Artículos de revistas: "Risset"

1

Rueff, Martin. "Vitesse de Risset". Po&sie 149-150, n.º 3 (2014): 14. http://dx.doi.org/10.3917/poesi.149.0014.

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2

Bazzoli, François y Thierry Fabre. "Jean-Claude Risset". La pensée de midi N° 2, n.º 2 (1 de agosto de 2000): 66–73. http://dx.doi.org/10.3917/lpm.002.0066.

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3

Surya, Michel. "Jacqueline Risset et « Lignes »". Lignes 45, n.º 3 (2014): 183. http://dx.doi.org/10.3917/lignes.045.0183.

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4

Schedel, Margaret. "Jean-Claude Risset: Elementa". Computer Music Journal 31, n.º 1 (marzo de 2007): 105–6. http://dx.doi.org/10.1162/comj.2007.31.1.105.

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5

Beachy-Quick, Dan. "Sleep’s Powers by Jacqueline Risset". Colorado Review 36, n.º 1 (2009): 187–90. http://dx.doi.org/10.1353/col.2009.0019.

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6

Battier, Marc. "Jean-Claude Risset: In memoriam". Organised Sound 22, n.º 1 (7 de marzo de 2017): 5. http://dx.doi.org/10.1017/s1355771817000012.

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7

Teruggi, Daniel. "Our Friend Jean-Claude Risset". Organised Sound 22, n.º 1 (7 de marzo de 2017): 6. http://dx.doi.org/10.1017/s1355771817000024.

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8

Villegas, Julián y Naoki Fukasawa. "Doppler Illusion Prevails Over Pratt Effect in Risset Tones". Perception 47, n.º 12 (7 de noviembre de 2018): 1179–95. http://dx.doi.org/10.1177/0301006618807338.

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Changes in frequency such as those found in Risset tones have been associated with moving sound sources in the vertical plane (Pratt effect) and the horizontal plane (Doppler illusion). We investigated the reported origin and motion of unspatialized Risset tones presented monotically and diotically, and Risset tones simulated to be in the sagittal or coronal plane, approaching or receding, from above or horizontally. Independent of the artificial spatialization used (none, spatializing frequency components collectively or individually, elevated or not), upward glissandi were more likely to be judged as approaching than receding, and downward glissandi as receding than approaching, in most cases from the horizon. Glissandi associations with horizontal movements were more common in stimuli simulated on the sagittal plane than in stimuli simulated on the coronal plane. These findings suggest that the Doppler illusion is stronger than the Pratt effect, at least for Risset tones presented over headphones and simulated to be in the sagittal plane. These findings may contribute to better understanding of the association between auditory motion perception and changes in frequency.

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9

Surya, Michel. "Jacqueline Risset, ou le poème comme roman". Lignes 45, n.º 3 (2014): 188. http://dx.doi.org/10.3917/lignes.045.0188.

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10

Villegas, Julián. "Movement perception of Risset tones presented diotically". Acoustical Science and Technology 41, n.º 1 (1 de enero de 2020): 430–32. http://dx.doi.org/10.1250/ast.41.430.

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11

D’Ascenzo, Federica. "Jacqueline Risset et la joi de traduire". Revue des Sciences Humaines, n.º 338 (18 de junio de 2020): 125–38. http://dx.doi.org/10.4000/rsh.853.

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12

Mursic, Rebecca A. y Stephen Palmisano. "The Shepard–Risset Glissando: Identifying the Origins of Metaphorical Auditory Vection and Motion Sickness". Multisensory Research 33, n.º 1 (1 de julio de 2020): 61–86. http://dx.doi.org/10.1163/22134808-20191450.

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Abstract We recently showed that auditory illusions of self-motion can be induced in the absence of physically accurate spatial cues (Mursic et al., 2017). The current study was aimed at identifying which features of this auditory stimulus (the Shepard–Risset glissando) were responsible for this metaphorical auditory vection, as well as confirming anecdotal reports of motion sickness for this stimulus. Five different types of auditory stimuli were presented to 31 blindfolded, stationary participants through a loudspeaker array: (1) a descending Shepard–Risset glissando; (2) a descending discrete Shepard scale; (3) a descending sweep signal; (4) a phase-scrambled version of (1) (auditory control type 1); and (5) white noise (auditory control type 2). We found that the auditory vection induced by the Shepard–Risset glissando was stronger than both types of auditory control, and the discrete Shepard scale stimulus. However, vection strength was not found to differ between the Shepard–Risset glissando and the sweep signal. This suggests that the continuous, gliding structure of both these auditory stimuli was integral to the induction of vection. Consistent with anecdotal reports that the Shepard–Risset glissando is also capable of generating motion sickness (as measured by the Fast Motion Sickness Scale and the Simulator Sickness Questionnaire), the likelihood and severity of sickness for these stimuli was found to increase with the strength of the auditory vection.

