org/10.1017/s0961137100001662.

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The study of the medieval motet in France has recently been rejuvenated, in part by returning to the motet's point of origin – its tenor. Some scholars have focused on the tenor's pitch content, showing how it shapes the motet's harmonies, and how it is in turn shaped by local chant variants; others, by considering the tenor's text and the origin of that text in the liturgy and frequently in the Bible, have shown the motet to be perhaps the quintessential musical manifestation of medieval intertextuality. By bringing together sacred and secular, Latin and vernacular, the motet, better than any other musical genre, exemplifies both the Boethian ideal of music as something much larger than sound and the interconnectedness of all things in the medieval mind. The discovery of hitherto unknown chant sources for motet tenors is therefore an opportunity to reinterpret the texts of the motets they underpin.
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BROWN, THOMAS. "Another Mirror of Lovers? - Order, structure and allusion in Machaut's motets." Plainsong and Medieval Music 10, no. 2 (October 2001): 121–33. http://dx.doi.org/10.1017/s0961137101000092.

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Machaut's first twenty motets appear, identically ordered, in a group of manuscripts copied under the composer's supervision. This order highlights connections between individual motets. Proportional relationships between six motets, and an allusion to the mid-point of Le Roman de la rose in the tenth motet, suggest that Machaut intended the motet group to be self-contained and sub-divided into two groups of ten.
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Piéjus, Anne. "THE ROMAN MOTET (1550–1600): A COLLECTIVE ISSUE? NEW ATTRIBUTIONS AND REFLECTIONS ON AUTHORSHIP IN THE LIGHT OF A NEW DOCUMENT." Early Music History 40 (October 2021): 253–93. http://dx.doi.org/10.1017/s0261127921000036.

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In 1984 Noel O’Regan demonstrated that Roman manuscripts containing Lasso’s motets were reworkings of motets found in published editions. This article reopens an investigation of the Roman manuscript motet books in the light of an autograph booklet by the Oratorian priest and censor of music Giovanni Giovenale Ancina (1599). This document contains two lists of motets, comprising a wide selection that reflects a search for variety in the number of voices (with a preponderance of eight-voice motets), age and style of the motet. It shows a large number of concordances with several manuscript anthologies related to the Oratorian circles. Ancina’s bookletallows us to propose new attributions for motets by Zoilo and Prospero Santini, better known as a chapel master. Finally, a comparison with existing sets of music books qualifies the multiple authorship of the motet in the Roman erudite milieu of that time.
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Lewis, Ann. "Anti-semitism in an early fifteenth-century motet: Tu, nephanda." Plainsong and Medieval Music 3, no. 1 (April 1994): 45–55. http://dx.doi.org/10.1017/s0961137100000620.

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There is much interest at present in the way medieval motets generate meaning, both with their texts and their music. In two articles from a recent issue of Early Music History, for example, a remarkable density of meaning and symbolism, both textual and musical, has been proposed for Machaut's motet 15. Studies of this kind are intended to demonstrate what can be achieved by placing the poems of motets in a literary context and by considering the structure of words and music. Such research also no doubt serves to reinforce the idea that many motets of the fourteenth and fifteenth centuries demand a wealth of erudite knowledge to be understood and is thus congenial to the current belief that many motets were intended for an intellectual elite. Whilst there can be no doubt that medieval motets often cultivate a literary style of considerable – indeed intense – obscurity, what I wish to suggest here is that one, very ambitious, motet can be interpreted using some of the most basic tools of the medieval cleric.
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BRADLEY, CATHERINE A. "Ordering in the motet fascicles of the Florence manuscript." Plainsong and Medieval Music 22, no. 1 (April 2013): 37–64. http://dx.doi.org/10.1017/s0961137112000186.

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ABSTRACTFlorence, Biblioteca Medicea Laurenziana, Plut.29.1 (F) is considered the earliest extant manuscript to preserve a collection of motets, with two fascicles devoted to this new genre. Scholars have long emphasised the strict liturgical sequence of the first motet fascicle, in contrast to the seeming lack of order in the second. This article engages with questions of liturgical arrangement in F, exploring the possibility of a liturgical function for motets in this source. It undertakes a re-examination of the ordering of motets in F, proposing two new organisational principles applicable across both fascicles: first, that the arrangement of motets may have been influenced by an awareness of related clausulae and discant materials extant elsewhere in F; and second, that ordering of the collection reflects the relative dissemination or ‘popularity’ of motets and their related materials.
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CLARK, ALICE V. "Machaut's motets on secular songs." Plainsong and Medieval Music 29, no. 1 (April 2020): 1–25. http://dx.doi.org/10.1017/s0961137120000042.

