Relevant bibliographies by topics / Tenor

Academic literature on the topic 'Tenor'

Author: Grafiati
Published: 4 June 2021
Last updated: 20 February 2023

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Journal articles on the topic "Tenor"

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Li, Dazhou, Chuan Lin, Wei Gao, Zihui Meng, and Qi Song. "Short-Term Rental Forecast of Urban Public Bicycle Based on the HOSVD-LSTM Model in Smart City." Sensors 20, no. 11 (May 29, 2020): 3072. http://dx.doi.org/10.3390/s20113072.

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As a kind of transportation in a smart city, urban public bicycles have been adopted by major cities and bear the heavy responsibility of the “last mile” of urban public transportation. At present, the main problem of the urban public bicycle system is that it is difficult for users to rent a bike during peak h, and real-time monitoring cannot be solved adequately. Therefore, predicting the demand for bicycles in a certain period and performing redistribution in advance is of great significance for solving the lag of bicycle system scheduling with the help of IoT. Based on the HOSVD-LSTM prediction model, a prediction model of urban public bicycles based on the hybrid model is proposed by transforming the source data (multiple time series) into a high-order tensor time series. Furthermore, it uses the tensor decomposition technology (HOSVD decomposition) to extract new features (kernel tenor) from higher-order tensors. At the same time, these kernel tenors are directly used to train tensor LSTM models to obtain new kernel tenors. The inverse tensor decomposition and high-dimensional, multidimensional, and tensor dimensionality reduction were introduced. The new kernel tenor obtains the predicted value of the source sequence. Then the bicycle rental amount is predicted.
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MADAN, DILIP B., and WIM SCHOUTENS. "TENOR SPECIFIC PRICING." International Journal of Theoretical and Applied Finance 15, no. 06 (September 2012): 1250043. http://dx.doi.org/10.1142/s0219024912500434.

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Observing that pure discount projection curves are now based on a variety of tenors leads us to enquire into the possibility of theoretically deriving tenor specific zero coupon bond prices. The question then also arises on how to construct tenor specific prices for all financial contracts. Noting that in conic finance one has the law of two prices, bid and ask, that are nonlinear functions of the random variables being priced, we model dynamically consistent sequences of such prices using the theory of nonlinear expectations. The latter theory is closely connected to solutions of backward stochastic difference equations. The drivers for these stochastic difference equations are here constructed using concave distortions that implement risk charges for local tenor specific risks. It is then observed that tenor specific prices given by the mid quotes of bid and ask converge to the risk neutral price as the tenor is decreased and liquidity increased when risk charges are scaled by the tenor. Square root tenor scaling can halt the convergence to risk neutral pricing, preserving bid ask spreads in the limit. The greater liquidity of lower tenors may lead to an increase or decrease in prices depending on whether the lower liquidity of a higher tenor has a mid quote above or below the risk neutral value. Generally for contracts with a large upside and a bounded downside the prices fall with liquidity while the opposite is the case for contracts subject to a large downside and a bounded upside.
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Freydina, Elena. "On Tenor and its Prosodic Markers in Rhetorical Discourse." Journal of Language and Education 2, no. 4 (December 1, 2016): 31–38. http://dx.doi.org/10.17323/2411-7390-2016-2-4-31-38.

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In rhetorical discourse, tenors can be formed intentionally and used as rhetorical strategies to implement the speaker's goals. The article reports on a study of the contextual category 'tenor' and its prosodic realisation in rhetorical discourse. The paper examines rhetorical, auditory and acoustic features in the samples of English academic presentations (lectures). The author argues that tenors can reflect both the relationships of the participants of a particular speech event and the relationships associated with a broader sociocultural context. Analysing tenor as a sociocultural phenomenon the author demonstrates its correlations with some specific features of British speech culture. Special attetnion is given to the role of prosody in conveying and identifying tenors. The article contains an overview of the prosodic markers of tenor: tone of voice, pitch parameters, temporal characteristics. The study of tenor and its prosodic markers contributes to a fuller understanding of the influence of contextual factors on the prosodic realisation of discourse. The observations made in the paper may be useful to develop cross-cultural communication competence and rhetorical competence of EFL students.
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Bradley, Catherine A. "Choosing a Thirteenth-Century Motet Tenor: From the Magnus liber organi to Adam de la Halle." Journal of the American Musicological Society 72, no. 2 (2019): 431–92. http://dx.doi.org/10.1525/jams.2019.72.2.431.