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13

Henrot Sostero, Geneviève. "Jacqueline Risset, Une certaine joie. Essai sur Proust". Studi Francesi, n.º 164 (LV | II) (1 de septiembre de 2011): 451. http://dx.doi.org/10.4000/studifrancesi.5748.

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14

Mursic, Rebecca A., Bernhard E. Riecke, Deborah Apthorp y Stephen Palmisano. "The Shepard–Risset glissando: music that moves you". Experimental Brain Research 235, n.º 10 (25 de julio de 2017): 3111–27. http://dx.doi.org/10.1007/s00221-017-5033-1.

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15

Valérie Schafer. "Un virtuose de l’informatique sonore, Entretien avec Jean-Claude Risset". Bulletin 1024, n.º 5 (marzo de 2015): 43–60. http://dx.doi.org/10.48556/sif.1024.5.43.

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16

Breault, Marie-Hélène. "L’évocation de la glace et du froid par le timbre de la flûte dans Icicle de Robert Aitken". Les Cahiers de la Société québécoise de recherche en musique 14, n.º 1 (6 de junio de 2013): 17–24. http://dx.doi.org/10.7202/1016194ar.

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Dans cet article, l’auteure, qui est à la fois interprète et chercheuse, présente une investigation heuristique de son propre processus d’interprétation du solo de flûte Icicle de Robert Aitken. Dans cette pièce, des techniques de jeu contemporaines permettent de produire diverses couleurs sonores évoquant, comme le titre le suggère, le froid, la transparence de la glace, sa cristallinité. Ces techniques sont analysées à partir d’une perspective ancrée dans la pratique interprétative et au regard d’un axe imaginaire de température du timbre instrumental. L’auteure traite aussi bien des techniques notées dans la partition et prescrites par le compositeur que de celles qui relèvent de ses initiatives comme interprète. Ces techniques sont d’abord classifiées selon des catégories établies par le pédagogue de la flûte Pierre-Yves Artaud (Artaud 1986), pour être ensuite évaluées selon les deux grands archétypes instrumentaux – voix et percussion – identifiés par Jean-Claude Risset (Risset 2004). L’analyse de ces techniques est doublée d’explications concernant la méthode de travail et d’appropriation de l’oeuvre utilisée par l’auteure, méthode qui intègre la qualification subjective du timbre instrumental et qui mise sur la créativité interprétative.

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17

Larrieu, Maxence. "A Consideration of the Code of Computer Music as Writing, and Some Thinking on Analytical Theories". Organised Sound 24, n.º 3 (29 de noviembre de 2019): 319–28. http://dx.doi.org/10.1017/s1355771819000384.

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This article focuses on the analysis of computer music, that is, music which uses programming languages so that what the listener hears is the result of computer code. One key point in this article is that this music exists with some writing, that is, the computer code. I note that this key point has not been addressed in the latest theories for analysing computer music. Indeed, we often see this music as part of the electroacoustic field, where the audio signal is essential, and where we usually read that those musics are non-written music. After an introduction on this topic, in the second section I will make a distinction between ‘before the signal’ and ‘from the signal’ to organise the theories to analyse electroacoustic music. In the third section, I will focus on computer music and I will show the historical difficulty in considering ‘code’ in musical analysis, mainly with an important exchange between two pioneers, Marco Stroppa and Jean-Claude Risset. In the fourth section I will explain with Jean-Claude Risset and Horacio Vaggione the specificity of computer music: this music is written. Finally, I will look into a recent analysis theory, the Interactive Aural Analysis by Michael Clarke, which seems to fit with the latter specificity.

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18

Richard, Hans Albert. "Festigkeitsnachweis unter Mixed-Mode-Beanspruchung". Materials Testing 45, n.º 11-12 (1 de noviembre de 2003): 513–18. http://dx.doi.org/10.1515/mt-2003-0005.

