Journal articles on the topic 'Music Analysis Mathematical models'
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1
Das, Mitali, David M. Howard, and Stephen L. Smith. "The kinematic analysis of motion curves through MIDI data analysis." Organised Sound 4, no. 3 (December 2000): 137–45. http://dx.doi.org/10.1017/s1355771800003022.
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This paper postulates that the analysis of MIDI data allows for the statistical analysis of motion in music, in particular, the kinematic analysis of motion curves in music. The paper deals with the analysis of the kinematic motion components within music, specifically music velocity (i.e. tempo) and music acceleration/deceleration (i.e. tempo change), based upon Truslit's definition of the predominant up–down motion types in music (1938). Thus, the variables of music velocity and acceleration are mathematically defined and extracted from MIDI encodings. Analysis of music velocity indicates that the differing motion types have specific and consistent velocity profiles, and that these profiles can be expressed mathematically and analysed statistically. In particular, the paper focuses on the open motion curve fit, relating the open motion velocity curve to the beta distribution. Analysis of acceleration within music suggests that music acceleration is not constant in nature, implying that theories of linear velocity are inaccurate models. Hence, it is suggested that MIDI data analysis allows for the statistical exploration into music kinematics and the motion curves within music.
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De Haas, W. Bas, José Pedro Magalhães, Frans Wiering, and Remco C. Veltkamp. "Automatic Functional Harmonic Analysis." Computer Music Journal 37, no. 4 (December 2013): 37–53. http://dx.doi.org/10.1162/comj_a_00209.
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Music scholars have been studying tonal harmony intensively for centuries, yielding numerous theories and models. Unfortunately, a large number of these theories are formulated in a rather informal fashion and lack mathematical precision. In this article we present HarmTrace, a functional model of Western tonal harmony that builds on well-known theories of tonal harmony. In contrast to other approaches that remain purely theoretical, we present an implemented system that is evaluated empirically. Given a sequence of symbolic chord labels, HarmTrace automatically derives the harmonic relations between chords. For this, we use advanced functional programming techniques that are uniquely available in the Haskell programming language. We show that our system is fast, easy to modify and maintain, robust against noisy data, and that its harmonic analyses comply with Western tonal harmony theory.
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Souza, Fernando, and Adolfo Maia Jr. "A Mathematical, Graphical and Visual Approach to Granular Synthesis Composition." Revista Vórtex 9, no. 2 (December 10, 2021): 1–27. http://dx.doi.org/10.33871/23179937.2021.9.2.4.
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We show a method for Granular Synthesis Composition based on a mathematical modeling for the musical gesture. Each gesture is drawn as a curve generated from a particular mathematical model (or function) and coded as a MATLAB script. The gestures can be deterministic through defining mathematical time functions, hand free drawn, or even randomly generated. This parametric information of gestures is interpreted through OSC messages by a granular synthesizer (Granular Streamer). The musical composition is then realized with the models (scripts) written in MATLAB and exported to a graphical score (Granular Score). The method is amenable to allow statistical analysis of the granular sound streams and the final music composition. We also offer a way to create granular streams based on correlated pair of grains parameters.
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Busse, Walter Gerard. "Toward Objective Measurement and Evaluation of Jazz Piano Performance Via MIDI-Based Groove Quantize Templates." Music Perception 19, no. 3 (2002): 443–61. http://dx.doi.org/10.1525/mp.2002.19.3.443.
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The purpose of this study was to (a) objectively measure and analyze performance deviations from mechanical regularity for three jazz pianists via MIDI-based "groove quantize" procedures and (b) measure how experts rate musical examples incorporating these deviations as being representative of the swing style. The "groove quantize" software procedure was used to measure performance deviations from mechanical regularity for (a) note placements (timings), (b) note durations (articulations), and (c) note velocities (dynamics) contained in 281 measures from 33 performances by three professional jazz pianists. Differences among the performers and for relationships between the performance variables and tempi were measured. Performance models or "grooves" were developed representative of each performer's style and a general swing style. For comparison, "mechanical" models were constructed on the basis of mathematical ratios. Forty-two judges rated the "swing representativeness" of an unaltered melody from each pianist and seven variations of each, four based on the derived performance models and three based on the mechanical model. Analysis revealed that four derived performance model variations were rated significantly more representative of the swing style than were the mechanical variations. Swing ratings did not differ significantly between an unaltered melody and variations based on individual performance models for two of the performers, suggesting that they were representative grooves.
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Draskovic, Drazen, Darinka Zecevic, and Bosko Nikolic. "Development of a Multilingual Model for Machine Sentiment Analysis in the Serbian Language." Mathematics 10, no. 18 (September 6, 2022): 3236. http://dx.doi.org/10.3390/math10183236.
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In this research, a method of developing a machine model for sentiment processing in the Serbian language is presented. The Serbian language, unlike English and other popular languages, belongs to the group of languages with limited resources. Three different data sets were used as a data source: a balanced set of music album reviews, a balanced set of movie reviews, and a balanced set of music album reviews in English—MARD—which was translated into Serbian. The evaluation included applying developed models with three standard algorithms for classification problems (naive Bayes, logistic regression, and support vector machine) and applying a hybrid model, which produced the best results. The models were trained on each of the three data sets, while a set of music reviews originally written in Serbian was used for testing the model. By comparing the results of the developed model, the possibility of expanding the data set for the development of the machine model was also evaluated.
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Ren, Jinyan. "Pop Music Trend and Image Analysis Based on Big Data Technology." Computational Intelligence and Neuroscience 2021 (December 9, 2021): 1–12. http://dx.doi.org/10.1155/2021/4700630.
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With people’s pursuit of music art, a large number of singers began to analyze the trend of music in the future and create music works. Firstly, this study introduces the theory of music pop trend analysis, big data mining technology, and related algorithms. Then, the autoregressive integrated moving (ARIM), random forest, and long-term and short-term memory (LSTM) algorithms are used to establish the image analysis and prediction model, analyze the music data, and predict the music trend. The test results of the three models show that when the singer’s songs are analyzed from three aspects: collection, download, and playback times, the LSTM model can predict well the playback times. However, the LSTM model also has some defects. For example, the model cannot accurately predict some songs with large data fluctuations. At the same time, there is no big data gap between the playback times predicted by the ARIM model image analysis and the actual playback times, showing the allowable error fluctuation range. A comprehensive analysis shows that compared with the ARIM algorithm and random forest algorithm, the LSTM algorithm can predict the music trend more accurately. The research results will help many singers create songs according to the current and future music trends and will also make traditional music creation more information-based and modern.