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ABSTRACTIn his three motets with tenors taken from secular songs, Guillaume de Machaut experiments with upper voice structures that borrow from the talea principle used in chant-based motets, creating hybrid forms that reflect aspects of the motet's overall subject. In two cases, Machaut sets up upper-voice taleae that do not coincide with their song-based tenor but interact with it in interesting ways. Trop plus est bele / Biauté paree de valour / Je ne sui mie certeins (M20) balances these formal principles to reflect a perfect love balanced between the dedicatory and the sacralised, while Lasse! comment oublieray / Se j'aim mon loyal ami / Pour quoy me bat mes maris? (M16) creates three opposing forms that reflect a Lady looking in two different directions, towards a beloved and a husband who abuses her. Dame je sui cilz qui weil endurer / Fins cuers doulz, on me deffent / T. Fins cuers doulz (M11) does not define regular upper-voice taleae, but rather uses the tools by which taleae are defined in the upper voices – long rests, hocket sections, and melodic repetition – to merge disparate formal principles in the service of a motet that discusses a woman who merges a soft appearance with a hard reality. Here Machaut also uses hexachordal punning, combining sharps and flats to express the Lady's contradictory qualities.
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Dissertations / Theses on the topic "Motets"

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Hatter, Jane Daphne. "Marian motets in Petrucci's Venetian motet anthologies." Thesis, McGill University, 2007. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=112398.

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Although there is a marked increase in the number of surviving motets from the early sixteenth century, the context in which they were performed remains a mystery. The first five printed anthologies of motets, published by Petrucci in Venice between 1502 and 1508, include a significant proportion of Marian motets (95 of the 174 pieces). In the first chapter I provide evidence that these polyphonic Marian motets were used in the Venetian confraternities, or "scuole." The second chapter draws connections between the musical needs of the scuole and the Marian text types of the motet anthologies. The final chapter looks at settings of the most common devotional prayer of the early sixteenth century, the Ave Maria. This thesis thus proposes a new context---the Venetian scuole---for the consumption of printed motet books and the performance of motets, with a special emphasis on their role in lay Marian devotions.
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Banks, Jon. "The motet as a formal type in Northern Italy ca 1500 /." New York ; London : Garland, 1993. http://catalogue.bnf.fr/ark:/12148/cb36961785c.

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Seiferling, Steffen. "O felix templum jubila : Musik, Text und Zeremoniell in den Motetten Johannes Ciconias /." Berlin : Mensch & Buch, 2004. http://catalogue.bnf.fr/ark:/12148/cb40147064d.

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Montefu, Jennette Lauren, and res cand@acu edu au. "The Latin Texted Motets of Guillaume de Machaut." Australian Catholic University. School of Arts and Sciences, 2003. http://dlibrary.acu.edu.au/digitaltheses/public/adt-acuvp37.29082005.