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This article explores trends and motivations in the selection of plainchant and vernacular song quotations as the foundations of thirteenth-century motets. I argue that particular tenor melodies that received only cursory treatment in the liturgical polyphony of the Magnus liber organi were adopted in motets on account of their brevity and simplicity, characteristics that enabled their combination with upper-voice song forms and refrain quotations. Demonstrating a preference for short and simple tenors within the earliest layers of the motet repertoire, I trace the polyphonic heritage of the tenor omnes, whose simple melody enabled its combination with another more obscure plainchant quotation, aptatur, in a unique double tenor motet. I propose that motet creators—while sensitive to the semantic connotations of tenor texts—exploited the musical ability of tenor quotations to be combined with or stand in for other musical quotations. Newly identifying a plainchant tenor source in a motet by Adam de la Halle, I show that Adam's polyphonic motet quotations of his own three-voice polyphonic rondeaux were achieved by the careful selection of motet tenors to replicate the freely conceived lowest voices of these preexisting rondeaux. The article further reveals profound modal and melodic similarities between the quotations chosen as thirteenth-century motet tenors and the newly composed lowest voices of polyphonic rondeaux and English pes motets. It offers new perspectives on the relationship between the “elite” genre of the motet and types of polyphony that are less well attested in written sources, often considered to inhabit a more “popular” realm of musical practice.
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Hasan, Ruqaiya. "Tenor." Language, Context and Text 2, no. 2 (September 18, 2020): 213–333. http://dx.doi.org/10.1075/langct.00029.has.

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Abstract This paper presents work-in-progress on the contextual variable tenor, here reconceptualised as ‘interactant relations’ in order to explore a radically different view of the relations of the interactants to the text in context. The functions of speaker/addressee are the starting point of an exploration of interactant relations because they represent the only features with the capacity to manage a text’s processes. This view implies that speaker/addressee have the capacity to internalise communal conventions, which places them at the centre of the language process. Implications of the results of the exploration for the classification of register are proposed. The paper’s methodology extends previous work on contextual networks (see especially Hasan 2001a, 2009b, 2014, 2016).i
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Maurey, Yossi. "A COURTLY LOVER AND AN EARTHLY KNIGHT TURNED SOLDIERS OF CHRIST IN MACHAUT'S MOTET 5." Early Music History 24 (July 14, 2005): 169–211. http://dx.doi.org/10.1017/s0261127905000082.

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The tenor occupies a special role in vernacular motets of the thirteenth and fourteenth centuries: not only does it underpin the melodies of the upper voices contrapuntally, it also provides intellectual and interpretative undergirding for the texts of these pieces. The biblical or liturgical context of a tenor, drawing on well-understood exegetical and literary traditions, often facilitates an allegorical reading of the upper voices, and vice versa. Because of the foundational nature of the tenor within the Ars nova motet in particular, the identification of the exact musico-liturgical sources of this voice, where possible, is of special significance. While the origins of most of Machaut's twenty-one Latin tenors have been identified, the tenor of one work, Motet 5 (Aucune gent/Qui plus aimme/ T. Fiat voluntas tua, hereafter M5), is alleged to have a most unusual source. I offer new observations about the tenor of M5 that emphasise certain compositional procedures congruent with Machaut's practice in writing his motets and may tie together the various secular and sacred references in the piece.
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Rajeswaran, Sridhar. "The tenor." World Literature Written in English 39, no. 2 (January 2002): 134. http://dx.doi.org/10.1080/17449850208589364.

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Regan, Sean. "Postmodern Tenor." AQ: Australian Quarterly 71, no. 5 (1999): 6. http://dx.doi.org/10.2307/20637844.

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Panettieri, Reynold A., and Geoffrey Chupp. "TENOR Revisited." Journal of Allergy and Clinical Immunology: In Practice 8, no. 7 (July 2020): 2254–55. http://dx.doi.org/10.1016/j.jaip.2020.04.044.

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Parr, Sean M. "Vocal Vulnerability: Tenors, Voix mixte and Late Nineteenth-Century French Opera." Cambridge Opera Journal 30, no. 2-3 (November 2018): 138–64. http://dx.doi.org/10.1017/s0954586719000041.