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Panchenko, Liubov F., Hennadii O. Korzhov, Andrii O. Khomiak, Vladyslav Ye Velychko, and Vladimir N. Soloviev. "Social dimension of higher education: definition, indicators, models." CTE Workshop Proceedings 9 (March 21, 2022): 124–38. http://dx.doi.org/10.55056/cte.108.
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The article deals with the problem of strengthening the social dimension of higher education. It discusses the definition of social dimension, its indicators, models of student retention and student engagement. The article argues that students should act as active researchers of the topic of social dimension and present the ways to update the content of university courses for Sociology majors, such as "Mathematical and statistical methods of social information analysis", "Social statistics and demography", "Multivariate data analysis", "Structural equation modeling" and other courses for bachelors, master students, and PhDs in Sociology.
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Zhao, Qian. "Comparison of the aesthetics of chamber music of China and the West." PHILHARMONICA. International Music Journal, no. 6 (June 2021): 1–8. http://dx.doi.org/10.7256/2453-613x.2021.6.37395.
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Chamber music attracts the audience with its wide range, diverse sounds, and rich expressiveness. Even if it is still the same chamber music, the influence of geography, ethnicity, and culture, styles and varieties of Chinese and Western chamber music are widely different. By comparing pieces of Chinese chamber music with the Western chamber music, one can find out that Chinese chamber music focuses on the expression of the artistic concept through the melody, while the Western chamber music gives more attention to logic and festive genres. Within the Chinese musical aesthetics, influenced by Laozi’s Tao Te Ching, there’s an idea that «music has in it neither grief nor joy», saying that music itself is not emotional, and is objective, it is just an incentive and an instrument of emotions. In Western countries, the art of music gives attention to the technique, and considers music as a real and important substance, and tends to a more «autonomous» point of view. The authors of this research give special attention to the analysis of aesthetic differences between Chinese and Western music, as well as creative differences caused by the influence of aesthetic differences. In view of these facts the authors formulate the conclusion that the music of China and the West should be compared based on the ideas about aesthetics and their detailed analysis. The authors consider the typical features and characteristics of the music aesthetics of the West and China, their diversity and influence on the creative work in chamber music, hold a comparative research, and offer new models and directions of development. The main theme of traditional Chinese chamber music is poetry, and the arrangement is more free, and focuses on conveying the artistic idea. The Western chamber music has a strict creative routine, and gives more attention to the characteristics of music itself.
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Xiongjun, Xia, and Danmeng Lv. "The Evaluation of Music Teaching in Colleges and Universities Based on Machine Learning." Journal of Mathematics 2022 (March 7, 2022): 1–7. http://dx.doi.org/10.1155/2022/2678303.
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With the implementation of the strategic policy of rejuvenating the country through science and education, many innovative and practical teaching concepts and teaching models have been comprehensively developed. This breaks the backward teaching mode of traditional teaching activities. With the development of science and technology and Internet technology, deep learning is widely used in the field of education. Music teachers in colleges and universities constantly update their teaching methods and comprehensively use a variety of methods to carry out in-depth teaching in the classroom, and strive to stimulate students’ learning Interest and enthusiasm, and comprehensively enhance students’ music aesthetic ability. This article uses decision tree algorithms, support vector machines, Bayesian theory, and random forest four different classification techniques to evaluate the student curriculum evaluation dataset. Classification experiment: through the analysis of the experimental results, the performance of the four classifier models was compared, and the data showed the difference in accuracy, precision, recall, and F1 value of the four classifiers. At the same time, each of the classifier models was analyzed. This article verifies the effectiveness of machine learning models in curriculum evaluation and higher education mining, the importance of evaluation features.
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Hartelt, Alexander, and Frank Puppe. "Optical Medieval Music Recognition Using Background Knowledge." Algorithms 15, no. 7 (June 22, 2022): 221. http://dx.doi.org/10.3390/a15070221.
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This paper deals with the effect of exploiting background knowledge for improving an OMR (Optical Music Recognition) deep learning pipeline for transcribing medieval, monophonic, handwritten music from the 12th–14th century, whose usage has been neglected in the literature. Various types of background knowledge about overlapping notes and text, clefs, graphical connections (neumes) and their implications on the position in staff of the notes were used and evaluated. Moreover, the effect of different encoder/decoder architectures and of different datasets for training a mixed model and for document-specific fine-tuning based on an extended OMR pipeline with an additional post-processing step were evaluated. The use of background models improves all metrics and in particular the melody accuracy rate (mAR), which is based on the insert, delete and replace operations necessary to convert the generated melody into the correct melody. When using a mixed model and evaluating on a different dataset, our best model achieves without fine-tuning and without post-processing a mAR of 90.4%, which is raised by nearly 30% to 93.2% mAR using background knowledge. With additional fine-tuning, the contribution of post-processing is even greater: the basic mAR of 90.5% is raised by more than 50% to 95.8% mAR.
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Shan, Jie, and Muhammad Talha. "Research on Classroom Online Teaching Model of “Learning” Wisdom Music on Wireless Network under the Background of Artificial Intelligence." Computational and Mathematical Methods in Medicine 2021 (November 27, 2021): 1–10. http://dx.doi.org/10.1155/2021/3141661.