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Abstract Die im Jahr 2001 erschienene FKM-Richtlinie „Bruchmechanischer Festigkeitsnachweis“ [1] enthält wichtige Hinweise und Regeln zur bruchmechanischen Beurteilung von mechanisch beanspruchten Bauteilen mit Fehlern wie z.B. Rissen. Dabei werden insbesondere Risse betrachtet, bei denen sich infolge Bauteilbelastung oder Bauteilgeometrie symmetrische Spannungsfelder in der Umgebung der Rissspitze ergeben (Mode I-Beanspruchung von Rissen). Liegen jedoch unsymmetrische Spannungsfelder in der unmittelbaren Umgebung des Risses vor, spricht man von Mixed-Mode-Beanspruchung. Dabei können in Sonderfällen auch reine Mode II (lokale ebene Schubbeanspruchung des Risses) und reine Mode III (lokale nichtebene Schubbeanspruchung des Risses) auftreten. Die bruchmechanische Behandlung von Mixed-Mode-Rissproblemen ist zwar etwas komplexer als die Betrachtung von reinen Mode I-Rissproblemen, der Erkenntnisstand für Fälle mit unsymmetrischer Rissbeanspruchung ist in den letzten Jahren aber so weit gewachsen,zdass sich dieser in die Konzepte der FKM-Richtlinie integrieren lässt. Wie ein bruchmechanischer Festigkeitsnachweis bei Mixed-Mode-Beanspruchung von Rissen aussehen kann, wird in diesem Beitrag dargestellt.

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19

Braus, Ira. "Retracing One's Steps: An Overview of Pitch Circularity and Shepard Tones in European Music, 1550–1990". Music Perception 12, n.º 3 (1995): 323–51. http://dx.doi.org/10.2307/40286187.

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This article documents the use of pitch circularity and Shepard tones in Western art music, 1550–1990. My thesis is that composers have come to exploit the perceptual as well as musical aspects of pitch circularity. Jean-Claude Risset, whose orchestral work, Phases, I analyze in some detail, has been especially successful in both aspects. Additionally, I posit a theory correlating the presence or absence of pitch circularity in music with the aesthetic of formal closure.

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20

CHADABE, JOEL. "Look around and get engaged". Organised Sound 9, n.º 3 (diciembre de 2004): 315–16. http://dx.doi.org/10.1017/s1355771804000524.

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The term ‘computer music’, for those of us who lived through the beginnings, became meaningful during the pioneering period from the late 1950s through the 1970s. It was a positive term. It identified a specific genre of music, a major effort in musical experiment, research and exploration, a wealth of new sound-generating techniques, and a large palette of new sounds. Jean-Claude Risset, in Inharmonique, for example, used additive synthesis to extend principles of tonality into the microworld of spectral progression. John Chowning, in Stria, used the Golden Mean to define FM frequency ratios. For many of us, these were interesting ideas and beautiful sounds.

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21

Leman, Marc. "Vehicles for musical creativity. Reflections on a panel discussion with Ch. Ames, G.‐M. Koenig, J.‐C. Risset, and B. Truax". Interface 21, n.º 1 (enero de 1992): 95–96. http://dx.doi.org/10.1080/09298219208570601.

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22

Féron1, François-Xavier. "L’art du trompe-l’oreille rythmique". rythmer, n.º 16 (11 de abril de 2011): 145–65. http://dx.doi.org/10.7202/1001960ar.

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Un trompe-l’oreille est une entité sonore captieuse dont la principale caractéristique repose sur une disjonction entre sa structuration (comment elle est réalisée) et sa réception (comment elle est perçue). Dans cet article, l’auteur s’intéresse principalement aux patterns résultants qui sont des motifs mélodiques et/ou rythmiques issus de regroupements opérés par la perception sur les stimuli acoustiques provenant d’une ou plusieurs strates sonores ; la production de ces patterns et leurs répercutions auditives sont abordées à travers des exemples musicaux variés comme les polyphonies traditionnelles d’Afrique centrale ou les oeuvres de György Ligeti, Terry Riley et Steve Reich. L’auteur expose également quelques effets rythmiques que seule la précision des ordinateurs autorise, tels que les pulsations infinies ou paradoxales confectionnées par Jean-Claude Risset ou encore le ralentissement perpétuel mis en oeuvre par Autechre dans une de ses compositions. Il s’agit de montrer, à travers ce parcours musical, que des rythmes peuvent en cacher d’autres.

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23

Di Bernardini, Gian Luigi. "La Rivista «Botteghe Oscure» e Marguerite Caetani, direzione di Jacqueline Risset, I. Sezione francese a cura di Laura Santone e Paolo Tamassia". Studi Francesi, n.º 157 (LIII | I) (1 de mayo de 2009): 206–7. http://dx.doi.org/10.4000/studifrancesi.8362.

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24

Biallas, Gerhard, Hans Jürgen Maier, Mark Essert y Kenneth A. Gall. "Ausbreitungsverhalten kurzer Risse in Magnesiumwerkstoffen". Materials Testing 46, n.º 7-8 (1 de julio de 2004): 384–89. http://dx.doi.org/10.1515/mt-2004-0384.

