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Journal articles on the topic 'Tenor'

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Author: Grafiati

Published: 4 June 2021

Last updated: 20 February 2023

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1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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

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9

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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10

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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11

Land, Ronald F., and Richard Miller. "Training Tenor Voices." Notes 51, no. 1 (September 1994): 192. http://dx.doi.org/10.2307/899228.

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12

Deane, John F., Máirtin Ó. Direáin, Tomás MacSiomoin, Dúghlas Sealy, Aidan Murphy, and Mícheál Ó. Siadhail. "Vehicle and Tenor." Books Ireland, no. 95 (1985): 121. http://dx.doi.org/10.2307/20625590.

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13

Bruder, Harold. "Three Edison Tenor." Opera Quarterly 16, no. 4 (January 1, 2000): 666–68. http://dx.doi.org/10.1093/oq/16.4.666.

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14

Wacke, Andreas. "Das Rechtswort: Tenor." Zeitschrift der Savigny-Stiftung für Rechtsgeschichte: Romanistische Abteilung 137, no. 1 (August 21, 2020): 291–311. http://dx.doi.org/10.1515/zrgr-2020-0014.

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15

Farmelo, Graham. "The fourth tenor." Lancet 358, no. 9299 (December 2001): 8. http://dx.doi.org/10.1016/s0140-6736(01)07173-2.

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16

Quereda Sala, José, Enrique Montón Chiva, and José Escrig Barberá. "Escenarios climáticos y recursos hídricos sobre la Región de Murcia a mediados del siglo XXI." Investigaciones Geográficas, no. 36 (April 15, 2005): 5. http://dx.doi.org/10.14198/ingeo2005.36.06.

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El objetivo del presente estudio ha sido el de analizar y proyectar los impactos que un cambio climático podría tener sobre el territorio de la Comunidad de Murcia. Un objetivo de gran trascendencia a tenor de las actuales predicciones que los modelos desarrollados establecen sobre esta región. A tenor de los análisis efectuados, nuestras conclusiones sobre las consecuencias de un posible cambio climático sobre la Región de Murcia no descartan la posibilidad de un sostenimiento climático dentro de la variabilidad natural de nuestro clima. No obstante, con las incertidumbres expresadas y ante la gran sensibilidad que los recursos hídricos muestran frente a las variaciones climáticas, hemos realizado una proyección sobre las tendencias termopluviométricas más severas observadas durante el siglo XX.

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17

Kuznetsov, Grigory A. "From Rienzi to Siegfried: Richard Wagner in Search of the Perfect Heldentenor." Observatory of Culture, no. 1 (February 28, 2015): 69–76. http://dx.doi.org/10.25281/2072-3156-2015-0-1-69-76.

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Traces the story of composer’s collaboration with the most celebrated Wagnerian tenors of his time - Josef Tichatschek, Ludwig Schnorr von Carolsfeld and Albert Niemann. Basing on the analysis of the rich documentary material the author makes an attempt to describe the ideal of the heroic tenor that Richard Wagner was dreaming of all his life.

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18

Segerman, Ephraim. "The Name 'Tenor Violin'." Galpin Society Journal 48 (March 1995): 181. http://dx.doi.org/10.2307/842810.

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19

Kolb, Katherine. "The Tenor of “Sarrasine”." PMLA/Publications of the Modern Language Association of America 120, no. 5 (October 2005): 1560–75. http://dx.doi.org/10.1632/003081205x73399.

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In dialogue with Roland Barthes, whose S/Z unfolds a multiplicity of “voices” in Balzac's “Sarrasine,” this essay focuses on literal voices in the story: those of the castrato and his historical successor, the tenor. It exposes the anachronism whereby a nineteenth-century tenor occupies the place of the baroque castrato hero in the central performance that seduces the title hero, and it analyzes the assumptions that made this anachronism essential to the functioning of the story-and invisible to Balzac, Barthes, and others. By emphasizing the thematics of rivalry and rage in the story and in the political and literary history surrounding it, the essay brings out the oedipal tensions in “Sarrasine” (and, briefly, its companion “L'élixir de longue vie”), tensions that both precipitated the castrato's demise and ensured his survival as a haunting presence in 1830, 1970, and beyond.

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20

Pines, R. "Jacques Urlus, Heroic Tenor." Opera Quarterly 18, no. 4 (October 1, 2002): 632–34. http://dx.doi.org/10.1093/oq/18.4.632.

