Literatura científica selecionada sobre o tema "Pieles (Motion picture)"

A frame of frames, a piece of pieces, a length of lengths. Standard gauge on substandard; narrower, yes, but longer. An ECU that’s an ELS. Disjecta membra; Hollywood anthologized. A kind of autobiography of its maker, a kind of history of the institution from whose shards it is composed, the commercial motion picture industry. A mutual interrogation between 35mm and 16mm, the gauge of Hollywood, and the gauge of the amateur and independent.

The thesis focuses on the analysis of three program pieces - Catacombs, The Hut on Hen's Legs (Baba Yaga) and The Great Gate of Kiev from the Modest Mussorgsky's piano suite Pictures at an Exhibition. A starting point is the analysis of the wider context out of which the mentioned pieces originated which throws light on the stylistic characteristics of Romanticism, and provides grounds for a detailed pondering on the artistic creations of the iconic composer. The study can be valuable for the pianists and musical pedagogists, as the analysis in its essence explores the ways of interpretation of the mentioned compositions. The article PROGRAM CONTENT IN RELATION WITH COMPOSITIONAL AND TECHNICAL SOLUTIONS FOUND IN PIANO PIECES BY MODEST MUSSORGSKY consists of the following chapters: Introduction, Modest Mussorgsky - Features of Artistic Oeuvre and Musical Language, Pictures at an Exhibition: Catacombs, The Hut on Hen's Legs (Baba Yaga) and The Great Gate of Kiev - Analysis of the Contents and Performance Aspects, Conclusion and References. The introductory part offers an explanation of the research framework, presents the research methods and objectives and gives a short review of the literature used for the study. The following chapters are drafted in such a way as to offer to the reader the important information on the characteristics of Mussorgsky's oeuvre in order to provide for a well-founded introspection of the selected compositions. The central part of the thesis is reserved for the analysis of the compositions, first by presenting their program content, and then by focusing on its bonds with compositional and technical solutions found in each piece. In order to come up with fuller consideration of the employed means of expression and their role in evoking the specific contents, the work offers the author's own solutions, all backed up by notational examples and explanations. The piano suite Pictures at an Exhibition by Mussorgsky is a work of exceptional value, very inspiring for the performer. Pieces contrast with each other in tempo, character, as well as harmonic and expressive means. In addition to achieving it's unity, it is important that each piece is well conceived, that the main points are singled out and that the narrative of each piece is recognized and complied in the interpretation. Taking into account the atmosphere of the piece Catacombs, the performer should keep the chords long enough and move from one to the other without haste. Another important element of the performance is the acoustic connection of the chords without interruption and being out of context, so it is important to listen well to each chord, with a special focus on the sound level just before the next one. Baba Jaga's flight in a large attic is characterized by a constant vertical in the texture, largely composed of octaves and massive chords, frequent leaps and rapid changes of the register along the entire keyboard. In order to evoke the fierce and evil nature of the character, the composer establishes a characteristic rhythmic scheme. The witch's impatient and angry steps are represented by accents on the weak parts of the beat. The invoice is composed of unison, doubled or tripled octaves. With its sumptuous sound, in full piano capacity, the piece The great gate of Kiev completes the work in an imposing way. Inspired by folklore and church motifs, the composer pays tribute to the Russian people, historical heritage, tradition and cultural values. The grand fi nale opens with the long chords of E-flat major, a key that has often been associated with heroism and fame in the history of music. The massive sonority and triumphant character of this theme, which also closes the cycle, can be connected with the sound of a Russian folk melody sung by large masses of people, in a way that symbolizes the vitality of the national spirit. Mussorgsky's melodic line is characterized by a wide range of expressions, in accordance with the aesthetic and psychological principles of individual paintings; it less often contains "long breath" or longer motion in one direction. Of the selected pieces in this work, except in The great gate of Kiev, the melodic lines are mostly comprised of short motifs. The rhythmic component is extremely important for certain pieces of the cycle (among which is certainly baba yaga). Harmony includes unusual and frequent changes of tonal centers, as well as the appearance of modality. Particularly expressive properties of harmony can be observed in the Catacombs, where dissonances are supported by sharp dynamic extremes, with the aim of evoking the psychological state of the observer in the eclipse of ancient Christian hiding places and tombs. The fi nal considerations, which are focused on the contribution of the research, offer possible perspectives for further studies of pianistic poetics as a means of interpretation of program compositions. I believe that my research has contributed to the elucidation of possible perspectives for further reflections on pianistic poetics in the service of interpreting and evoking compositions of a programmatic character. Also, I hope that this work will be useful to all pianists who are looking for their own solutions and personal path to achieving high creative and artistic achievements.