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Abstract In der Magnesiumdruckgusslegierung AM60B sind kurze Risse bei Spannungsintensitäten unterhalb des Schwellenwertes für lange Risse und teilweise sogar unterhalb des effektiven Schwellenwertes ausbreitungsfähig. Wechselwirkungen zwischen Mikrostruktur und Ausbreitungsverhalten wurden auch noch bei Rissen einer Größe von mehr als 0,4 mm beobachtet. Im Bereich der Dendritengrenzen, die aus aluminiumreicherer α-Phase und der β-Phase Al12Mg17 bestehen, und in der Umgebung intermetallischer Phasen vom Typ AlMnSi wurde auch das Wachstum von Rissen dieser Größenordnung noch verlangsamt und teilweise sogar gestoppt. Bei vergleichbaren Rissgrößen und Spannungsintensitäten waren die mittleren Wachstumsraten deutlich größer als in Aluminiumdruckguss.

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25

Petersen, Manuel, Marc Etri, Matthias Behrendt, Albert Albers, Manuel Spekker y Tim Jonathan Lefringhausen. "Suggestive Sound Design - How to use Active Interior Sound Design to improve traffic safety". INTER-NOISE and NOISE-CON Congress and Conference Proceedings 263, n.º 5 (1 de agosto de 2021): 1561–73. http://dx.doi.org/10.3397/in-2021-1874.

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Active sound design becomes an important addition to the newest generation of premium class electrical vehicles to enhance the emotionality of the driving experience. Musicological research indicates that emotions are altered by certain harmonic sets of pitches, whereas results in traffic psychology show that emotions can influence the driving behavior. Despite these findings, there is no research done on how changes to an active vehicle sound could influence the driving behavior. In this paper, we describe an approach for a suggestive sound design. It's based on the hypothesis, that the chosen safety distance by a driver could be altered by changing the inherent dissonance of an active interior vehicle sound based on the current safety distance. The suggestive sound design is based on an additive synthesizer utilizing the Shepard-Risset glissando. The sound can be controlled by external signals e.g. CAN signals from real or virtual vehicles. To verify this hypothesis, a driving simulator was built in which the driving experience with a suggestive sound and the resulting driving behavior can be validated through subject studies within an immersive and reproducible virtual reality environment. The research aims at improving road safety by influencing the driver through changes in the interior vehicle sound.

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Palacio-Quintin, Cléo. "Ces lieux où ingénieurs et musiciens convergent". Circuit 24, n.º 2 (13 de agosto de 2014): 9–30. http://dx.doi.org/10.7202/1026181ar.

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Particulièrement au cours du xxe siècle, le développement des technologies d’enregistrement du son, puis de l’informatique, ont révolutionné la pratique musicale de nombreux créateurs. Le musicien, intéressé par les possibilités sonores inouïes qu’offrent ces nouveaux outils, deviendra de plus en plus « technicien », « ingénieur » voire « programmeur », afin de réaliser ses oeuvres. La nécessité d’avoir accès à des équipements de pointe (au départ rares et très coûteux) et aux connaissances techniques pour s’en servir et les développer donne naissance à des centres de recherche et de création où vont se réunir ingénieurs et compositeurs. Cet article présente les premières institutions ayant posé d’importants jalons pour la discipline, en examinant particulièrement deux figures phares du développement de la musique-technologie, soit Pierre Schaeffer (grm, France) et Max Mathews (Bell Labs, États-Unis), souvent respectivement qualifiés de « pères » de la musique électroacoustique et de la musique informatique. Les collaborateurs privilégiés de Mathews sont également présentés : Jean-Claude Risset et John Chowning (de l’Université de Stanford). Des parties thématiques soulignent l’historique des tout premiers studios fondés au sein de radios d’État, ainsi que plusieurs autres fondés au sein des universités nord-américaines à partir des années 1950. Ce survol se termine sur des institutions françaises fondées au cours des années 1960 et 1970. Ces lieux pionniers ont tous engagé des activités de recherche et de création significatives, qui ont permis le développement d’outils technologiques pour la création musicale.

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27

Nonken, Marilyn. "‘LA NOTATION NE PEUT RENDRE COMPTE DU FAIT’: PERFORMING MURAIL'S ‘TERRITOIRES DE L'OUBLI’". Tempo 62, n.º 244 (abril de 2008): 2–10. http://dx.doi.org/10.1017/s0040298208000089.