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21

Nicoletti, Ferdinando, Roberto Gradini, Pier Francesco Bassi, and Liborio Rampello. "Lyrica Cures the Tenor." Clinical Neuropharmacology 32, no. 2 (March 2009): 119. http://dx.doi.org/10.1097/wnf.0b013e31816b6491.

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22

Saurí, Jorge J. "Tenor de la terapêutica." Revista Latinoamericana de Psicopatologia Fundamental 1, no. 1 (March 1998): 9–28. http://dx.doi.org/10.1590/1415-47141998001002.

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Uno de los tópicos centrales de la práxis psiquiátrica es el relativo a la terapéutica, especialmente cuando esta palabra es objeto de usos y abusos, teniendo especial importancia intentar establecer, lo más precisamente posible, su tenor, o sea, su constituición firme y estable. Partiendo de su etimologia, terapéutica designa una actividad de preocupación y cuidados en el contexto del amor y de mantener un determinado órden. El malestar esperanzoso, la demanda y la aceptación la tornan una tarea compartida. Pueden distinguirse en ella dos momentos estructurales: uno constitutivo, con la búsqueda de significaciones compartidas entre terapeuta y paciente y, otro, operativo, con el salmo, el fármaco y el acompañamiento. El salmo evoca la protección amorosa que no actua en lo somático y, sí, al nivel interpersonal afectado por el daño. El pharmakon abarca por lo menos cuatro significaciones: droga, tintura, escritura y objeto numinoso. Como droga, podemos notar sus virtudes ambivalentes: si, por un lado, puede luchar contra el mal a favor de la vida, por otro, puede también provocar la muerte. Como tintura modifica la apariencia, haciendo que una cosa parezca otra. Como escritura favorece la recordación, pero incita al olvido. Como objeto numinoso, pharmakos desempeña un papel expiatório. Pero el salmo y la prescripción de un fármaco no son suficientes: para que la terapéutica sea eficaz es necesario que exista el acompañamiento. Son estos, pués, los ejes en torno de los cuales se estructura la terapéutica, transformándola más que en un servicio destinado a la cura, en un camino acompañado de aprofundamiento de la existencia.

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23

Allen, Valerie. "Literature: Mathematics:: Tenor: Vehicle." Exemplaria 31, no. 4 (October 2, 2019): 315–24. http://dx.doi.org/10.1080/10412573.2019.1696061.

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24

Puurtinen, Tiina. "Tenor in literary translation." Perspectives 6, no. 2 (January 1998): 159–73. http://dx.doi.org/10.1080/0907676x.1998.9961333.

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25

Bebak, Marek. "Pękiel według Pękalskiego. Nieznany przekaz „Missa in defectu unius contraaltus” Bartłomieja Pękiela ze zbiorów archiwum krakowskiej kapituły katedralnej." Muzyka 63, no. 3 (October 2, 2018): 111–16. http://dx.doi.org/10.36744/m.516.

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W komunikacie prezentowany jest nieznany przekaz Missae in defectu unius contraaltus Bartłomieja Pękiela, odnaleziony pośród anonimowych rękopisów sporządzonych w XVIII wieku przez Józefa Tadeusza Benedykta Pękalskiego dla kolegium rorantystów katedry krakowskiej. Rękopis o sygnaturze Kk I.26 przechowywany jest w Archiwum Krakowskiej Kapituły Katedralnej. Do tej pory kompozycja Pękiela znana była jedynie ze zdekompletowanego rękopisu wawelskiego Kk I.6 (brakowało najwyższego z trzech głosów). W niniejszym komunikacie zawarto opis manuskryptu Kk I.26 oraz przykłady modyfikacji, jakie wprowadził do swej kopii skryptor. Wśród nich należy wskazać przede wszystkim zwiększenie liczby głosów z trzech (dwa tenory, z czego pierwszy niezachowany, i bas) do sześciu (alt, trzy tenory, z czego jeden mógł być wykonywany ad libitum, ponieważ zdwajał partię tenoru I, bas i basso ripieno, który jest dosłownym powtórzeniem głosu basowego, i w którym podpisany został tekst słowny). Bez podjęcia szczegółowych analiz stylistycznych, nie jest możliwe stwierdzenie, czy któryś z dodanych przez Pękalskiego głosów (alt lub tenor) został skomponowany przez Bartłomieja Pękiela, jednak podjęto już odpowiednie kroki zmierzające do rozwiązania tego problemu badawczego oraz wydania edycji źródłowo-krytycznej kompozycji.