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Guillaume de Machaut’s motets constitute a cycle. This study focuses upon Machaut’s six Latin texted motets and their influence upon these cyclical contexts. Former research into these motets has uncovered references to contemporary poetry, liturgical texts, literary sources, particular persons, and historical events. Through an examination of recent research into the cyclical nature of the motets it is possible to critically evaluate these hypotheses in the light of the past historical, codicological, liturgical, musical and poetic analysis of these works to create a rounded picture of each motet. In this way it was found that many of the previously researched aspects of the motets follow in line with recent theories surrounding motet grouping structures. In this way when placing these works within a mystical theological literary context their sacred nature, evident within the tenor chant fragments upon which many of them are built, becomes evident and a greater plan apparent. Beyond this, with an examination of Machaut’s life and the events which occurred in his lifetime the context for composition of the remaining motets is unearthed. Within these motets elements have now been identified which link them to Machaut’s canonries at both Saint Quentin and Reims as well as the events of the Hundred Years’ War. In this way the deep connection between Machaut’s motets and all levels of his life is becoming increasingly apparent. Through an examination of these six Latin texted motets it is found that a liturgical context is key to the analysis of all voices. This is apparent in the mere use of vocabulary idiomatic to the liturgy present within these texts. In this way the selection of words within motet 21 points to a Marian allusion and the apocalyptic, drawing motet 21 even closer in context to motets 22-23. This apocalyptic reference is also seen in specific words within in triplum text of motet 22. Furthermore, the Marian allusions discovered throughout these last three motets in their upper voices are apparent only with a close examination of the Salve Regina texts. In this way the influence and importance of liturgical context to the analysis of the motet has been extended to all voices. This study has also uncovered allusions to other fourteenth century works in the analysis of Machaut’s motets. In the case of motet 9 a connection between its chant tenor and another from the Roman de Fauvel reveals a political context which brings an added richness to the interpretation of these texts. Furthermore, as with motets 18-19, it may be gleaned that as Machaut and Vitry were both canons at Saint Quentin that perhaps it was here and with these two motets that Machaut began his tutelage with the older master of the motet. These conclusions may be drawn by the striking similarities between Machaut’s works and those believed to have originated from within the Vitry circle. In the course of this study there have been additions to evidence the necessity of looking to all aspects of Guillaume de Machaut’s motets in their analysis. This includes use of numerical symbolism in varying aspects as shown in motet 9 as well as a thorough exploration of Machaut’s use of vocabulary within his texts to find its literary, historical, motet, and liturgical allusions. The identification of these sources may either serve to reinforce or expand the context of the motet leading to a deeper understanding of its purpose within a group of motets or individually.
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Dahlenburg, Jane Elizabeth. "The motet c.1580-1630 : sacred music based on the Song of Songs /." Ann Arbor (Mich.) : UMI, 2006. http://catalogue.bnf.fr/ark:/12148/cb40063407z.

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Bonfield, Stephan. "Mode, text and syntax in selected motets of Cristóbal de Morales." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0007/MQ34878.pdf.

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Borgerding, Todd Michael. "The motet and Spanish religiosity ca 1550-1610 /." Ann Arbor : Mich. : UMI, 2000. http://catalogue.bnf.fr/ark:/12148/cb37122214n.

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Cramer, Susanne Heugel Johannes. "Johannes Heugel (ca. 1510-1584/85) Studien zu seinen lateinischen Motetten /." Kassel : G. Bosse, 1994. http://books.google.com/books?id=N5ZAAAAAMAAJ.

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Chaney, Mark Allen. "Four motets from the Florilegium portense." Columbus, Ohio : Ohio State University, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1180461416.

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Davies, Rachel Lindley. "Marian aspects of Montpellier Codex motets." Thesis, University of Birmingham, 2013. http://etheses.bham.ac.uk//id/eprint/4453/.

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This thesis explores the means by which, and the forms in which, the Virgin Mary and her medieval Cult are represented in the motets of the thirteenth-century northern French Montpellier Codex (Mo). It reveals how various musical and poetic techniques are used to worship and address the Virgin and to make her the central focus, even in works addressing apparently non-Marian aspects of Christianity. I demonstrate that the repertoire uses linguistic, musical, and numerical symbolism for Marian purpose, and consider how these symbols would have been understood by a medieval audience. This analytic approach reveals that the Feast of the Annunciation features more frequently in the Codex than has previously been recognised, and that the Virgin, and her Feasts of the Annunciation and Assumption, are of great, and previously unexplored, significance to Fascicle IV of the Codex. This thesis provides new insight into how the theme of mystical marriage is emphasised in Mo, and the final two chapters explore how the Virgin, and the Marian model of mystical marriage, were used as a means for molding and critiquing a variety of women, including the stock characters of the dame courtoise and the shepherdess Marion.
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Books on the topic "Motets"

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Couperin, François. Motets. Saint-Michel de Provence: Harmonia Mundi, 1985.

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Kroupová, Olga, ed. Motetten = Motets: Klavierauszug = piano reduction. Kassel: Bärenreiter, 2001.