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AbstractIt is now a historical commonplace that nineteenth-century operatic singing became generally louder and heavier over the course of the century. Early in the century, before the advent of singers such as Gilbert-Louis Duprez, tenors sang high notes with a light, mixed voice, sometimes even falsetto. Strikingly, while such singing was virtually eliminated from Italian opera by the end of the century, the vocal practice continued in certain cases in the French repertory, some of which were created with one particular tenor in mind, Jean-Alexandre Talazac (1851–1896). Talazac was praised for his unique ability to sing high notes both softly and loudly. This article investigates the physical practice of producing what pedagogues and critics have called voix mixte, an enigmatic timbre applied to moments of soft, high tenor singing. In exploring these moments of what I call ‘léger mode’, I suggest that, by singing high notes softly in a post-Duprez operatic world, tenors transcend stage gestures through their use of a formerly normative performance style to mark moments musically as representations of vocal and masculine vulnerability. The historical evidence also argues for a renewed focus on what soft tenor singing might do for opera today.
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Dissertations / Theses on the topic "Tenor"

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Webb, Adam Michael. "Art songs for tenor : a pedagogical analysis of art songs for the tenor voice." Diss., University of Iowa, 2012. https://ir.uiowa.edu/etd/3401.

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The purpose of this project is to assist voice teachers in training tenors by selecting forty art songs that are pedagogically useful in the training of the tenor voice, and providing specific pedagogical strategies for the learning process of the selected repertoire. The list of repertoire consists of ten art songs from each of the four main Western singing languages: Italian, English, German, and French. These four languages have been selected because they represent the vast majority of standard art song repertoire for the typical undergraduate tenor. What is missing in current literature, and what this project addresses, is a pedagogically focused analysis of carefully chosen set of art song repertoire for the tenor voice. This project aids teachers and young tenors in technique and repertoire selection by identifying technical issues in each song, explaining ways to approach those technique issues, and highlighting positive pedagogical results from learning each song. By following the strategies set forth in this project, the tenor and teacher will be better equipped to select appropriate art song repertoire beyond those songs presented in this project and address vocal technique through the song learning process. The body of the dissertation begins with a discussion of pedagogical areas in which the tenor's technique is most distinct from other voice parts including: passaggio, vowel modification, appoggio, giro, chiaroscuro, tessitura, and agility. A brief introduction of each song will include stylistic information on the piece and analysis of the song including range, tessitura, level of difficulty, and vocal demands. I will then discuss specific examples of difficult melodic passages, or phrases that are of pedagogical value and offer specific exercises that can aid the tenor in the song learning process. The information discussed in each song provides a starting point for further repertoire selection beyond this project by introducing the teacher and tenor to composers, collections, or cycles that logically supplement the list of selected repertoire.
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Heras, i. Fortuny Lluís Maria. "El violó tenor en la música espanyola dels segles XVI al XIX." Doctoral thesis, Universitat Autònoma de Barcelona, 2021. http://hdl.handle.net/10803/671814.