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This article uses a multimodal smart music online teaching method combined with artificial intelligence to address the problem of smart music online teaching and to compensate for the shortcomings of the single modal classification method that only uses audio features for smart music online teaching. The selection of music intelligence models and classification models, as well as the analysis and processing of music characteristics, is the subjects of this article. It mainly studies how to use lyrics and how to combine audio and lyrics to intelligently classify music and teach multimodal and monomodal smart music online. In the online teaching of smart music based on lyrics, on the basis of the traditional wireless network node feature selection method, three parameters of frequency, concentration, and dispersion are introduced to adjust the statistical value of wireless network nodes, and an improved wireless network is proposed. After feature selection, the TFIDF method is used to calculate the weights, and then artificial intelligence is used to perform secondary dimensionality reduction on the lyrics. Experimental data shows that in the process of intelligently classifying lyrics, the accuracy of the traditional wireless network node feature selection method is 58.20%, and the accuracy of the improved wireless network node feature selection method is 67.21%, combined with artificial intelligence and improved wireless, the accuracy of the network node feature selection method is 69.68%. It can be seen that the third method has higher accuracy and lower dimensionality. In the online teaching of multimodal smart music based on audio and lyrics, this article improves the traditional fusion method for the problem of multimodal fusion and compares various fusion methods through experiments. The experimental results show that the improved classification effect of the fusion method is the best, reaching 84.43%, which verifies the feasibility and effectiveness of the method.
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Jia, Xiaoguang. "Music Emotion Classification Method Based on Deep Learning and Improved Attention Mechanism." Computational Intelligence and Neuroscience 2022 (June 20, 2022): 1–8. http://dx.doi.org/10.1155/2022/5181899.
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Since the existing music emotion classification researches focus on the single-modal analysis of audio or lyrics, the correlation among models are neglected, which lead to partial information loss. Therefore, a music emotion classification method based on deep learning and improved attention mechanism is proposed. First, the music lyrics features are extracted by Term Frequency-Inverse Document Frequency (TF-IDF) and Word2vec method, and the term frequency weight vector and word vector are obtained. Then, by using the feature extraction ability of Convolutional Neural Network (CNN) and the ability of Long Short-Term Memory (LSTM) network to process the serialized data, and integrating the matching attention mechanism, an emotion analysis model based on CNN-LSTM is constructed. Finally, the output results of the deep neural network and CNN-LSTM model are fused, and the emotion types are obtained by Softmax classifier. The experimental analysis based on the selected data sets shows that the average classification accuracy of the proposed method is 0.848, which is better than the other comparison methods, and the classification efficiency has been greatly improved.
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Wu, Junfang, and Junbiao Lu. "Construction and Simulation of Music Style Prediction Model under Improved Sparse Neural Network." Computational Intelligence and Neuroscience 2022 (April 8, 2022): 1–10. http://dx.doi.org/10.1155/2022/6268224.
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This paper designs and implements a music style prediction system using an improved sparse neural network, aiming to provide users with personalized music lists that match their interests. This paper firstly introduces how to combine the restricted Boltzmann machine model and recommendation algorithm and proposes a method to extract data features—setting a threshold to extract data features, and then, based on this, this paper introduces an improved K-Item RBM by weighted fusion of RBM recommendation algorithm and Item’s recommendation algorithm. Finally, the algorithm model is trained and predicted by the extracted features, and the experimental comparison analysis shows that the K-Item RBM algorithm can reduce the error between the predicted data and the real data and improve the performance of the recommendation system; in addition, to improve the accuracy of the recommendation, this paper introduces an improved CNN-CF neural network recommendation algorithm, which uses a convolutional neural network (CNN) to extract. The algorithm uses a convolutional neural network (CNN) to extract text features from the dataset, then trains the algorithm model, and finally makes personalized recommendations to users. The system can crawl user and music data and complete preprocessing of data such as deduplication, word separation, and keyword extraction. In this paper, we define the prediction evaluation criteria with the evaluation index F as the core and compare and analyse the prediction effect of four models longitudinally. The experimental results show that the music style prediction model based on the improved sparse neural network has a higher evaluation index value F and better prediction performance than the two-time series prediction models; compared with the general sparse neural network music style prediction model, the improved sparse neural network music style prediction model has an increased evaluation index value F for prediction ability, and the overall prediction effect is better and the prediction ability is significantly improved. The system can judge the appropriate recommendation algorithm according to the actual situation of the user and music data information and realize the continuously personalized music list recommendation for users to meet their music needs.
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Lin, Mengqian, and Rui Zhao. "A Study of Piano-Assisted Automated Accompaniment System Based on Heuristic Dynamic Planning." Computational Intelligence and Neuroscience 2022 (May 23, 2022): 1–11. http://dx.doi.org/10.1155/2022/4999447.
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In this paper, a piano-assisted automated accompaniment system is designed and applied to a practical process using a heuristic dynamic planning approach. In this paper, we aim at the generation of piano vocal weaves in accompaniment from the perspective of assisting pop song writing, build an accompaniment piano generation tool through a set of systematic algorithm design and programming, and realize the generation of recognizable and numerous weaving styles within a controlled range under the same system. The mainstream music detection neural network approaches usually convert the problem into a similar way as image classification or sequence labelling and then use models such as convolutional neural networks or recurrent neural networks to solve the problem; however, the existing neural network approaches ignore the music relative loudness estimation subtask and ignore the inherent temporality of music data when solving the music detection task. However, the existing music generation neural network methods have not yet solved the problems of discrete integrability brought by piano roll representation music data and the still-limited control domain and variety of instruments generated in the controllable music generation task. To solve these two problems, this paper proposes a controlled music generation neural network model for multi-instrument polyphonic music. The effectiveness of the proposed model is verified by conducting several sets of experiments on the collected MIDICN data set, and the experimental results show that the model achieves better performance in the aspects of negative log-likelihood value, perplexity, musicality measure, domain similarity analysis, and manual evaluation.
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Gödel, Marion, Rainer Fischer, and Gerta Köster. "Sensitivity Analysis for Microscopic Crowd Simulation." Algorithms 13, no. 7 (July 5, 2020): 162. http://dx.doi.org/10.3390/a13070162.