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For contemporary music in America and Europe, the 1970s were a time in which the old order was changing, giving place to a new avant-garde. In Germany, the Darmstädter Ferienkurse für Neue Musik was stagnating under the inept leadership of Ernst Thomas, savaged by the press and ridden with inner squabbling and politics. For 25 years a bastion of musical innovation and experimentation, Darmstadt now seemed little more than ‘the crumbling edifice of the avant-garde's chief fortress’. The focus was shifting to Paris, where, in 1977, IRCAM opened beneath the Centre Georges Pompidou. Led by Pierre Boulez and staffed by Luciano Berio, Vinko Globokar, Max Mathews, and Jean-Claude Risset, its stated mission was to reunite science and music and create new modes of performance. Across the Channel, the composers of the New Complexity (Brian Ferneyhough, James Dillon, Richard Barrett, and Chris Dench) were also redefining performance practice, focusing not on technology but on notation and its implications for virtuosity. And in America, different schools of musical thought were colliding in the streets and the academy. Leonard Bernstein delivered the Charles Eliot Norton lectures at Harvard, then presented his ‘unanswered question’ to the American public, on television, in 1976. And uptown and downtown were ensconced, with Milton Babbitt and Morton Feldman appointed to the faculties at the Juilliard School and the State University of New York at Buffalo, respectively. On both sides of the Atlantic, seminal artistic statements were being made, heralding the unruly adolescence of a new and disparate avant-garde no longer directly connected to the Second World War.

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Robert, Aurélien. "Dante, La divine comédie, dir. par Carlo Ossola, avec la collaboration de Jean-Pierre Ferrini, Luca Fiorentini, Ilaria Gallinaro et Pasquale Porro, édition bilingue trad. par J. Risset, Paris, Gallimard, 2021, 1488 p." Annales. Histoire, Sciences Sociales 77, n.º 3 (septiembre de 2022): 552–54. http://dx.doi.org/10.1017/ahss.2022.122.

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Van de Wiele, Aurélie. "Earth and Mind: Dreaming, Writing, Being—Nine Contemporary French Poets: Yves Bonnefoy, Jacqueline Risset, Salah Stétié, Vénus Khoury-Ghata, Tahar Ben Jelloun, André Velter, Marie-Claire Bancquart, Jean-Claude Pinson, Jacques Dupin by Michael Bishop". French Review 93, n.º 4 (2020): 201–2. http://dx.doi.org/10.1353/tfr.2020.0119.

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Rudi, Jøran. "Unpacking the Musical and Technical Innovation of Knut Wiggen". Organised Sound 23, n.º 2 (31 de julio de 2018): 195–207. http://dx.doi.org/10.1017/s1355771818000079.

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Knut Wiggen (1927–2016) is not a household name in music technology, despite the fact that he developed cutting-edge technology during the 1960s and early 1970s in Stockholm, as leader of both the concert organisation Fylkingen and the Electronic Music Studio (EMS). In the international literature on computer music, this development has only been mentioned in passing, if at all. However, EMS and the general development has been discussed in Scandinavian texts,1 but the links between Knut Wiggen’s technical achievements and his far-reaching ambitions for the music of the future, and how this vision aligned with philosophy and research at the time, have not been the focus. Hartenstein (2011) provides insights into Wiggen’s personal intentions and philosophy, and does not go much into technical detail, Groth (2010) focuses principally on the politics and aesthetic differences and subsequent conflicts at EMS, and although an overview of the EMS technology is provided, it is not always made clear how innovative it was. In Broman (2007), the broader lines of electroacoustic musical development are in focus.Wiggen combined social and political concerns with technical insight, and his overarching conviction of how a new art was necessary as a counterweight to mute consumerism is unique in computer music. The aim of this article is to describe and explain the coherency of Wiggen’s achievements, his philosophy, his use of current technological advances and research and his development of a new method for composing the music of the future. In order to support this focus, mainly primary sources have been used,2 however, the literature mentioned above has been consulted due to its use of interview data and other personal communication not commonly available. A degree of duplication of information has been required for the narrative not to suffer.The article will show that Wiggen was a visionary pioneer who has a natural place among such computer music luminaries as Max Mathews, Jean-Claude Risset, John Chowning, Iannis Xenakis, Peter Zinovieff and others from the same generation.

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Kullmer, Gunter y Hans Albert Richard. "Risse vermeiden". Materials Testing 44, n.º 11-12 (1 de noviembre de 2002): 461–64. http://dx.doi.org/10.1515/mt-2002-4411-1208.

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Little, David G. y Michael D. Sussman. "The Risser Sign". Journal of Pediatric Orthopaedics 14, n.º 5 (septiembre de 1994): 569–75. http://dx.doi.org/10.1097/01241398-199409000-00003.

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Qomaruddin, Alfian y Sundjoto Sundjoto. "Pengaruh Infrastruktur Riset, Pendanaan Riset dan Kolaborasi Riset terhadap Kinerja Penelitian di Universitas Trunojoyo Madura". Jurnal Studi Manajemen dan Bisnis 8, n.º 2 (13 de diciembre de 2021): 9–13. http://dx.doi.org/10.21107/jsmb.v8i2.11508.