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Hale, Terrel. Four motets for St. Michael. [Tuscaloosa, Alabama]: Press Digressive, 1990.

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Harbison, John. Six motets, chorus (SATB) a cappella. New York, NY: Associated Music Publishers, 1995.

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Peter, Bergquist, ed. Orlando di Lasso, The complete motets. Middleton, Wis: A-R Editions, 2007.

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1951-, Nelson Peter, ed. Earle Brown: From motets to mathematics. Philadelphia, PA: Taylor and Francis, 2007.

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1938-, Rosenstock Raymond Hugh, ed. Modulorum Ioannis Maillardi--: The four-part motets. Madison: A-R Editions, 1987.

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Byrd, William. Motets. 2018.

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Warburton, Ernest. Solo Motets. Taylor & Francis Group, 2023.

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Park, Owain. English motets. 2018.

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Book chapters on the topic "Motets"

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Kauffman, Deborah. "Petits motets." In Music at the Maison royale de Saint-Louis at Saint-Cyr, 274–317. Abingdon, Oxon; New York, NY: Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781315596747-9.

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Pesce, Dolores. "Motet Refrains Shared with Other Motets." In The Malmariée in the Thirteenth-Century Motet, 87–113. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003335405-9.

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"Motets." In Josquin des Prez and His Musical Legacy, 128–86. Leuven University Press, 2013. http://dx.doi.org/10.2307/j.ctt9qf18p.12.

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Cozzolani, Chiara Margarita. "Motets." In Recent Researches in the Music of the Baroque Era, 87. A-R Editions, 1998. http://dx.doi.org/10.31022/b087.

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Bach, Johann Ludwig. "Motets." In Recent Researches in the Music of the Baroque Era, 108. A-R Editions, 2001. http://dx.doi.org/10.31022/b108.

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Bent, Margaret. "Floret/Florens: Intended for Fauvel?" In The Motet in the Late Middle Ages, 131–37. Oxford University PressNew York, 2023. http://dx.doi.org/10.1093/oso/9780190063771.003.0007.

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Abstract The motet Floret/Florens is not in the Fauvel compilation, but its triplum text and music were adapted there, topped and tailed as a ‘fauvelised’ monophonic prose, Carnalitas, luxuria. Table 6.1 shows verbal correspondences between the two versions. The motetus text names Haman and Mordecai, thus linking it with Aman novi (see Chs. 3 and 5), where Haman stands for Marigny and Fauvel. The present chapter proposes that the motet’s many affinities with the tone and subject-matter of Fauvel might indicate that at some stage it was planned for inclusion, either in addition to or instead of Garrit gallus, the final motet in the ‘forwards’ Fauvel narrative, and the first in the ‘backwards’ Marigny sequence. The motets share a tenor, and may also have contributed to an alphabetical sequence.
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Bent, Margaret. "Fragmentary Motets and Other Possibly Linked Compositions." In The Motet in the Late Middle Ages, 389–98. Oxford University PressNew York, 2023. http://dx.doi.org/10.1093/oso/9780190063771.003.0022.

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Abstract The incomplete motet Arta/Musicus est ille survives in an English fragment which also contains one of the versions of Apollinis with added parts (see Ch. 16). Motetus and tenor of Non eclipsis atra ferrugine are on the other side of an Apollinis fragment. Their extant motetus texts resonate with the other musician motets, but it is not known whether the missing tripla listed musicians. Other fragments that might belong to the group likewise contain no names. Eight further song-like compositions with suggestive celebration of music or musicians are listed, but they stand outside the generic tradition to which the chapters of Part IV are devoted.
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Knighton, Tess. "The motets." In The Music of Juan de Anchieta, 84–105. Routledge, 2019. http://dx.doi.org/10.4324/9781315555379-4.

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Grau, Anna Kathryn. "Jonete et Jolie." In Gender and Voice in Medieval French Literature and Song, 203–29. University Press of Florida, 2021. http://dx.doi.org/10.5744/florida/9780813069036.003.0009.