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Microscopic crowd simulation can help to enhance the safety of pedestrians in situations that range from museum visits to music festivals. To obtain a useful prediction, the input parameters must be chosen carefully. In many cases, a lack of knowledge or limited measurement accuracy add uncertainty to the input. In addition, for meaningful parameter studies, we first need to identify the most influential parameters of our parametric computer models. The field of uncertainty quantification offers standardized and fully automatized methods that we believe to be beneficial for pedestrian dynamics. In addition, many methods come at a comparatively low cost, even for computationally expensive problems. This allows for their application to larger scenarios. We aim to identify and adapt fitting methods to microscopic crowd simulation in order to explore their potential in pedestrian dynamics. In this work, we first perform a variance-based sensitivity analysis using Sobol’ indices and then crosscheck the results by a derivative-based measure, the activity scores. We apply both methods to a typical scenario in crowd simulation, a bottleneck. Because constrictions can lead to high crowd densities and delays in evacuations, several experiments and simulation studies have been conducted for this setting. We show qualitative agreement between the results of both methods. Additionally, we identify a one-dimensional subspace in the input parameter space and discuss its impact on the simulation. Moreover, we analyze and interpret the sensitivity indices with respect to the bottleneck scenario.
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Huang, Xuesheng, and YanQing Hu. "Recognition of Continuous Music Segments Based on the Phase Space Reconstruction Method." Computational Intelligence and Neuroscience 2022 (October 4, 2022): 1–11. http://dx.doi.org/10.1155/2022/4099505.
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Piano score recognition is one of the important research contents in the field of music information retrieval, and it plays an important role in information processing. In order to reduce the influence of vocals on the progress of piano notes and restore the harmonic information corresponding to piano notes, the article models the harmonic information and vocal information corresponding to piano notes in the frequency spectrum. We use the phase space reconstruction method to extract the nonlinear feature parameters in the note audio and use some of the parameters as the training set to construct the support vector machine (SVM) classifier and the other part as the test set to test the recognition effect. Therefore, the method of adaptive signal decomposition and SVM is introduced into the signal preprocessing link, and the corresponding recognition process is established. In order to improve the performance of the support vector machine, the article uses measurement learning method to obtain the measurement learning and uses the measurement learning to replace the Euclidean distance of the Gaussian kernel function of the support vector machine. The SVM method of adaptive signal decomposition and the SVM method of principal component analysis are introduced into the preprocessing process of the note signal, and then the preprocessed signal is reconstructed in phase space, and the corresponding recognition process is established. The method of directly reconstructing the phase space of the original signal has higher accuracy and can be applied to the note recognition of continuous music segments. The final experimental results show that, compared with the current popular piano score recognition algorithm, the recognition accuracy of the proposed piano score recognition algorithm is improved by 3.5% to 12.2%.
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Sobkin, V. S., Lykova T. A., and Sobkina A. V. "RELATIONSHIPS WITH PARENTS AS A PSYCHOLOGICAL RESOURCE IN OBTAINING HIGHER EDUCATION IN THE ARTS FOR STUDENTS WITH DISABILITIES." Arts education and science 1, no. 1 (2021): 184–96. http://dx.doi.org/10.36871/hon.202101022.
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The article presents the results of a questionnaire survey of RGSAI students with and without disabilities, devoted to the peculiarities of their relationships with their parents. In the microsocial environment of students, the questions about significant others ("role models"), the characteristics of the relationships and the meaningful features of students' communication with their parents are analyzed. The opinions of students with preserved health and students with different types of disabilities are compared; both age dynamics of responses and opinions of students of various faculties (theater, music, fine arts) are considered. The study involved 167 students of The RGSAI, 98 of them with preserved health and 69 with disabilities. The results were processed using the methods of mathematical statistics. It is shown that psychological support from parents of students with disabilities is an important socio-psychological resource that affects the success of their higher professional education. It was found that the nature of relationships with parents is markedly different for students with disabilities and students with preserved health. The content features of changes in parental position at different stages of students' education are reviewed: from parents' encouragement of life success to their performance of compensatory supporting function. There are four generalized objections that characterize the specifics of parental attitude, which allowe to determine the uniqueness of parental position depending on the state of health and the direction of students' professional training. Analysis of the thematic features of interpersonal communication between students and their parents indicates the high involvement of parents of students with disabilities in educational activities, as well as in socio-psychological relations of students with teachers and fellow students. Such parental involvement is regarded as a kind of "social capital" of a student with disabilities.
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Latinčić, Dragan. "Possible principles of mathematical music analysis." New Sound, no. 51 (2018): 153–74. http://dx.doi.org/10.5937/newso1851153l.
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The text is a summary of many years of research in the domains of micro-intervals, metric-rhythmic projection of the spectrum harmonics, and the establishment of a link with mathematics, more precisely, geometry, with a special focus on the application of the Pythagorean Theorem. Mathematical music analysis enables the establishment of methods for constructing right, obtuse, and acute musical triangles as well as projections of their edges (sides), which are recognized in trigonometry as the functions of angles: the sine, cosine, and so on; as well as the establishment of methods for constructing spectral and scalar (intonative-temporal) trigonometric unit circles with their function graphs.
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Ray, W. D., and F. Y. M. Wan. "Mathematical Models and Their Analysis." Journal of the Operational Research Society 41, no. 12 (December 1990): 1173. http://dx.doi.org/10.2307/2583116.
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Tom, Eric, and Kevin A. Schulman. "Mathematical Models in Decision Analysis." Infection Control and Hospital Epidemiology 18, no. 1 (January 1997): 65–73. http://dx.doi.org/10.2307/30141966.
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Chen, Zhangxin, and Richard Ewing. "Mathematical Analysis for Reservoir Models." SIAM Journal on Mathematical Analysis 30, no. 2 (January 1999): 431–53. http://dx.doi.org/10.1137/s0036141097319152.
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Tom, Eric, and Kevin A. Schulman. "Mathematical Models in Decision Analysis." Infection Control and Hospital Epidemiology 18, no. 1 (January 1997): 65–73. http://dx.doi.org/10.1086/647503.
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Ray, W. D. "Mathematical Models and Their Analysis." Journal of the Operational Research Society 41, no. 12 (December 1990): 1173. http://dx.doi.org/10.1057/jors.1990.186.
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Yan, Yang. "The activities of the Chinese orchestras of the traditional instruments of the new type in the 1960s - 1970s." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 49, no. 49 (September 15, 2018): 198–211. http://dx.doi.org/10.34064/khnum1-49.14.