As artificial intelligence technology has advanced, it has become commonplace to employ hand gesture detection to control virtual objects. The suggested system in this research is a hand gesture-controlled virtual mouse that uses AI algorithms to recognize hand gestures and transform them into mouse movements. People who have trouble using a conventional mouse or keyboard can use the system to provide an alternate interface. The suggested method takes pictures of the user's hand with a camera, which an AI program then utilizes to identify the motions the user is making. Since the development of computer technology, the method for constructing a process of human- computer interaction is advancing. The mouse is one of the best pieces of HCI (Human-Computer Interaction) technology ever created. This article suggests an HCI-based virtual mouse system that makes use of hand movements and computer vision. webcam or built-in camera recordings of gestures that have been subjected to a color segmentation and detection procedure. This system uses a webcam or an integrated camera to capture frames. It then processes the frames to make them trackable, identifies various user motions, and executes mouse functions. In order to make the interaction more effective and dependable, this study suggests a vision-based system to control various mouse behaviors, such as left and right clicking, using hand gestures. This system uses a webcam or an integrated camera to capture frames. It then processes the frames to make them trackable, identifies various user motions, and executes mouse functions. Therefore, the suggested mouse solution removes the need for a device to use a mouse. Therefore, it can be seen that the development of HCI technology is advantageous. Keywords- HCI (Human Computer Interaction), Hand Gesture, Gesture Recognition, OpenCV, Media-pipe, pyAutoGUI.

As artificial intelligence technology has advanced, it has become commonplace to employee gesture detection to control virtual objects. The suggested system in this research is a hand gesture- controlled virtual mouse that uses AI algorithms to recognize hand gestures and transform them into mouse movements. People who have trouble using a conventional mouse or keyboard can use the system to provide an alternate interface. The suggested method takes pictures of the user's hand with a camera, which an AI program then utilizes to identify the motions the user is making. Since the development of computer technology, the method for constructing a process of human- computer interaction is advancing. The mouse is one of the best pieces of HCI (Human- Computer Interaction) technology ever created. This article suggests an HCI-based virtual mouse system that makes use of hand movements and computer vision. webcam or built-in camera recordings of gestures that have been subjected to a color segmentation and detection procedure. This system uses a webcam or an integrated camera to capture frames. It then processes the frames to make them trackable, identifies various user motions, and executes mouse functions. In order to make the interaction more effective and dependable, this study suggests a vision-based system to control various mouse behaviors, such as left and right clicking, using hand gestures. This system uses a webcam or an integrated camera to capture frames. It then processes the frames to make them trackable, identifies various user motions, and executes mouse functions. Therefore, the suggested mouse solution removes the need for a device to use a mouse. Therefore, it can be seen that the development of HCI technology is advantageous. Keywords- HCI(Human Computer Interaction), Hand Gesture, Gesture Recognition, OpenCV, Media-pipe, pyAutoGUI.