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Polyphonic medieval motets function as a complex locus of “voice” in medieval French literature. Through their layered musical construction, motets may combine two or more different “voices” in simultaneous polyphonic articulation, while the individual parts may also incorporate additional voices through direct discourse and refrain citation. The musical settings of polyphonic motets—the temporal interplay of voices, the resulting kaleidoscope of voices, motivic echoes, and musical borrowings—are often neglected in studies of the female voice in medieval song that treat motet and trouvère song interchangeably. However, analysis of the music of several songs and motets with stereotyped naive and objectified female personae show how musical details can complicate readings of the gendered voice in motets, opening additional space for conflicting interpretations and reactions, including “resistant reading.”
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Bent, Margaret. "The Fourteenth-Century Italian Motet." In The Motet in the Late Middle Ages, 497–530. Oxford University PressNew York, 2023. http://dx.doi.org/10.1093/oso/9780190063771.003.0027.

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Abstract The retrospective anthologies of Italian trecento repertory are dominated by the madrigal, ballata and caccia. Due to its absence from these manuscripts, the Italian motet had not been recognised as a distinctive genre until this essay (originally given at a conference in 1984 and here heavily revised since its delayed 1992 publication) reinstated its tradition on the basis of often fragmentary sources. That tradition is traced here, starting with Marchetto’s motet Ave regina celorum/Mater innocencie. Twenty-nine motets are listed with their characteristics, culminating in the motets of Ciconia, mostly composed in Padua c. 1400–1411, and for which earlier motets provide precedents and context. Several of the texts embed names of dedicatees or composers. The many similarly formed compositions in the ensuing generation are not addressed here, except that a more recently discovered (later) motet O Antoni is included.
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Conference papers on the topic "Motets"

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Chang, Chun-yien, and Ying-ping Chen. "Contrapuntal Composition and Autonomous Style Development of Organum Motets by using AntsOMG." In 2021 IEEE Congress on Evolutionary Computation (CEC). IEEE, 2021. http://dx.doi.org/10.1109/cec45853.2021.9504881.

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Korsakienė, Renata, and Ieva Beinarytė. "MOTERŲ VADOVIŲ POŽIŪRIS Į VADOVAVIMĄ IR ORGANIZACIJOS POKYČIUS." In 23rd Conference for Young Researchers "Economics and Management". Vilnius Gediminas Technical University, 2020. http://dx.doi.org/10.3846/vvf.2020.001.

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Lygių galimybių užtikrinimui įmonėse yra kuriamos darbo grupės ir komitetai, ruošiamos įvairios politikos ir tvarkos, daugumos valstybių ir sąjungų tikslais tampa ilgalaikės programos, kurių tikslas – mažinti socialinę atskirtį ir diskriminaciją. Tačiau nepaisant visų pastangų, yra pastebima, kad daugumos didelių organizacijų vadovybėse, valdybos narių ir direktorių tarpe vyrauja vadovai vyrai, o ne vadovės moterys. Šio straipsnio tikslas – įvertinus moterų vadovių požiūrį į vadovavimą, nustatyti ar tai gali turėti reikšmingą įtaką „stiklinių lubų“ įveikimui. Straipsnyje analizuojami moterų vadovių vadovavimo stiliai, jų ypatumai, vyraujančios moterų vadovių charakteristikos ir požiūris į organizacinius pokyčius. Taip pat apžvelgiama, kuo moterų vadovių vadovavimas ir elgsena skiriasi bei yra panašūs į vadovų vyrų vadovavimo stilius ir jų požiūrius bei elgseną pokyčių metu. Straipsnyje taip pat nagrinėjamos lyčių diversifikacijos ir stereotipų kilmė bei galimos jų priežastys.
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Wen, Yao-Jung, Alice M. Agogino, and Kai Goebel. "Fuzzy Validation and Fusion for Wireless Sensor Networks." In ASME 2004 International Mechanical Engineering Congress and Exposition. ASMEDC, 2004. http://dx.doi.org/10.1115/imece2004-60964.