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La present tesi, al voltant de l’existència del violó tenor i el seu paper en la música espanyola dels segles XVI al XIX, basa la recerca en dos àmbits principals: d’una banda, clarifica els aspectes etimològics del terme ‘violón’ tot determinant a quin instrument corresponia aquest terme en cada època i lloc. D’altra banda, aporta evidències que avalen l’existència, i ús, del violó tenor en la música espanyola d’aquest període. La recerca sobre l’etimologia es basa en la consulta de documentació civil diversa: actes, diccionaris històrics, partitures, tractats, etc.. La recerca al voltant de violó tenor contempla diversos vessants: en primer lloc, inclou una base de dades d’aproximadament cinc-centes partitures (amb parts destacades de violó, en funcions diferents a les de l’acompanyament continu) procedents del buidat exhaustiu d’una trentena d’arxius espanyols. D’aquestes partitures s’analitzen detalladament setanta-sis obres que aporten dades objectives sobre clau, àmbit i nota mediana de la tessitura emprada, que són fonamentals per a determinar les característiques de l’instrument idoni per a interpretar cada una d’aquestes parts. En segon lloc, s’inclou una base de dades que cataloga violons espanyols dels segles XVII i XVIII, en la que es constata l’existència d’instruments amb característiques de violons tenors. Finalment, una darrera base de dades amb obres d’art hispàniques dels segles XVI al XVIII en les que hi ha representacions de violons que completen la informació sobre la diversitat organològica dels violons en aquella època. Aquesta recerca s’ha fet comparant els resultats obtinguts amb resultats d’estudis sobre casos similars en la música europea del mateix període. El resultat i la discussió de les dades obtingudes porten a concloure que el violó tenor, en les seves diverses versions, va tenir un espai propi, encara que minoritari, en la música espanyola entre els segles XVI i XIX.
La presente tesis, acerca de la existencia del violón tenor y su papel en la música española de los siglos XVI al XIX, basa su investigación en dos áreas principales: en primer lugar, clarifica los aspectos etimológicos del término ‘violón’, determinando a qué instrumento correspondía este término en cada época y lugar. Por otro lado, aporta evidencias que avalan la existencia, y uso, del violón tenor en la música española de ese período. La investigación acerca de la etimología está basada en la consulta de documentación civil diversa: actas, diccionarios históricos, partituras, tratados, etc.. La investigación acerca del violón tenor contempla diversos aspectos: en primer lugar, incluye una base de datos de aproximadamente quinientas partituras (con partes destacadas de violón, en funciones distintas a las del acompañamiento continuo), provenientes del vaciado exhaustivo de una treintena de archivos españoles. De estas partituras se muestra un análisis detallado de setenta y seis obras que aportan datos objetivos sobre clave, ámbito y nota mediana de la tesitura empleada, que resultan fundamentales para determinar las características del instrumento ideal para interpretar cada una de esas partes. En segundo lugar, se incluye una base de datos que cataloga violones españoles de los siglos XVII y XVIII, en la que se constata la existencia de instrumentos con características de violones tenores. Finalmente, una última base de datos con obras de arte hispánicas de los siglos XVI al XVIII en las que se representan violones que completan la diversidad organológica de los violones de aquella época. Esta investigación se ha realizado comparando los resultados obtenidos con resultados de estudios sobre casos similares en la música europea del mismo período. El resultado y la discusión de los datos obtenidos llevan a la conclusión que el violón tenor, en sus distintas versiones, tuvo un espacio propio, aunque minoritario, en la música española entre los siglos XVI y XIX.
The present thesis, based on the existence of the tenor violin in the Spanish music between the 16th and 19th centuries, focuses the research on two main areas: on the one hand, it clarifies the etymological aspects of the term ‘violón’ by determining which instrument this term corresponded in each era and each place. On the other hand, it provides evidence to support the existence and use of the tenor violin in Spanish music in this period. The etymological research is based on the consultation of various civil documents: deeds, historical dictionaries, scores, treatises, etc. The research on the tenor violin examines several aspects: first, it includes a database of about five hundred scores (with prominent violón parts) from about thirty Spanish archives. Of these, seventy-six works are analyzed in detail to provide objective data on the keys, range and pitch median of the tessitura employed, which is fundamental for determining the characteristics of the ideal instrument for performance of each. Secondly, it includes a database cataloging Spanish stringed instruments from the 17th and 18th centuries, confirming the existence of instruments with the characteristics of tenor violins. Finally, it presents a final database of Hispanic artworks from the 16th to the 18th centuries in which the representation of stringed instruments completes the information on the organological diversity of stringed instruments at that time. This research was carried out by comparing the results with the results of other studies on similar cases in European music of the same period. The results and the subsequent discussion of the data lead to the conclusion that the tenor violin, in its various forms, had a place of its own, albeit a minority one, in Spanish music between the 16th and 19th centuries.
Universitat Autònoma de Barcelona. Programa de Doctorat en Història de l'Art i Musicologia
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Tanpradist, Tanapan. "Discretely monitored tenor varying exchange arrangements." Thesis, Imperial College London, 2006. http://hdl.handle.net/10044/1/1269.

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Our subject area of research is Mathematical Finance. In this thesis, we price a novel form of barrier structure which is closely related to a swaption having a continuous time log-normal model, which is the underlying dynamic of the asset, a forward par swap rate. The new feature is where the barrier is monitored before and during the swap period. It is called ”Tenor Varying Barrier Swaption”. It means that even though the exercise date of the swaption is fixed at time t0, the length of the swap may vary according to when the barrier is breached. The pay-off function of the barrier structure is the summation of pay-offs of all possible situations that swap contract can last. In pricing a standard barrier option, the essential part is to calculate the joint probability distribution of Brownian Motion and its running maximum at the fixed time point. However, in our case, the running maximum is measured at the later time beyond the point which we measure Brownian Motion. The novelty in the Mathematics is then in obtaining the probability distribution of Brownian Motion and its running maximum at random distinct time points. The price of Tenor Varying Barrier Swaption is finally obtained via the aid of numerical integration. In addition to that, practically, in the financial market, most barrier structures are monitored discretely. The problem arises when we have to price a discretely monitored barrier swap having a continuous time model as an underlying model of the swap rate dynamic. By modifying the approximation method of Broadie, Glassermann and Kou, we can price of the discretely monitored tenor varying barrier structure successfully. This gives an approximated solution to a new type of interest rate security, which can protect both an investor’s and a writer’s benefits.
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Tripp, Scott T. "Selected Repertoire for the Tenor Voice." FIU Digital Commons, 2012. http://digitalcommons.fiu.edu/etd/629.