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26

Miller, Doug. "The moan within the tone: African retentions in rhythm and blues saxophone style in Afro-American popular music." Popular Music 14, no. 2 (May 1995): 155–74. http://dx.doi.org/10.1017/s0261143000007418.

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The tenor is a rhythm instrument and the best statements negroes have made of what their soul is have been on tenor saxophone. Now you think about it and you'll see I'm right. The tenor's got that thing, that honk, you can get to people with it. Sometimes you can be playing that tenor and I'm telling you the people want to jump across the rail. (Ornette Coleman)

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27

Berg, Gregory. "The Listener’s Gallery." Journal of Singing 79, no. 3 (December 30, 2022): 417–21. http://dx.doi.org/10.53830/piji1069.

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28

Mahardika, Fisabil, and Agus Salim. "Model Pemanasan Multi-Tenor pada Battery Percussion Marching Band Institut Seni Indonesia Yogyakarta." PROMUSIKA 5, no. 1 (November 25, 2018): 7–16. http://dx.doi.org/10.24821/promusika.v5i1.2282.

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Multi tenor adalah salah satu seksi instrumen dari kelompok battery percussion pada sebuah marching band. Hal yang menarik untuk diteliti, multi tenor memiliki drum lebih banyak dibanding instrumen battery percussion lainnya. Dengan demikian tentunya memiliki tingkat kesulitan yang lebih kompleks dibanding instrumen battery percussion lainnya. Tahap pembentukan pemain marching band (skill, visual, dan sebagainya) ada tiga tahap yaitu technique, reading, dan musicianship. Di dalam tiga tahap tersebut, penelitian ini berada pada tahap technique atau hal yang paling dasar. Fokus yang diteliti adalah cara atau model pelatihan warming up multi tenor dengan studi kasus pada Marching band Saraswati ISI Yogyakarta. Selain cara/model melatih, juga diteliti mengenai kendala-kendala dan cara mengatasi kendala-kendala dalam melatih 15 warming up multi tenor.

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29

Fitri, Nidya, Ketut Artawa, Ni Made Sri Satywati, and Sawirman . "Participants’ Tenor of Discourse in Indonesia’s Court Trial Cyanide Case." International Journal of Linguistics 11, no. 1 (February 25, 2019): 139. http://dx.doi.org/10.5296/ijl.v11i1.14252.

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This article accomplishes to explore participant’s tenor of discourse in Indonesia’s court trial cyanide case by using four aspects of tenor are played in court trial process (Seragih, 2014). The implication tenor of discourse in Indonesia’s court trial cyanide case is social role relationship played by participants (Halliday, 2002; 2014). The social role relationship among of participants is purposed to make audiences understand the text structure court trial easily and to invite them to do something toward meaning of process. This research used descriptive qualitative method. The data of this study were taken from some sources in you tube. The data were transcripts into Indonesian language orthographically from seventeen dialog conversation which delivered in different session of court trial. The tenor of discourse in Indonesia’s court trial cyanide case how lawyers and prosecutors dominant asked witness and expertise testimony to prove defendant as murder. Finally, we found that the most dominant used tenor of discourse that appear from each session in text structure of court trial was [formal/equal/positive/frequent].

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30

Nieto, J. A. "Alternative self-dual gravity in eight dimensions." Modern Physics Letters A 31, no. 26 (August 17, 2016): 1650147. http://dx.doi.org/10.1142/s0217732316501479.

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We develop an alternative Ashtekar formalism in eight dimensions. In fact, using a MacDowell–Mansouri physical framework and a self-dual curvature symmetry, we propose an action in eight dimensions in which the Levi-Civita tenor with eight indices plays a key role. We explicitly show that such an action contains number of linear, quadratic and cubic terms in the Riemann tensor, Ricci tensor and scalar curvature. In particular, the linear term is reduced to the Einstein–Hilbert action with cosmological constant in eight dimensions. We prove that such a reduced action is equivalent to the Lovelock action in eight dimensions.

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31

Drucker, Ruth Landes, Stephen Paulus, and Harrison Birtwistle. "Artsongs; For Tenor and Piano." Notes 44, no. 2 (December 1987): 376. http://dx.doi.org/10.2307/941605.

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32

Thierie, Wouter, and Lieven De Moor. "Loan tenor in project finance." International Journal of Managing Projects in Business 12, no. 3 (September 2, 2019): 825–42. http://dx.doi.org/10.1108/ijmpb-03-2018-0063.