Background. The “melos” and “colourfulness” terms are used in various meanings both, in music and fine arts. The ambiguity of these concepts in our time of unlimited possibilities for creative experiment and bold search for new semantic levels, interest in establishing versatile inter-scientific relations allows us to apply innovative analytic methods to the works of art. Among these methods, intermedial inter-disciplinary researches seem to be extremely promising, especially when applied to such traditional, well-established forms of art as academic painting and music. The article uses the innovative method of intermedial research, which consists in attempts to trans-code the elements of the musical semiotic system into a pictorial one and vice versa. B. Asafyev (1987, р. 83) determined the “melos” in music as an abstract notion that unites all the forms of melody and the properties of melodiousness: the qualitative, expressive sides of all kinds of sound correlations as sequences in time. The consistent movement of sounds in a piece of music is called “a line” (for example, a “melodic line”) that gives the reason to see a certain parallel between music and painting. Accordingly, the concept of “melos” in music correlates with the concept of “linearity” (graphics) of a picture. The notion of “colourfulness” was first introduced in the fine arts. The colourfulness is a total of correlations of colour tones, hues, which create a certain unity and are an esthetic reflection of the colour diversity of reality (based on Bilodid, I., 1973, p. 232 and others). In musical science there is no well-established definition of this concept, however, we find such attempts: “Colourfulness [in original –’kolorit’ – translator’s note] (from the Latin ’color’) in music – is the predominant emotional colouring of one or another episode, which is achieved by using various registers, tones, harmonic and other expressive means” (FDSTAR. Electronic music. The site of composers, CJs and DJs). The adjoint concept “colouristics” is used, which is described as follows: “… colouristics – music of subtle and colorful sounds, in which all tones are distinguished (the beginning of the Etude in G sharp minor by Chopin, the scene of the transformation of fishes in the 4th Picture of “Sadko”, bell harmonies by M. P. Mussorgsky, S. V. Rachmaninoff)”(Maklygin, A., 1990, in Musical Encyclopedic Dictionary). The purpose of this article is an attempt to determine the correlation of melos and colourfulness in the musical and fine arts on the example of musical portraits and landscapes from the M. Mussorgsky’s “Pictures at an Exhibition” cycle. Research results. The “Pictures at an Exhibition” piano cycle is created under impression of works by Viktor Hartmann, the artist, architect, and designer. The content of the cycle is a vivid example of music and painting interrelation, therefore it gives an occasion to detailed intermedial analysis to understand the melos and colourfulness correlation in the musical pictures. So, the peculiarities of the melos in “The Gnome” are the quick broken zigzag lines, contains brief chromatic motifs, separated by pauses, grace notes and trills. A special role is given to syncopation, which imitate the Gnome’s limping gait. The texture of M. Mussorgsky’s piece – the octave movement in the party of the right and the left hands without a clearly defined accompaniment can be seen as a musical analogy to colourfulness of V. Hartmann’s sketch with its transparent background. Thus, in Mussorgsky’s play “The Gnome”, melos prevails over colourfulness that coincides with the ratio of melos / color in V. Hartmann’s sketch, since the artist gave preference to drawing creating this picture as monochrome one. “The Old Castle” is extremely colourful, as the composer deals great importance to modal, harmonic and textural factors. In general, it can be argued that the composer inherits the ratio of drawing and colouring in the painting by V. Hartmann, embodying the overall emotional and colourful palette of the picture with the help of tonality (“mysterious” G sharp minor) and texture (basso ostinato as an expression of the statics of the massive old building). Melos prevails over colourfulness and expresses the individuality of images in the “Samuel” Goldenberg and “Schmuÿle”, the musical portrait based on two paintings by V. Hartmann (“Poor Jew”, “Rich Jew in the Fur Hat”). The melodic (linear) component of the work is represented by two musical themes. The first is a characterization of a rich man, in which ascending intonations are used as a symbol of his high social status, by analogy with the proudly raised head and upward glance in the painting by V. Hartmann. The melodic theme of a poor