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This thesis presents extended program notes for a seventy-minute vocal graduate recital consisting of the following repertoire for tenor: Johann Sebastian Bach’s cantata Ich armer Mensch ich Sündenknecht; two songs from the eighteenth-century Spanish collection Tonadillas Escénicas; Gaetano Donizetti's song La derniére nuit d'un novice; Francis Poulenc's song cycle Tel jour telle nuit; Jake Heggie's song cycle Friendly Persuasions; and John Corigliano's Three Irish Folk Songs for Flute and Tenor. Spanning four centuries of music and representing four different language traditions, these works are sufficiently representative of the tenor repertoire. The content of this thesis features detailed information on these works through historical study, and musical analysis.
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Elezovic, Ivan. "Echoes : [for] tenor, chamber ensemble & computer." Thesis, McGill University, 2000. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=33369.

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Echoes is an interactive composition for amplified chamber ensemble and computer. The entire research that led to this piece was based on the exploration of the evolution of the sound produced initially by the acoustic instruments and then interpreted by the computer. Why "Echoes"?
As a sonic phenomenon the echo has several fairly distinct dimensions. These are commonly understood to include the following: the repetition of a sound by reflection of sound waves from a surface; any repetition or imitation of words, style or ideas; the sympathetic sound response; and, in music, a soft repetition of a phrase. Note that these standard definitions include the figurative dimensions, as in the 'imitation of style or ideas.' This is no coincidence, since I am very much intrigued by the idea of a computer first imitating the actual instrument and then expanding that instrument's possibilities far beyond its timbre.
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Tao, Weilong. "From Baritone to Tenor: Making the Switch." The Ohio State University, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=osu1531744006052136.

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Farías, Castillo Diego. "Grisácea — Para dúo de saxofones barítono y tenor." Tesis, Universidad de Chile, 2009. http://repositorio.uchile.cl/handle/2250/101473.

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Esta pieza para dúo de saxofones, Tenor y Barítono, se compone de un sólo movimiento el que se divide en diferentes secciones. Estas secciones se definen de acuerdo al comportamiento de los materiales utilizados. Este comportamiento consiste principalmente en su reutilización para ejercer diferentes funciones y crear nuevos materiales. En cuanto a los materiales podemos definirlos desde el terreno de las alturas y la gestualidad. Las alturas en esta pieza se determinan principalmente por ámbitos abiertos y cerrados. Algunos de los materiales principales son: células motivicas, nota larga, loops, escalas cromáticas, multifónicos, stacattos, acciacaturas y nota repetida.
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Joo, Kwan Kyun. "An Anthology of Tenor Arias from Korean Operas." Thesis, University of North Texas, 2020. https://digital.library.unt.edu/ark:/67531/metadc1752385/.

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The first Western opera to be performed in Korea was Verdi's La Traviata on January 16, 1948, by the Joseon Opera Company. The first Korean opera, Chunhyangjeon by Jae Myung Hyun, premiered at the Korean National Theater in May 1950, just before the outbreak of the Korean War. Daejeon.go.kr reports that since that year approximately 200 Korean operas have been produced in Korea. Nevertheless, there have been consistent efforts to create and introduce Korean operas to the public. Most of them ended up being "one-off" performances with a single production. Most research on Korean opera has focused on its history, the challenges of producing new operas, or an analysis of selected Korean operas. This study equips singers with the following: pertinent historical background with the libretto, a synopsis, research regarding the composer and librettist, a character analysis, vocal and textual analysis of the selected opera arias, instruction regarding the Korean language, IPA, and a word-by-word translation of the text. I also make recommendations for tenor arias from Korean operas for singers with specific voice types.
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Sandberg, Scott David. "James Houlik: life of a tenor saxophone specialist." Diss., University of Iowa, 2010. https://ir.uiowa.edu/etd/595.

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Santos, Marcos. "Estudo e análise técnica e interpretativa do papel principal de tenor nas óperas Lucia di Lammermoor (Edgardo) e L' Elisir d' Amore (Nemorino) de Gaetano Donizetti." Doctoral thesis, Universidade de Évora, 2016. http://hdl.handle.net/10174/19771.