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Miniaturized, distributed, networked sensors — called motes — promise to be smaller, less expensive and more versatile than other sensing alternatives. While these motes may have less individual reliability, high accuracy for the overall system is still desirable. Sensor validation and fusion algorithms provide a mechanism to extract pertinent information from massively sensed data and identify incipient sensor failures. Fuzzy approaches have proven to be effective and robust in challenging sensor validation and fusion applications. The algorithm developed in this paper — called mote-FVF (fuzzy validation and fusion) — uses a fuzzy approach to define the correlation among sensor readings, assign a confidence value to each of them, and perform a fused weighted average. A sensor network implementing mote-FVF for monitoring the illuminance in a dimmable fluorescent lighting environment empirically demonstrates the timely response of the algorithm to sudden changes in normal operating conditions while correctly isolating faulty sensor readings.
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Galos, Richard, Xi Chen, and Yong Shi. "Ultra Low Power Energy Storage Circuit for Piezoelectric Nanogenerators." In ASME 2011 International Design Engineering Technical Conferences and Computers and Information in Engineering Conference. ASMEDC, 2011. http://dx.doi.org/10.1115/detc2011-48734.

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MEMS and NEMs devices benefit many applications due to their unique performance and tiny size. We have researched replacing components of a Wireless Sensor Network (WSN) mote with several such devices. In this paper, we present an energy conversion and storage circuit that can be used with piezoelectric nanogenerators for self powered motes. Energy from external vibration or environmental acoustics is capacitively stored and released at certain time intervals according to the application. Stored and lost power is compared against a detailed WSN mote power budget to size the generator and capacitor.
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Liao, Jung-Chi, and George Oster. "The Engines of Biomolecular Motors." In ASME 2004 3rd Integrated Nanosystems Conference. ASMEDC, 2004. http://dx.doi.org/10.1115/nano2004-46094.

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The majority of biomolecular motors are powered by nucleoside triphosphate (NTP), especially adenosine triphosphate (ATP). These motors consist of a β-sheet with highly conserved motifs and the nucleotide binding domain around it. The highly conserved protein folds are the engines of these motors, which convert the energy of NTP hydrolysis cycle to mechanical work. Although functions of molecular motors are widely diverse, (including cargo movement, DNA unwinding, protein degradation, ion pumping, etc), the nucleotide binding domains are very similar. In the binding site, NTP undergoes a hydrolysis cycle E+NTP⇄E·NTP⇄E•NTP⇄E•NDP•Pi⇄E•NDP+Pi⇄E+NDP+Pi where E is the enzyme (motor protein), the small dot represents the docking of NTP, and the large dot represents the tightly-bound states. The hydrogen bond network formed in the NTP binding step, as shown in Figure 1 [1], deforms the β-sheet and adjacent structures. The local deformation propagates to conformational changes of functional residues to do mechanical work or to change the affinity to the substrate [2]. For multimeric motor proteins, we must also consider the stress paths among subunits which control the sequence and the activity of the protein. Stress trajectories emanating from a binding site either passes through a circumferential stress loop or a stress loop through the substrate.
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Gold, Vladimir M. "Numerical Modeling of Fragmentation Characteristics of Explosive Fragmentation Munitions." In ASME 2002 Pressure Vessels and Piping Conference. ASMEDC, 2002. http://dx.doi.org/10.1115/pvp2002-1150.

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Numerical simulations of explosive fragmentation munitions presented in this work integrate three-dimensional axisymmetric hydrocode analyses with analytical fragmentation modeling. The developed analytical fragmentation model is based on the Mott’s theory of break-up of cylindrical “ring-bombs” (Mott, 1947), in which the average length of fragments is a function of the radius and velocity of the ring at the moment of break-up, and the mechanical properties of the metal. The fundamental assumption of the model is that the fragmentation occurs instantly throughout the entire body of the shell. Adopting Mott’s critical fracture strain concept (Mott, 1947), the moment of the shell break-up is identified in terms of the high explosive detonation products volume expansions, V/V0. The assumed fragmentation time determined from the high-speed photographic data of Pearson (1990) had been approximately three volume expansions, the fragmentation being defined as the instant at which the detonation products first appear as they emanate from the fractures in the shell. The newly developed computational technique is applied to both the natural and preformed explosive fragmentation munitions problems. Considering relative simplicity of the model, the accuracy of the prediction of fragment spray experimental data is rather remarkable.
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Persson, E. "Fast switching adjustable speed drives - an overview." In IEE Colloquium Effects of High Speed Switching on Motors and Drives. IEE, 1999. http://dx.doi.org/10.1049/ic:19990732.