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Background. The article discusses one of the most complex and controversial periods in the development of the Chinese orchestra of traditional instruments of the new type – the 1960–70s. Since 1966, with the beginning of the Cultural Revolution, all conservatories were closed, and Western instruments and teaching materials were destroyed. Chinese musicians, unable to play classical music, were forced to work with folk songs and folklore in remote provinces. The objective assessment of this historical phenomenon makes it possible to evaluate it not only as a dead end on China’s path to modern progress, but also as an era of constructive innovations and efforts to make a real change in China’s cultural heritage. The specifics of the creative activity of orchestras conducted by conductors Li Delun, Huang Yijun, Li Guoquan, Yang Jizhen is highlighted. Objectives. The purpose of the article is to identify the specifics of the development of the Chinese orchestra of traditional instruments in the 1960s – 1970s, to determine the role of prominent Chinese musicians in the process of modernizing the orchestra and creating a national repertoire during this period. Research methods are based on scientific approaches necessary for the disclosure of the topic. The methodology is based on an integrated approach that combines the principle of musical theoretical, musical historical and executive analysis. Results. As soon as the Cultural Revolution began, the music centers in Beijing and Shanghai came under attack. Composers were deprived of their creative freedom, since all the works had to correspond to the political situation of the time. At this time, collective creativity in the genre of opera and ballet, written according to certain pattern and corresponding to the ideas of Mao Zedong, is widely adopted. As standards of “new art”, official propaganda put forward “exemplary” revolutionary performances – Yanbanshee, almost entirely based on the material of the period of the liberation struggle. The Central and Shanghai orchestras were also persecuted. The chief conductor of the Central Symphony Orchestra, Li Delun was arrested. Since 1963, the programs of the Shanghai Orchestra of Chinese Instruments have begun to reflect the country’s transition to the Cultural Revolution. In the compositions appeared more pronounced revolutionary ideals, showing the need for government reform. Such content was, for example, the orchestral suite "Revolutionary Song", created by the musicians of the Shanghai orchestra. Due to the policy of the Cultural Revolution after 1964, the orchestra completely ceased to perform. In 1964, works performed at a concert in honor of the nation’s birthday included revolutionary pieces such as “Praise to the People”, “Spring Gong Enhances Performance”, “Battle in Shanghai”, and others. Shanghai Orchestra Conductor Juan Yijun, composer Luo Zhongrong, one of the authors of the revolutionary symphony “Shatszyaban” was persecuted and sent to the countryside for forced labor. In 1966, as a result of the repressions, outstanding conductors Li Guoquan and Yang Jazheng died. The widespread distribution of orchestras in China is a paradox. “Exemplary Performances” played an active role in the distribution of Chinese symphonic music. Many amateur orchestras significantly increased their professional level and could perform individual symphonic works. Major symphonic works on revolutionary themes were also created: Qu Wei’s “The Gray-Haired Girl” symphonic suite (created by his ballet), Tian Feng’s “Five Cantatas to lyrics by Mao Zedong”, “Pipa Concert for Orchestra” and “Steppe Sisters” Wu Zujiang, Liu Dehai, Wang Yanqiao. Another genre was music for ballets (“The Red Women’s Battalion”, “The Gray-Haired Girl”). Conclusions. In the period from the 1960s to the 1970s, Chinese orchestral music was enriched with new genres that influenced its subsequent development. In spite of the fact that the main models of Yangbanshee are the opera and ballet genres, major symphonic works were also created: the symphony “Shatszyaban” (Luo Zhongzhong, Yang Muyun, Deng Jiaan, Tan Jingming); Qu Wei’s symphonic suite “The Gray-Haired Girl”; Overture “Festival” Xu Yang Yang, Pipa Concert with Orchestra “Steppe Sisters” Wu Zuqiang, Liu Dehai, Wang Yanqiao. In these compositions combine the traditions of Chinese musical art and European orchestral art, embodied the creative search for Chinese composers and performers to create samples of the modern symphony genre in China. Collective creativity was widespread: on the one hand, the efforts of several people created largescale monumental compositions, on the other hand, the individual author’s principle was leveled, which made it possible to “depersonalize” music. However, an understanding of the cultural aspects of Yanbanshee and its features in a political context is of great importance for an objective study of the development processes of musical art in China. Starting around the 1990s, the political thaw allowed musical works from the time of the Cultural Revolution, gradually returning them to the mainstream of the achievements of Chinese society. Since then, the Yanbanshee has a strong tendency to revive, enjoying the support of the population and continuing to be very popular in the theater, on television, and in the form of commercial and private entertainment.
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Pavlo, Knysh. "Romantic interpretative model of F. Chopin’s Piano Concertos in A. Rubinstein’s (First Concerto) and H. Czerny-Stefańska’s (Second Concerto) versions." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 63, no. 63 (January 23, 2023): 108–23. http://dx.doi.org/10.34064/khnum1-63.06.
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The Romantic model of interpretation is characterized by significant influence of an interpreter on the composer’s text in those part, which is the field of performer’s responsibility, and it is an alternative to the Classical as well as the Impressionistic models proposed by some scholars. The purpose of the present research is to reveal the features of Romantic interpretational model of F. Chopin’s Piano Concertos based on examples of various performers’ versions. The article analyses the performances of F. Chopin’s Piano Concertos by two outstanding pianists of the XX century, A. Rubinstein and H. Czerny-Stefańska; it is revealed how the Romantic mode of interpretation is embodied in their sound versions of these pieces. The individual approachs of the performers to the choice of temps are studied; it is revealed how the pianists emphasise the genre genesis of the certain themes of the Concertos. The performance stiyle of H. CzernyStefańska’s is briefly outlined, since she is much lesser-known in Ukrainian musicologyic space than A. Rubinstein. At the first time the idea of three interpretative models (Romantic, Classical, Impressionistic) is applied to the musical material of F. Chopin’s piano Concertos regarded in the article. Based on analysis, the conclusion is made that the both version of Piano Concertos by F. Chopin considered in the study lean to the Romantic model of interpretation. At the same time, it is quite natural that they are not the same in their essence that can be explained both, by obvious reasons (the choice of different Concertos or gender-determined performing differences), and by individual artistic preferences of the pianists, by their unique performance styles. For instance, A. Rubinstein chooses somewhat slowed down temps in multiple passages of the Concerto, including its first movement, he emphases the song features of many themes in the cases where it is appropriate and does not contradict what was written by the composer. H. Czerny-Stefańska tends to accentuate emotionallyplayful essence of the Concerto, as she focuses her attention on different types of intonation, articulation, dynamics etc. Obviously, she does not neglect lyrical nature of the work, in several themes stressing it as a predominant genre genesis. Nevertheless, H. Czerny-Stefańska aims to break the stereotypes of “feminine performance” of F. Chopin’s music, which can be seen in tendency to “wide strokes” and creation of through line of musical development.