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Nesta dissertação pretendemos analisar a interpretação do papel do tenor nas óperas Lucia di Lammermoor e L´Elisir d´Amore de Gaetano Donizetti, estudando os principais fatores que influenciaram a interpretação do papel do tenor e como esta mudou ao longo dos anos, por comparação de gravações destas óperas com 50 anos de intervalo entre si. O período do bel canto está associado à linha de canto ornamentada para exprimir emoções, o que, em conjunto com outros aspetos, fez com que a voz de tenor passasse a ter uma emissão distinta, especialmente no registo agudo. O contexto histórico e musical desta época, bem como os desenvolvimentos técnicos que se verificaram, influenciaram a forma de cantar e introduziram o tenor como papel principal nas óperas, com todos os desafios de cantar na zona de passagem, de domínio da respiração e de respeito pelas diversas formas de expressão musical que os compositores do período do bel canto usavam como veículos de interpretação e expressão dos sentimentos. A escolha destas duas óperas de Donizetti assenta num gosto pessoal e no meu interesse em estudar os contrastes dos personagens Edgardo e Nemorino, que são apresentados nesta dissertação sob o ponto de vista interpretativo, analisando a problemática de cada papel e a forma como o percurso tonal destas obras influencia as performances dos intérpretes; Abstract: STUDY AND ANALYSIS TECHNICAL-INTERPRETATION OF THE LEADING ROLE OF THE TENOR IN THE OPERAS LUCIA DI LAMMERMOOR (EDGARDO) AND L´ELISIR D´AMORE (NEMORINO) OF GAETANO DONIZETTI In this dissertation we analyze the interpretation of the tenor role in the operas Lucia di Lammermoor and L´Elisir d´Amore by Gaetano Donizetti, studying the major factors that influenced the tenor role interpretation and how it developed along the years, by comparing two recordings of these operas recorded 50 years apart from each other. The period of the bel canto is associated with the vocal ornamentation to express emotions which, as a consequence and together with other aspects, required technical changes to the tenor voice, in particular the high register. The historic and musical context of this time, as well as the technical developments that happened then, influenced the way of singing and introduced the tenor as the main role in operas, with all the challenges to sing in the passagio, to master the breathing process and to use all the forms of musical expression that the bel canto composers used as vehicles to interpret and express feelings. The choice of these two operas by Donizetti is based on personal taste and also on the interpretative contrasts between the roles of Edgardo and Nemorino, studied in this dissertation in terms of their interpretation, their problematic and how the harmony of these operas influences the interpretation of the singers.
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Books on the topic "Tenor"

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Carpino, Nancy. The tenor mouse : Topo tenori. West Warwick, RI: N. Carpino, 1999.

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Giuseppe, Verdi. Arie per tenore =: Arias for tenor. Milano: Ricordi, 1997.

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Wedekind, Frank. The tenor. Studio City, CA: Players Press, 2007.

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Ivanen, Anatoliĭ. Tragicheskiĭ tenor. Peterburg: Izd-vo RIK "Kulʹtura", 1999.

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Bolaño, Roberto Vidal. Saxo tenor. Madrid: Sociedad General de Autores de España, 1996.

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Wedekind, Frank. The tenor. Studio City, CA: Players Press Inc., 2008.

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Winter tenor. Farmington, Me: Alice James Books, 2009.

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Benjamin, Britten. Opera arias: Tenor. [London?]: Boosey & Hawkes, 1996.

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Michele, Mary Di. Tenor of love. Toronto: Penguin Canada, 2004.

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Tenor of love. New York: Simon & Schuster, 2005.

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Book chapters on the topic "Tenor"

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Bradley, Catherine A. "Non-Plainchant Tenor Quotations." In Authorship and Identity in Late Thirteenth-Century Motets, 89–113. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003259282-6.

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Wang, Bo, and Yuanyi Ma. "Analyzing field, tenor, and mode." In Lao She’s Teahouse and Its Two English Translations, 98–116. London; New York : Routledge, 2020. | Series: Routledge studies in Chinese translation: Routledge, 2020. http://dx.doi.org/10.4324/9780429291920-5.

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Guest, Michael. "Academic Tenor and Formulaic Academic Phrases." In Springer Texts in Education, 113–19. Singapore: Springer Singapore, 2018. http://dx.doi.org/10.1007/978-981-13-2475-8_12.

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Urbinati, Nadia. "The Democratic Tenor of Political Representation." In Reclaiming Representation, 184–209. New York, NY : Routledge, 2017. | Series: Routledge advances in democratic theory; 7: Routledge, 2017. http://dx.doi.org/10.4324/9781315681696-8.