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Purpose The purpose of this paper is to develop a better understanding of the debt structuring of project finance (PF) loans and the main drivers affecting the maturity of bank loans in infrastructure deals. When banks grant loans to a project, they have two decision variables: the interest margin or the spread and the maturity of the loan. Although several studies analyze the drivers of the spread, few studies in the literature look at the maturity of bank loans. As infrastructure projects are typically highly leveraged, the structuring of bank lending is an important parameter in the financial viability of the project. Design/methodology/approach The paper develops a regression analysis of the loan’s maturity on four categories: characteristics of the project, political risk of the country where the project is executed, the macro-economic setting and the regulatory framework. By using a new data set of InfraDeals containing data on bank loans of more than 1,800 infrastructure projects worldwide from 1997 to 2016, this paper reveals new insights on the debt structuring of banks for PF loans. Findings The results indicate that the maturity of bank loans granted to infrastructure deals is predominantly driven by political risk and regulation, rather than the structuring of the project. This implicates that the region where the deal is closed weighs more heavily than the specificities of the project itself. Originality/value The results have important policy implications. The paper allows to develop a better understanding on how political risk and new regulation, like Basel III, might affect the PF market. The paper is the first one finding empirical evidence of the impact of Basel III regulation on PF lending. By delving deeper into the political risk variable, the authors formulate several recommendations to mitigate political risk.

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33

Kirby, David. "More Soprano, Please, More Tenor." Hopkins Review 12, no. 3 (2019): 311–15. http://dx.doi.org/10.1353/thr.2019.0049.

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34

FARKAS, ANDREW. "Enrico Caruso: Tenor, Baritone, Bass." Opera Quarterly 4, no. 4 (1986): 53–60. http://dx.doi.org/10.1093/oq/4.4.53.

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35

Grier, David Alan. "The Tenor of Our Times." Computer 46, no. 8 (August 2013): 128. http://dx.doi.org/10.1109/mc.2013.291.

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36

Tebble, Helen. "The Tenor of Consultant Physicians." Translator 5, no. 2 (November 1999): 179–200. http://dx.doi.org/10.1080/13556509.1999.10799040.

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37

Mait, Joseph N. "The Tenor of Applied Optics." Applied Optics 52, no. 19 (June 28, 2013): ED7. http://dx.doi.org/10.1364/ao.52.000ed7.

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38

Clark, Alice V. "New tenor sources for fourteenth-century motets." Plainsong and Medieval Music 8, no. 2 (October 1999): 107–31. http://dx.doi.org/10.1017/s0961137100001662.

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The study of the medieval motet in France has recently been rejuvenated, in part by returning to the motet's point of origin – its tenor. Some scholars have focused on the tenor's pitch content, showing how it shapes the motet's harmonies, and how it is in turn shaped by local chant variants; others, by considering the tenor's text and the origin of that text in the liturgy and frequently in the Bible, have shown the motet to be perhaps the quintessential musical manifestation of medieval intertextuality. By bringing together sacred and secular, Latin and vernacular, the motet, better than any other musical genre, exemplifies both the Boethian ideal of music as something much larger than sound and the interconnectedness of all things in the medieval mind. The discovery of hitherto unknown chant sources for motet tenors is therefore an opportunity to reinterpret the texts of the motets they underpin.

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39

Gui, Xia Hui, Gan Chen, Jiong Tian Liu, Yi Jun Cao, and Yong Tian Wang. "Experiment and Research on the Concentration of Refractory Molybdenite Ore by Flotation Column." Advanced Materials Research 113-116 (June 2010): 1577–80. http://dx.doi.org/10.4028/www.scientific.net/amr.113-116.1577.

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As certain refractory molybdenum with degree high oxidation and high argillization, on the premise of molybdenum concntrate recovery rate, in order to increase tenor of molybdenum concntrate, we use cyclonic static micro-bubble flotation column as concentration equipment. We used two concentrate courses to replace flotation machine eight concentrate courses. It showed that, in the condition of same recovery rate, tenor of molybdenum concntrate was 26.16%, rising by 8%. Using processes of flotation machine eight concentrate courses - concentrate regrinding - flotation column two concentrate courses, tenor of molybdenum concntrate was 39.33% and the recovery rate was of 8%. The results showed that, by increasing the degree of monomer dissociation of molybdenum ores, cyclonic static micro-bubble flotation column has higher capability in recovering and selecting ores of -400 mm size fraction. The high argillization resulting from the regrinding and unsuppressed gangue minerals are the main factors affecting the tenor of ore concentrate.