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Li, Xiong, Hao Wang, Zheng Zhang, and Alan Hastings. "Mathematical analysis of coral reef models." Journal of Mathematical Analysis and Applications 416, no. 1 (August 2014): 352–73. http://dx.doi.org/10.1016/j.jmaa.2014.02.053.
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Belsole, Robert J., Don R. Hilbelink, J. Anthony Llewellyn, Stephen Stenzler, Thomas L. Greene, and Mark Dale. "Mathematical analysis of computed carpal models." Journal of Orthopaedic Research 6, no. 1 (January 1988): 116–22. http://dx.doi.org/10.1002/jor.1100060115.
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Jones, Don A. "Mathematical Analysis of Geophysical Balance Models." Journal of Differential Equations 179, no. 1 (February 2002): 1–26. http://dx.doi.org/10.1006/jdeq.2001.4024.
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Buikis, A., J. Cepitis, H. Kalis, A. Reinfelds, A. Ancitis, and A. Salminš. "Mathematical Models of Papermaking." Nonlinear Analysis: Modelling and Control 6, no. 1 (April 1, 2001): 9–19. http://dx.doi.org/10.15388/na.2001.6.1.15221.
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The mathematical model of wood drying based on detailed transport phenomena considering both heat and moisture transfer have been offered in article. The adjustment of this model to the drying process of papermaking is carried out for the range of moisture content corresponding to the period of drying in which vapour movement and bound water diffusion in the web are possible. By averaging as the desired models are obtained sequence of the initial value problems for systems of two nonlinear first order ordinary differential equations.
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SHEINA, G., and S. SKRYPNYK. "Analysis of mathematical models of transmission lines." Journal of Electrical and power engineering, no. 1 (2019): 14–17. http://dx.doi.org/10.31474/2074-2630-2019-1-14-17.
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SHEINA, G. "Analysis of mathematical models of transmission lines." Journal of Electrical and power engineering 23, no. 2 (December 23, 2020): 16–19. http://dx.doi.org/10.31474/2074-2630-2020-2-16-19.
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This paper investigates a mathematical model of one elements of the power supply system - power transmission lines. The type of models depends on the initial simplifications, which in turn are determined by the complexity of the physics of processes. The task of improving the accuracy of modeling of emergency processes in the power system is due to the significant complexity of modern power systems and their equipment, high-speed relay protection, automation of emergency management and the introduction of higher-speed switching equipment. One of the reasons for a significant number of serious emergencies in the system is the lack of complete and reliable information for modeling modes in the design and operation of power systems. The development of a mathematical model of a three-phase power line, which provides adequate reflection of both normal and emergency processes, is relevant. The advanced mathematical model of power transmission lines allows to investigate various operational modes of electric networks. The improved mathematical model of the power transmission line reflects all the features of physical processes at state modes and transient process and provides sufficient accuracy of the results. The type of mathematical model of power transmission lines depends on the accepted simplifications, depending on the task of research. The purpose of this work is to analyze the mathematical model of the power transmission line to study the modes of operation of the power supply system, with the possibility of its application to take into account all the design features of overhead and cable power lines. The mathematical model of the power line for the study of the modes of operation of the power supply system is analyzed. It is used to take into account the design features of overhead and cable power lines, skin effect.
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Qin, Xuan Hua, and Li Li Zheng. "Mathematical Models for Analysis of Water Pollution." Applied Mechanics and Materials 209-211 (October 2012): 1941–47. http://dx.doi.org/10.4028/www.scientific.net/amm.209-211.1941.
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The water qualityr was considered by multiple regression analysis. The linear relationship between integrated pollution index and weight pollution index were obtained, the 5 day biochemical oxygen demanded and total nitrogen were the most important pollution factor by the relationship. And then, the two main components influencing water quality were given based on the principal component analysis affecting data..
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Falces, J. R., A. M. Trigueros, L. G. Useros, I. R. Carreno, and J. N. Irujo. "A mathematical analysis of SFAP convolutional models." IEEE Transactions on Biomedical Engineering 52, no. 5 (May 2005): 769–83. http://dx.doi.org/10.1109/tbme.2005.845045.
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KRASUCKI, FRANCOISE, ARNAUD MÜNCH, and YVES OUSSET. "MATHEMATICAL ANALYSIS OF NONLINEAR BONDED JOINT MODELS." Mathematical Models and Methods in Applied Sciences 14, no. 04 (April 2004): 535–56. http://dx.doi.org/10.1142/s0218202504003349.
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Within the framework of nonlinear elasticity, we consider the problem of two adherents joined along their common surface by a thin soft adhesive. Two stored energy functions are considered: the stored energy function of Saint Venant–Kirchhoff and the stored energy function of Ciarlet–Geymonat. Using the asymptotic expansion method, the limit energy associated to each of these stored energy functions is obtained. The aim of this paper is to give a rigorous mathematical analysis of the formally derived limit problem. We show that the limit problem associated to the Saint Venant–Kirchhoff case admits at least one solution and the limit problem associated to the Ciarlet–Geymonat case admits exactly one solution. An analytical comparison in the one-dimensional case and a three-dimensional numerical application are also presented.
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Blischke, W. R. "Mathematical models for analysis of warranty policies." Mathematical and Computer Modelling 13, no. 7 (1990): 1–16. http://dx.doi.org/10.1016/0895-7177(90)90124-6.