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Leech, Geoffrey, Margaret Deuchar, and Robert Hoogenraad. "Working with Discourse: Tenor and Domain." In English Grammar for Today, 156–71. London: Macmillan Education UK, 2006. http://dx.doi.org/10.1007/978-1-137-23685-2_10.

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Probst, J. "Anforderungen an Aufbau und Tenor der Beurteilung." In 54. Jahrestagung, 646–49. Berlin, Heidelberg: Springer Berlin Heidelberg, 1991. http://dx.doi.org/10.1007/978-3-642-84552-9_450.

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Feitsch, Jochen, Marco Strobel, and Christian Geiger. "Singing Like a Tenor without a Real Voice." In Lecture Notes in Computer Science, 258–69. Cham: Springer International Publishing, 2013. http://dx.doi.org/10.1007/978-3-319-03161-3_18.

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Hoegaerts, Josephine. "Three Anthems, a Flag and a Tenor: Introduction." In Masculinity and Nationhood, 1830–1910, 1–17. London: Palgrave Macmillan UK, 2014. http://dx.doi.org/10.1057/9781137392015_1.

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Galbraith, Marysia H. "Independence Day: The Emotional Tenor of Populism in Poland." In Cycles of Hatred and Rage, 143–68. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-14416-6_7.

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Lam, Marvin. "Interfacing Field with Tenor: Hasan’s Notion of Personal Distance." In Society in Language, Language in Society, 206–26. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/9781137402868_9.

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Conference papers on the topic "Tenor"

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Shojania, Hassan, and Baochun Li. "Tenor." In the international conference. New York, New York, USA: ACM Press, 2010. http://dx.doi.org/10.1145/1873951.1873979.

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Alschner, Stefan. "Der Wagner-Sänger Joseph Aloys Tichatschek – Vom Nachlass zum Netzwerk." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.46.

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The Richard Wagner collection in Eisenach contains the estates of several important 19th century Wagner performers. The inheritance of the Heldentenor Joseph Tichatschek provides insight into the live and influence of the tenor. Tichatschek is considered as one of the greatest German speaking tenors of his generation and performed the leading roles in the world premieres of Richard Wagner’s Rienzi und Tannhäuser. The paper provides an introduction into the extensive networks Tichatschek apparently used to promote his own career as well as the works of composers close to him, like Richard Wagner. The study focusses on Tichatschek’s connections to the German courts, newspaper editors, and artists. The daughter of the singer, Josephine Rudolph-Tichatschek – wife to the German tenor Eduard Rudolph –, appears as a so far completely unknown figure with likewise extensive networks which helped to preserve the inheritance of her father after his death.
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Humaizi, Siti Hazzah Nur R, and Muhammad Yusuf. "Exploring Tenor Configuration in Legislative Members’ Discourse." In 1st International Conference on Language, Literature, and Arts Education (ICLLAE 2019). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200804.056.

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Tibaudo, C., J. Kristi, J. Schroeder, B. Sorensen, and D. MacCuish. "The TENOR architecture for advanced distributed learning and intelligent training." In 40th AIAA Aerospace Sciences Meeting & Exhibit. Reston, Virigina: American Institute of Aeronautics and Astronautics, 2002. http://dx.doi.org/10.2514/6.2002-1054.

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Malloy, Colin. "Study of timbral variation of tenor steelpan mallets through spectral analysis." In 178th Meeting of the Acoustical Society of America. ASA, 2019. http://dx.doi.org/10.1121/2.0001399.

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Riera, Jordi Ferrer, Josep Batalle, Jose Bonnet, Miguel Dias, Michael McGrath, Giuseppe Petralia, Francesco Liberati, et al. "TeNOR: Steps towards an orchestration platform for multi-PoP NFV deployment." In 2016 IEEE NetSoft Conference and Workshops (NetSoft). IEEE, 2016. http://dx.doi.org/10.1109/netsoft.2016.7502419.

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Poli, Michael, Jinkyoo Park, and Ilija Ilievski. "WATTNet: Learning to Trade FX via Hierarchical Spatio-Temporal Representation of Highly Multivariate Time Series." In Twenty-Ninth International Joint Conference on Artificial Intelligence and Seventeenth Pacific Rim International Conference on Artificial Intelligence {IJCAI-PRICAI-20}. California: International Joint Conferences on Artificial Intelligence Organization, 2020. http://dx.doi.org/10.24963/ijcai.2020/630.