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40

Allsen, J. Michael. "Tenores ad longum and rhythmic cues in the early fifteenth-century motet." Plainsong and Medieval Music 12, no. 1 (April 2003): 43–69. http://dx.doi.org/10.1017/s0961137103003036.

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This article deals primarily with a small repertory of early fifteenth-century motets that survive with tenores ad longum - substitute parts for notationally difficult tenors: works by Dunstaple, Binchois, Ciconia, Brassart, Velut, Carmen and Antonius de Civitate. The eight cases, together with Du Fay's O Sancte Sebastiane and the fourteenth-century motet Inter densas, are discussed individually, with consideration of the reason for inclusion of a tenor ad longum or other rhythmic cues, and who might have been responsible for the part.

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41

Khan, Fawad, Tahir Hussain, Ashfaque Hussain Bokhari, and Sumaira Saleem Akhtar. "Non-static spherically symmetric spacetimes and their conformal Ricci collineations." Arabian Journal of Mathematics 9, no. 2 (March 4, 2019): 393–400. http://dx.doi.org/10.1007/s40065-019-0249-5.

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Abstract For a perfect fluid matter, we present a study of conformal Ricci collineations (CRCs) of non-static spherically symmetric spacetimes. For non-degenerate Ricci tenor, a vector field generating CRCs is found subject to certain integrability conditions. These conditions are then solved in various cases by imposing certain restrictions on the Ricci tensor components. It is found that non-static spherically symmetric spacetimes admit 5, 6 or 15 CRCs. In the degenerate case, it is concluded that such spacetimes always admit infinite number of CRCs.

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42

Rosen, Jerome, Betsy Jolas, Hubert Prati, Therese Brenet, and Dennis Riley. "Episode quatrieme; pour saxophone tenor seul." Notes 44, no. 3 (March 1988): 587. http://dx.doi.org/10.2307/941555.

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43

Baxter, R. "Manuel Salazar, Costa Rica's Forgotten Tenor." Opera Quarterly 19, no. 1 (January 1, 2003): 135–37. http://dx.doi.org/10.1093/oq/19.1.135.

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44

Titze, Ingo R., and Sharon Mapes. "Acoustics of the tenor high voice." Journal of the Acoustical Society of America 91, no. 4 (April 1992): 2433. http://dx.doi.org/10.1121/1.403137.

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45

Large, John W. "Pedagogy of tenor high voice mechanisms." Journal of the Acoustical Society of America 80, S1 (December 1986): S87. http://dx.doi.org/10.1121/1.2024014.

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46

Zijderveld, A. C. "De Romeinse tenor iuris cultuursociologisch belicht." TIJDSCHRIFT VOOR RECHTSGESCHIEDENIS 80, no. 3-4 (2012): 555–60. http://dx.doi.org/10.1163/15718190-0chr1220.

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47

Lagerwerf, Luuk, Wilbert Spooren, and Liesbeth Degand. "Identifying information and tenor in texts." Identifying information and tenor in texts 13, no. 1 (April 18, 2005): 1–4. http://dx.doi.org/10.1075/idjdd.13.1.01lag.

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48

Titze, Ingo R., Sharyn Mapes, and Brad Story. "Acoustics of the tenor high voice." Journal of the Acoustical Society of America 95, no. 2 (February 1994): 1133–42. http://dx.doi.org/10.1121/1.408461.

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49

Potter, J. "The tenor-castrato connection, 1760-1860." Early Music 35, no. 1 (January 16, 2007): 97–112. http://dx.doi.org/10.1093/em/cal102.

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50

Darong, Hieronimus Canggung. "REGISTER CATEGORIES (FIELD, TENOR, MODE) OF THE TEXT." LLT Journal: A Journal on Language and Language Teaching 25, no. 2 (October 7, 2022): 572–81. http://dx.doi.org/10.24071/llt.v25i2.4724.

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This study is concerned with the employment of Systemic Functional Linguistics (SFL) theory in analyzing a speech text. The selected text was reconstructed into some clauses and sentences and subsequently was analyzed in terms of its field, tenor, and mode. The results of the analysis have shown that the register category of the field of the text is the action of America’s change. The tenor as the realization of the interpersonal meaning of the text was the establishment of an intimate relationship that enables the orator to gain support from the audience. Meanwhile, the mode of the texts is categorized as spoken mode because the texts make use of simple nominal groups. Further studies need to cope with other ways of examining field, tenor, and mode as proposed by SFL theory.

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