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Abdallah, N. Ben, S. Mas-Gallic, and P. A. Raviart. "A Mathematical analysis of electric probe models." Transport Theory and Statistical Physics 25, no. 3-5 (April 1996): 263–81. http://dx.doi.org/10.1080/00411459608220701.
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Fernández-Calvín, Begoña, Juan Orellana, and Domenico Pignone. "Genome Analysis of Triploids Using Mathematical Models." Hereditas 122, no. 1 (May 28, 2004): 41–45. http://dx.doi.org/10.1111/j.1601-5223.1995.00041.x.
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Sun, Bo. "Emotional Analysis and Personalized Recommendation Analysis in Music Performance." Scientific Programming 2022 (April 23, 2022): 1–9. http://dx.doi.org/10.1155/2022/9548486.
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Music performance belongs to music recreation activities, is through singing, musical instrument performance, and vocal conductor, including a variety of artistic means, to convey music to the audience with real sound effects that can be felt, and can play its social function. Emotional state is a part of the whole attitude, which is consistent with introverted feelings and intentions in attitude, and is a complex and stable physiological evaluation and experience of attitude in physiology. This paper first introduces the concepts of music performance from the perspective of music appreciation and music ability. Then based on the emotional feature learning of matrix factorization constrained nonnegative matrix factorization and model optimization algorithm are used to analyze the emotional aspects of music. Finally, through the experimental comparison of the difficulty of emotion in various artistic creations, a conclusion is drawn. The research involves matrix decomposition, mathematical modeling, model optimization, digital audio technology application, and other fields. In the third part of this paper, the constrained nonnegative matrix factorization, the constrained nonnegative matrix factorization with external information, and the model optimization algorithm are used to study the mathematical modeling.
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D�rfler, Monika. "Time-Frequency Analysis for Music Signals: A Mathematical Approach." Journal of New Music Research 30, no. 1 (March 1, 2001): 3–12. http://dx.doi.org/10.1076/jnmr.30.1.3.7124.
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Cœurdevey, Annie, Mark Everist, and Annie Coeurdevey. "Models of Musical Analysis. Music before 1600." Revue de musicologie 79, no. 2 (1993): 383. http://dx.doi.org/10.2307/946904.
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Pryer, Anthony, and Mark Everist. "Music before 1600: Models of Musical Analysis." Musical Times 134, no. 1805 (July 1993): 396. http://dx.doi.org/10.2307/1003096.
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Qi, Yuting, John William Paisley, and Lawrence Carin. "Music Analysis Using Hidden Markov Mixture Models." IEEE Transactions on Signal Processing 55, no. 11 (November 2007): 5209–24. http://dx.doi.org/10.1109/tsp.2007.898782.
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Buchok, Lianna. "V. Telychko’s “Children’s Album” as an example of the modern tonal image of the world: peculiarities of the musical vocabulary and melodic ideas." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 49, no. 49 (September 15, 2018): 70–84. http://dx.doi.org/10.34064/khnum1-49.05.
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Background. The beginning of the development of musical art in Transcarpathia dates back to the end of the nineteenth century and lasts during the first third of the twentieth century. First of all, it was an interest in the genre of choral music (a synthetic genre based on the merging of the Word and Music), which fully corresponded to the enlightened spirit of life of the Transcarpathians under the political conditions of that time. And only in the second half of the twentieth century intensive blossoming of the varieties of instrumental (kind of «pure») music with its conceptually most complex types of creative thinking and adaptation to the methods of style transformation takes place. The piano music, one of the most abstract forms of the creative process, has revealed its peculiarities in this process. However, the researchers virtually never paid attention to piano pieces for children, which are naturally inferior by their practically necessary and didactically appropriate visual simplicity of musical vocabulary to the works of the so-called large genre. In addition, historically, the creative work of Transcarpathian composers has been considered only as a product of a purely regional significance. Therefore, it is important that the piano works of Transcarpathian composers for children should also be considered in the context of such integrity as the Intentional period of the music history, which has been defined as non-classical and at the same time permeated with the idea of global cultural synthesis Objectives. The essence of the tasks and the purpose is to present the "Child Album" by V. Telychko (the first in Transcarpathia sample of the genre of children’s musical album, 2016) as an example of the creation of the modern intonational image of the world - in its associative diversity and intentionality. Methods. A selection of research methods, namely, analytical (analysis and synthesis, induction and deduction, systematization, classification and generalization), comparative, systemic, phenomenological, functional, has been used in view of the holistic approach – in the spirit of spiritual development of the world. In this regard, the interpretive potential of the concepts of the intonational model and the modal nature of musical themes as types of thinking by sound images is considered methodologically appropriate: both purposefully focus attention of the recipient on the sound «body» and the intonational "soul" of the musical matter in the integrity of the creative idea of the work, and also is didactically productive in terms of comprehension of the architectonics of the world of music as a world of musical ideas. Results. V. Telichko’s "Children’s Album" is a cyclic structure of the linear/plot type, where step-by-step compositional and dramaturgical organization of the whole ensures the principle of successive naming of new, but equal in figurative semantic content pieces. At the same time, it will be superfluous to reflect on the fact that the structure of cycles such as "album" is rarely evaluated as such that it is actually "filled in" (for example, with memorable photos or pictures), and only since then its "white" (from alba) of the blank/empty sheets is filled in with the semantics and the logic of placement of fixed events, phenomena, impressions, etc in a certain order. Against the background of such reflection the memory recalls such "albums" of romantics: all of them are based on the logic of the course of a day lived by a child (for example, P. I. Tchaikovsky). V. Telichko’s principle of collecting pieces "into the album" has such a life-justifiable logic – the gradual flow of events of the day, embodied in a child’s only perception of the world and itself. The semantic code of the composer’s plan is referenced in his dedication: "I devote my love to grandchildren Angelina and Anna" - expressing love for grandchildren, admiring their fantasy and energy, caring for the formation of their worldview on a certain system of values (family, native land, diversity of traditions of the countries of the world , historical memory): the pieces "Morning", "My