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Hains, A. J. "Insulation performance under switched voltage waveforms." In IEE Colloquium Effects of High Speed Switching on Motors and Drives. IEE, 1999. http://dx.doi.org/10.1049/ic:19990733.

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Brandes, H. "Insulating systems for inverter driven motors - status and developments." In IEE Colloquium Effects of High Speed Switching on Motors and Drives. IEE, 1999. http://dx.doi.org/10.1049/ic:19990734.

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Wheeler, J. C. G. "Insulation coordination for drives and motors." In IEE Colloquium Effects of High Speed Switching on Motors and Drives. IEE, 1999. http://dx.doi.org/10.1049/ic:19990735.

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Reports on the topic "Motets"

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Seybold, Patricia. Local Motors. Boston, MA: Patricia Seybold Group, October 2009. http://dx.doi.org/10.1571/bp10-23-09cc.

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Knoth, Edward A., Bhanumathi Chelluri, and Edward J. Schumaker. Advanced Motors. Office of Scientific and Technical Information (OSTI), December 2012. http://dx.doi.org/10.2172/1057394.

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Näslund-Hadley, Emma. Education among Adolescent Mothers, Non-mothers and All. Inter-American Development Bank, December 2011. http://dx.doi.org/10.18235/0005980.

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Teen mothers in Latin America complete 1.8 to 2.8 fewer years of education than Latin American women who delay bearing children. Pregnancy is often believed to be the reason why girls drop out of school.
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Smith, Kristin. Employment rates higher among rural mothers than urban mothers. University of New Hampshire Libraries, 2007. http://dx.doi.org/10.34051/p/2020.32.

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Flynn, Charles Joseph. Higher Efficiency HVAC Motors. Office of Scientific and Technical Information (OSTI), February 2018. http://dx.doi.org/10.2172/1420309.

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Alecia Carter, Alecia Carter. Do primate mothers grieve? Experiment, February 2022. http://dx.doi.org/10.18258/24634.

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Benison, Thomas, and Isabelle Sin. The wage cost of a lack of access to affordable childcare in Aotearoa New Zealand. Motu Economic and Public Policy Research, March 2022. http://dx.doi.org/10.29310/wp.2023.02.

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Access to suitable and affordable childcare is a prerequisite for labour force participation for many mothers. We use data from the Growing Up in New Zealand longitudinal study to investigate how lack of access to childcare affects mothers’ work in New Zealand, a nation with high-quality but expensive childcare. We find many mothers whose young children are not in childcare due to a lack of access report being prevented from working by childcare access issues. However, just over a fifth of mothers whose children are not in care due to access issues do work, and some mothers whose children are in care still report they are unable to work due to childcare issues. By combining information on mothers’ work status and reasons for not working with earnings data for working mothers of young children, we estimate New Zealand mothers with children under age three who are not working only because they can’t access childcare may be foregoing $116 million or more of wages each year.
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Guirola, Luis, Laura Hospido, and Andrea Weber. Family and career: An analysis across Europe and North America. Madrid: Banco de España, May 2024. http://dx.doi.org/10.53479/36575.

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Using data for 17 countries in Europe and North America, we compare the career trajectories of mothers and fathers and of women and men without children across cohorts and at different points in their life cycle. There is wide cross-country variation in employment and earnings gaps at age 30. At age 50, however, employment gaps between mothers and non-mothers have closed in most countries. We also observe convergence in employment gaps between mothers and fathers by age 50, but these gaps do not close altogether. Motherhood gaps in earnings also close by age 50 between mothers and non-mothers, particularly among the highly educated. But there is strong persistence in earnings gaps between mothers and fathers even among highly educated parents. The main reasons for the remaining gaps at later stages in the life-cycle are part-time work among women and fatherhood premia as fathers’ earnings outperform non-fathers’ over their life-cycle.
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Otaduy, P. J. Modeling Reluctance-Assisted PM Motors. Office of Scientific and Technical Information (OSTI), January 2006. http://dx.doi.org/10.2172/885945.

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McJunkin, Timothy R., Vivek Agarwal, and Nancy Jean Lybeck. Online Monitoring of Induction Motors. Office of Scientific and Technical Information (OSTI), January 2016. http://dx.doi.org/10.2172/1239881.

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