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Tujuan dari penelitian ini adalah untuk mengetahui dan menganalisa pengaruh infrastruktur riset, pendanaan riset, dan kolaborasi riset terhadap kinerja penelitian di Univerisitas Trunojoyo Madura. Penelitian ini menggunakan metode penelitian asosiatif kausal dengan pendekatan kuantitatif. Data primer yang digunakan adalah hasil kuisioner dari dosen ber NIDN sejumlah 84 orang yang pernah mendapatkan dana penelitian dan telah mempergunakan infrastruktur riset. Uji asumsi klasik menjadi alat analisa hubungan parsial antar variable dan uji hipotesis secara simultan. Hasil penelitian menunjukkan bahwa infrastruktur riset, pendanaan riset, dan kolaborasi riset terhadap kinerja penelitian berpengaruh secara signifikan baik secara langsung maupun tidak langsung. Hasil penelitian ini mendukung beberapa teori dan selaras dengan hasil penelitian terdahulu yang telah diteliti.

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Schestag, Thomas. "Stimmband. Risse. Ohr". Figurationen 16, n.º 2 (1 de diciembre de 2015): 101–12. http://dx.doi.org/10.7788/figurationen-2015-0209.

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Hariri, Karim. "Risse holographisch analysieren". Materials Testing 42, n.º 9 (1 de septiembre de 2000): 361–65. http://dx.doi.org/10.1515/mt-2000-420912.

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Frohn, Alexander. "Risse in Beziehungen". Forum der Psychoanalyse 33, n.º 2 (5 de abril de 2017): 215–31. http://dx.doi.org/10.1007/s00451-017-0265-z.

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Pozzo, Riccardo. "Obituary: Wilhelm Risse". History and Philosophy of Logic 20, n.º 2 (abril de 1999): 145. http://dx.doi.org/10.1080/014453499298147.

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Risse, Mathias. "Mathias Risse replies:". Ethics & International Affairs 22, n.º 3 (2008): 254–59. http://dx.doi.org/10.1111/j.1747-7093.2008.00161.x.

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Bergmeister, K. "Risse im Konstruktionsbeton". Beton- und Stahlbetonbau 94, n.º 6 (junio de 1999): 245–53. http://dx.doi.org/10.1002/best.199900870.

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Licata, Thomas. "Jerry Tabor, Jean-Claude Risset, Otto Laske, Agostino Di Scipio, Michael Hamman, Mark Sullivan, Insook Choi, Thomas DeLio: Electro Acoustic Music VI Compact disc, 1999, Neuma 450-99; available from Neuma Records, 71 Maple Street, Acton, Massachusetts 01720, USA". Computer Music Journal 25, n.º 1 (marzo de 2001): 77–79. http://dx.doi.org/10.1162/comj.2001.25.1.77.

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Siswanto, Siswanto. "Riset Implementasi (Implementation Research) Sebagai Metodologi Riset Untuk Mengawal Kebijakan". Buletin Penelitian Sistem Kesehatan 22, n.º 2 (6 de agosto de 2019): 137–45. http://dx.doi.org/10.22435/hsr.v22i2.2050.

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The appropriate approach for operational research is by using problem solving cycle model, comprising (i) measuring the magnitude of the problem, (ii) identifying the causes of the problem, (iii) developing the solution, (iv) implementing program/ intervention, and (v) evaluating the program. Within a scientific perspective, in every phase of problem solving cycle, it needs research, including the fourth phase i.e. implementing program/ intervention. Research that provide scientific evidence for better implementation is labeled as Implementation Research. As a methodological approach, Implementation Research belongs to critical realism paradigm that is possible to use mixed method (combination of qualitative and quantitative), or stand alone of qualitative method, or quantitative method. The role of Implementation Research is very crucial for better implementation or for better scale-up of the program by understanding the implementation process as well as the impact of the program under concern. Participatory action research, as one of the Implementation Research approach, can be used as an appropriate methodology for better implementation in the real context of the new policy (new program) by tailoring the implementation process (management process) with the real world situation in terms of policy actors, organizational situation, human resources variable, community variable, as well as, resources variable. Abstrak Pendekatan yang tepat untuk riset operasioanl adalah melalui siklus pemecahan masalah terdiri dari (i) mengukur besaran masalah, (ii) mencari penyebab masalah, (iii) mengembangkan solusi, (iv) implementasi intervensi/ program, dan (v) evaluasi program. Dalam perspektif ilmiah, maka dalam setiap tahapan siklus pemecahan masalah memerlukan penelitian, termasuk tahap keempat yakni tahapan implementasi program. Penelitian yang menyediakan bukti ilmiah untuk implementasi program disebut dengan Riset Implementasi (Implementation Research). Sebagai pendekatan metodologi, Riset Implementasi termasuk dalam paradigma realisme kritis (critical realism), yang memungkinkan untuk menggunakan metoda campuran (mixed method) (kombinasi kuantitatif dan kualitatif), atau secara senidri hanya menggunakan kuantitatif, atau kualitatif saja. Peran Riset Implementasi menjadi sangat penting untuk mendapatkan cara-cara implementasi yang lebih baik, atau dalam rangka memperluas jangkauan progam, guna mempelajari proses implementasi dan melihat dampak program sebagaimana diinginkan. Riset tindak partisipatif (Participatory action research), dapat dipergunakan sebagai metodologi yang tepat untuk mendapatkan cara-cara implementasi yang lebih baik dalam konteks penerapan kebijakan/ progam baru, dengan menyesuaikan proses implementasi (proses manajemen) disesuaikan dengan situasi dunia nyata di lapangan, berkaitan dengan aktor kebijakan, situasi organisasi, variasi sumber daya manusia, variasi masyarakat, maupun variasi sumber daya lainnya.