Mother", "Our Grandmother" represent an idea of an ingenuous and happy feeling of a child in the family; "Anna’s Teddy-Bear", "Angelina’s Hobbyhorse" and "Angelina’s Waltz " represent a lively imagination of children, each of them having a favorite game "theme"; the plays "About Transcarpathia", "Kolomyika", "Tropotyanka", "Long road" and "It’s raining" are outlined by the situation of instructive stories of grandfather about the regionally formed traditions of the Transcarpathians, their spirit and uneasy destiny; while the pieces "On Scotland", "On Slovakia" and "On Japan" outline the interests of somewhat different cognitive significance - the intention to comprehend a certain national "otherness", which has its own color of its culture; in the end, "A Lullaby for Anna" creates, so to say, a backlash against the grand finale-prologue, consisting of the pieces "On Austria" (the cultural center of the European musical classicism) and "On Romania" (regionally closest to Transcarpathia country). Another signifying circumstance of the idea and plan of the cycle refers to the types of performances and personification of images, both as members of the family circle and as a certain social unity: in addition to the versions of solo performance, in a considerable number of plays there is ensemble performance in four and six hands; at the same time, each of the parts is composed as a certain texture layer, which in aggregate (duo, terzetto) gives the effect of an "orchestral" score. However, the most important thing is that for the instrumentalist performer, and for the listener or analyst (who is also a "listener"), the "Children’s Album" by V. Telichko is a test of the ability to perceive musical vocabulary in the form of a certain sound form/idea with which it is necessary to have a relationship according to the algorithm of personal identification. On the one hand, in the musical text there is an opportunity to recognize the classical models of musical vocabulary (cantilena, recitation, motility, general forms of motion, signaling, sound illustration); and on the other - due to the constructive interference of the classical techniques of the creation of musical matter (emancipated dissonance, the non-systemic character of the tonality, etc.) the meanings are accumulated. Another important component of the composer’s plan is to introduce a purely methodical (level of methodical reception) task of developing the technology of the game on the piano into the original sound form/idea, which first of all requires a skillful usage of all the fingers. Conclusions. As a research material the "Children’s Album" by a contemporary composer from Transcarpathia, V. Telichko provides several important and mutually perceptible scientific tasks directly related to musicology and pedagogical practice: testing of the theoretically updated analytical apparatus for tracking the intonational field of music and its thoughts and comprehension of the didactically expedient implementation of its results in the educational sphere; in particular, in terms of the prospective guideline for the development of musicality (a high measure of the ability to self-identification with the musical image) and the piano skills of a child musician.
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Raichenko, A. I. "Comparative analysis of one-particle mathematical models in materials science and oncology. I. Mathematical models." Powder Metallurgy and Metal Ceramics 44, no. 11-12 (November 2005): 578–82. http://dx.doi.org/10.1007/s11106-006-0028-7.
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Temperley, David. "Probabilistic Models of Melodic Interval." Music Perception 32, no. 1 (September 1, 2014): 85–99. http://dx.doi.org/10.1525/mp.2014.32.1.85.
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Two probabilistic models of melodic interval are compared. In the Markov model, the “interval probability” of a note is defined by the corpus frequency of its melodic interval (the interval to the previous note), conditioned on the previous one or two intervals; in the Gaussian model, the interval probability is a simple mathematical function of the size of the note’s melodic interval and its position in relation to the range of the melody. In both models, this interval probability is then multiplied by the probability of the note’s scale degree to yield its actual probability. The two models were tested on four corpora of tonal melodies using cross-entropy. The Markov model yielded a somewhat lower (better) cross-entropy than the Gaussian model, but is also much more complex, requiring far more parameters. The models were also tested on melodic expectation data, and on their ability to predict the distribution of intervals in a corpus. Possible ways of improving the models are discussed, as well as their broader implications for music cognition.
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Ospanova, Aiman, Meruyert Berdiyeva, and Tamara Zhukbaeva. "Mathematical Models Of Polimerization Processes." Applied Mathematics & Information Sciences 7, no. 4 (July 1, 2013): 1533–37. http://dx.doi.org/10.12785/amis/070437.
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Chaskalovic, J. "New mathematical models for media exposure." Journal of Interdisciplinary Mathematics 12, no. 3 (June 2009): 395–408. http://dx.doi.org/10.1080/09720502.2009.10700632.
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Meirmanov, Anvarbek, and Irina Nekrasova. "Mathematical models of a hydraulic shock." Journal of Mathematical Analysis and Applications 408, no. 1 (December 2013): 76–90. http://dx.doi.org/10.1016/j.jmaa.2013.05.024.
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Sentis, Rémi. "Mathematical models for laser-plasma interaction." ESAIM: Mathematical Modelling and Numerical Analysis 39, no. 2 (March 2005): 275–318. http://dx.doi.org/10.1051/m2an:2005014.
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Neetu Rani, Kiran Bamel, Abhinav Shukla, and Nandini Singh. "Analysis of Five Mathematical Models for Crop Yield Prediction." South Asian Journal of Experimental Biology 12, no. 1 (February 27, 2022): 46–54. http://dx.doi.org/10.38150/sajeb.12(1).p46-54.
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A review of mathematical models used for the prediction of crop yield has been presented. Though there are many other non-mathematical techniques also available for the purpose, but mathematical modeling used for any real world problem opens many perspectives and provides many possible solu-tions of the problem for the betterment of human race. Five mathematical models (remote sensing followed by mathematical modeling, fuzzy logic based model, multiple linear regression mechanistic model, linear algebra based descriptive model and growth model based on TOMGRO mechanistic model) have been extracted and analyzed critically. These models are based on different mathematical concepts and techniques (non-linear optimization, fuzzy logic, linear predictor functions, linear algebra and differential calculus) covering a wide range of mathematical modeling. The general forms of these models have been derived. Average accuracy of presented models was found to be in the range 90% - 99% that strongly favors the optimum usage of mathematical modeling for crop yield forecasting processes. The section giving gaps and future research prospects presents the comparative analysis of the models. Development of new and moderated mathematical models for more precision and better accuracy has also been suggested using new mathematical techniques and hybridization or modifying the existing models.