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Finance is a particularly challenging application area for deep learning models due to low noise-to-signal ratio, non-stationarity, and partial observability. Non-deliverable-forwards (NDF), a derivatives contract used in foreign exchange (FX) trading, presents additional difficulty in the form of long-term planning required for an effective selection of start and end date of the contract. In this work, we focus on tackling the problem of NDF position length selection by leveraging high-dimensional sequential data consisting of spot rates, technical indicators and expert tenor patterns. To this end, we curate, analyze and release a dataset from the Depository Trust & Clearing Corporation (DTCC) NDF data that includes a comprehensive list of NDF volumes and daily spot rates for 64 FX pairs. We introduce WaveATTentionNet (WATTNet), a novel temporal convolution (TCN) model for spatio-temporal modeling of highly multivariate time series, and validate it across NDF markets with varying degrees of dissimilarity between the training and test periods in terms of volatility and general market regimes. The proposed method achieves a significant positive return on investment (ROI) in all NDF markets under analysis, outperforming recurrent and classical baselines by a wide margin. Finally, we propose two orthogonal interpretability approaches to verify noise robustness and detect the driving factors of the learned tenor selection strategy.
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Schubert, Benedikt. "Struktur und Exegese. Über Eigentümlichkeiten in der Arie »Des Vaters Stimme ließ sich hören« (BWV 7/4)." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.71.

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This study deals with a characteristic of the tenor aria “Des Vaters Stimme ließ sich hören” (BWV 7/4). Why does Bach use two imitating violins? So far unconsidered exegetical and hymnological sources can give a plausible answer to that question. Based on a detailed observation of these sources, the study aims to encourage us to think again about the various hermeneutical approaches to Bach’s sacred vocal music and how Bach can be located in the field of tension between individuality and ‘Zeitgeist’.
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Zeiger, RS, BE Chipps, T. Haselkorn, L. Rasouliyan, FE Simons, and JE Fish. "How Do Rates of Asthma Exacerbations Compare in Pediatric and Adult Patients in TENOR?." In American Thoracic Society 2009 International Conference, May 15-20, 2009 • San Diego, California. American Thoracic Society, 2009. http://dx.doi.org/10.1164/ajrccm-conference.2009.179.1_meetingabstracts.a6219.

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Slezak, Paul, Mandi Hutchinson, Carl Spandler, Murray Hitzman, and Richard Wendlandt. "Time for an upgrade: the importance of weathering for increasing ore tenor in carbonatite complexes." In Goldschmidt2021. France: European Association of Geochemistry, 2021. http://dx.doi.org/10.7185/gold2021.6807.

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Reports on the topic "Tenor"

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Kabakian, Adour. Tensor Impedance Surfaces. Fort Belvoir, VA: Defense Technical Information Center, November 2010. http://dx.doi.org/10.21236/ada566251.

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Tamara G. Kolda. Orthogonal tensor decompositions. Office of Scientific and Technical Information (OSTI), March 2000. http://dx.doi.org/10.2172/755101.

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Allen, George, and Mike Wynn. Tensor Fluxgate Gradiometer Development. Fort Belvoir, VA: Defense Technical Information Center, September 1999. http://dx.doi.org/10.21236/ada630091.

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Mott, Peter, Ali S. Morgan, and Ulrich W. Sutter. The Atomic Strain Tensor. Fort Belvoir, VA: Defense Technical Information Center, May 1991. http://dx.doi.org/10.21236/ada237287.

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Villa Bellosta, Ricardo. Progeria, tener un niño anciano. Sociedad Española de Bioquímica y Biología Molecular, May 2019. http://dx.doi.org/10.18567/sebbmdiv_rpc.2019.06.1.

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Smith, David V., Jeffrey D. Phillips, and S. R. Hutton. Active Tensor Magnetic Gradiometer System. Fort Belvoir, VA: Defense Technical Information Center, November 2007. http://dx.doi.org/10.21236/ada603921.

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Jennings, Ryan, Benjamin Urick, Richard Crawford, and Gregory Vernon. Watertight Tensor-Product Spline Reconstruction. Office of Scientific and Technical Information (OSTI), July 2020. http://dx.doi.org/10.2172/1635598.

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Ulitsky, M. A Tensor Hyperviscosity Model in Kull. Office of Scientific and Technical Information (OSTI), June 2005. http://dx.doi.org/10.2172/919233.

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Budge, K. G. PHYSLIB: A C++ tensor class library. Office of Scientific and Technical Information (OSTI), October 1991. http://dx.doi.org/10.2172/6086624.

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Devine, Karen, and Grey Ballard. GentenMPI: Distributed Memory Sparse Tensor Decomposition. Office of Scientific and Technical Information (OSTI), August 2020. http://dx.doi.org/10.2172/1656940.

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