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Santoso, Agung. "Analisis Statistika dalam Riset-Riset Psikologi Komunikasi: Sebuah Studi Literatur". Suksma: Jurnal Psikologi Universitas Sanata Dharma 3, n.º 2 (30 de octubre de 2022): 5–18. http://dx.doi.org/10.24071/suksma.v3i2.4684.

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The increasing number of studies in psychology on communication demanded the use of more relevant statistical analysis techniques that can meet the needs for these studies. Conventional analysis techniques, such as ones that were based on linear model, assume that the observation are independent. Such assumption were often violated in studies on communication. Therefore, it was imperative to develop statistical analysis techniques that could address problems related to data with dependent observation either in communication events. Such efforts could not be separated from literature studies addressing several research questions: (1) What kind of research questions that frequently arose in communication in Psychology?, (2) What statistical analysis techniques that were commonly used to answer the questions in such studies?, (3) What potential statitical analysis techniques that could be used in the studies?, and (4) How were the discrepancies between the needs in communication studies in Psychology with the statistical analysis techniques currently available? The current studies attempted to address those questions by conducting a study of literature review. It was shown that there was still a big space for improvement for studies on communication particularly in Indonesia. Many statistical techniques that were currently available, such as dyadic analysis or social network analysis, have not been employed to address the issues related to dependence of observation or social relations data. Moreover, statistical models or techniques should be developed to measure communication events to reduce the dependence on self-report assessments.

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Monterumici, D. Fabris. "La tecnica di Risser". Archivio di Ortopedia e Reumatologia 120, n.º 1 (julio de 2009): 16. http://dx.doi.org/10.1007/s10261-009-0028-5.

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Kusumawardhana, Adi Slamet y Mayang Dintarini. "Analisis interpretasi matematis dalam mini riset mahasiswa melalui pembelajaran berbasis riset". JINoP (Jurnal Inovasi Pembelajaran) 7, n.º 1 (25 de mayo de 2021): 102–14. http://dx.doi.org/10.22219/jinop.v7i1.10416.

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Statistics are studied in many fields of study including in Governmental Science, University of Muhammadiyah Malang (UMM). However, in reality, many UMM Government Science students do not understand the material and still have difficulty applying statistical methods, so it is necessary to provide mini research-based learning and analysis of interpretation abilities. The purpose of this research was to analyze students’ interpretative abilities in mini-research on research-based learning. The research used a qualitative descriptive method. The research sample consisted of 1 student who carried out mini research-based learning. The results of student’s reports were analyzed according to the indicators of interpretation ability. The result of the research indicated that the application of research-based learning in statistics subjects has a positive impact on students’ mathematical interpretation abilities can be seen from the achievement of the mathematical representation indicators found in the mini-research conducted by subject 1 in class. However, several things need to be improved in the mini-research conducted by subject 1, namely presenting problems and solving them in other forms. The descriptor wrote the notation in other forms and communicates the notation according to the idea.

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Reem, Jennifer, Joseph Carney, Mark Stanley y Jeffrey Cassidy. "Risser sign inter-rater and intra-rater agreement: is the Risser sign reliable?" Skeletal Radiology 38, n.º 4 (12 de noviembre de 2008): 371–75. http://dx.doi.org/10.1007/s00256-008-0603-8.

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Oeser, Markus, Lisa Fischer, Dirk Kemper, Marcel Schneider y Dawei Wang. "Einwirkung von Aufgrabungen im Straßenraum auf die Zustandsentwicklung von kommunalen Straßen/Influence of excavations in the urban area on the deterioration of road pavement". Bauingenieur 92, n.º 01 (2017): 20–31. http://dx.doi.org/10.37544/0005-6650-2017-01-52.

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Um die Einwirkungen von Aufgrabungen auf den Zustand kommunaler Straßen zu bestimmen, werden die Zustandsentwicklungen von Straßenabschnitten, auf denen Aufgrabungen stattgefunden haben, mit aufgrabungsfreien Abschnitten verglichen. Dabei werden verschiedene Prognosemodelle angewendet. Die untersuchten Daten stammen aus mehreren Zustandserfassungen nach ZEB (Zusätzliche technische Vertragsbedingungen und Richtlinien zur Zustandserfassung und Bewertung von Straßen) von einer ausgewählten Stadt. Als Ergebnis zeigen sich große Einflüsse auf die Zustandsentwicklung durch die Aufgrabungen. Besonders die Ebenheitsmerkmale verschlechtern sich hierdurch und auch der Flickstellenanteil steigt deutlich an. Eine Zunahme von Rissen ist ebenso ersichtlich. Daher ist eine Berücksichtigung von Aufgrabungen bei der Erstellung von Zustandsprognosen für die kommunalen Straßen zwingend erforderlich. Insgesamt zeigt sich, dass hierfür eine genauere Untersuchung der Aufgrabungen unter Berücksichtigung der verschiedenen Ausprägungen, wie Unebenheit, Risse, Flickstellen etc. erforderlich ist.

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Sirajudin. "Islam dan riset akuntansi". IMANENSI: Jurnal Ekonomi, Manajemen dan Akuntansi Islam 4, n.º 1 (4 de julio de 2019): 1–13. http://dx.doi.org/10.34202/imanensi.4.1.2019.1-13.

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Abstrak Tulisan ini berupaya mengurai sekilas paradigma apa saja yang menjadi perhatian di riset akuntansi termasuk filosofi yang mendasarinya. Tulisan ini juga mencoba menawarkan gambaran riset akuntansi yang ada dan paradigma Islam sebagai sebuah paradigma tersendiri yang bisa digunakan dalam riset-riset akuntansi yang bagi sebagian peneliti termasuk dalam paradigma spiritualitas. Metode yang digunakan adalah telaah literatur atas beberapa tulisan tentang paradigm Islam dan riset akuntansi. Temuannya bahwa paradigm Islam sudah sejak lama menjadi kacamata tersendiri dalam riset-riset sosial, termasuk riset di bidang akuntansi. Namun, mayoritas peneliti cenderung mengklasifikasikan paradigma Islam ke ranah paradigma posmoderen atau paradigma spritualis. Abstract This article tries to extract a glace about any paradigm that concerned and also the philosophical basis. It offers the picture of accounting research and Islamic paradigm as a self paradigm that can implement in accounting researsches. It may consider as spiritual paradigm to some researcher. The method it this article is literature review on some writings about Islamic paradigm and accounting research. The finding shows that Islamic paradigm has well known as a specific tool in social research, as it is in accounting research. However, most researchers tend to classify it as postmodern or spiritual paradigm.

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Disas, Eka Prihatin. "Model Manajemen Riset Universitas". Jurnal Penelitian Pendidikan 21, n.º 1 (10 de mayo de 2021): 54–65. http://dx.doi.org/10.17509/jpp.v21i1.34108.

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Memasuki era Revolusi Industri 4.0 yang di dominasi oleh teknologi dan system otomasi menjadi mega trend dunia yang merambah pada seluruh aspek kehidupan, demikian juga dengan pendidikan dimana manajemen perguruan tinggi di seluruh belahan dunia beradaptasi terhadap perubahan ini. Penelitian ini berkaitan dengan system informasi manajemen riset yang didominasi dengan cloud teknologi. Smart system ini dikembangkan berdasarkan data hasil penelitian ketidakpuasan renponden terhadap system yang selama ini berjalan. Responden pada penelitian ini adalah tenaga pendidik sebagai peneliti, sedangkan Teknik pengambilan data melalui kuesioner melalui media online. Hasil penelitian ini berupa smart system yang berbasis cloud teknologi sebagai penyempurnaan dari system yang sedang berjalan. Kelebihan system ini adalah (1) kemudahan akses; (2) efektif dan efisien; (3) transparan; (4) objektif; (5) mengelola hasil penelitian.

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Burtke, Ute. "Begegnung mit Ludger Risse". Heilberufe 64, n.º 4 (abril de 2012): 38–39. http://dx.doi.org/10.1007/s00058-012-0479-9.

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Westphal, Kirsten. "Risse im Synapsen-Netzwerk". MMW - Fortschritte der Medizin 153, n.º 29-31 (agosto de 2011): 56. http://dx.doi.org/10.1007/bf03368635.

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