Jew with a downward motion corresponds with the image of the poor man’s stooped figure. “Colour” of the musical portrait, as in the V. Hartmann’s painting, serves only as a background. In the piece “Catacombs. Roman Tomb”, the colorfulness prevails over the melos, The “gloomy” tonality (B minor) and the figurative textural techniques used by the composer (the sound of the melody against the background of tremolo octaves in high register, which can be compared with flickering lantern light in the darkness of the tomb, also juxtaposition of the fragments of the theme in different registers, creating contrasts of light and darkness), clearly reflect the overall colouring of the painting by V. Hartmann. In the musical portrait “The Hut on Hen’s Legs (Baba Yaga)” melos prevails over colorfulness, because it is with the help of melodic means that the portrait of a fairy-tale character is depicted, while the coloristic component of the music in this composition corresponds to the sketch of V. Hartman (where the clock in the house’s form depicted) only partially and plays the role of a landscape background (tremolo and triplets in accompaniment performing a coloristic function). “The Bogatyr (Great) Gates (In the Capital in Kiev)” is based on V. Hartmann’s the architectural and painting project of the city gate. Melos of the composition is presented by three contrasting themes. The graphic drawing of some fragments of these themes associatively correlates with the individual elements of the graphics of V. Hartmann’s picture (the peaked line of the passage in the right hand’s party, the tremolo-like figures). The colourfulness of the piece expresses in part by its texture and tone (E Flat Major, according to N. Rimsky Korsakov, the tone of “walls and cities”). In V. Hartmann’s painting, the drawing prevails over colour; however, M. Mussorgsky rethought the melody / colourful ratio in the piece. Melos conveys only some of the features of the drawing, its most important lines, while textural and coloristic musical means reproduce both, the linear side of the image and colouristics as such, that is, the colouristic component dominates. Conclusions. 1. The melos/colourfulness correlation in M. Mussorgsky’s cycle is regulated as follows: melos prevails over colouring in the pieces “The Gnome”, “Samuel” Goldenberg and “Schmuÿle, “The Hut on Hen’s Legs (Baba Yaga)”; colourfulness prevails over melos in “The Old Castle”, “Catacombs. Roman Tomb”, “The Bogatyr Gate in Kyiv”. 2. The melos / colourfulness correlation in the analyzed pieces from M. Mussorgsky’s cycle corresponds with the melos / colourfulness correlation in the respective V. Hartmann’s paintings. The musical portrait of Baba Yaga in “The Hut on Hen”s legs” is an exception: V. Hartman painted the stylized clock as an example of decorative and applied art, but M. Mussorgsky emphasized the reflection of the fairy-tale image; as well as “The Bogatyr Gate”, where colouristics and volume prevail over grafics and planeness of the architectural sketch. 3. The main expressive means of creating a portrait, as a rule, is the melody (melos), and the landscape – tonality, texture, timbre (colourfulness). The intermedial analysis of the above portraits and landscapes from M. Mussorgsky’s piano cycle confirms this concept.

English Abstract: The notion of 'source' poses considerable problems for the study of silent film music. On the one hand, from a purely historical point of view, it is worth remembering that most of the music for the films of the silent era no longer exists. On the other hand, a vast repertoire of stock photoplay music has come down to us from the silent era, as an example of specialised publishing in the field of film music. Collections such as Kinothek, Motion Picture Moods, Filmharmonie , and many others consisted of original pieces that were not associated with a specific film but were designed to fit into standard narrative situations or to provide a common emotional aura. The practice of reusing and re-functionalising mood music pieces, constantly hovering between composition and compilation, raises philological questions concerning the multiple definition of the musical text, its author, and its performance. The score of a piece of stock photoplay music is not, in fact, the source of an opus in the strict sense of the term. It is not an aesthetically grounded entity, but rather an operational instruction at the service of a subsequent creative act: the one that will shape the musical accompaniment of a particular film screening in the cinema. The ubiquity of photoplay music is not the exception, but the rule. Indexing and cataloguing a source of stock photoplay music is not in itself useful historical knowledge if it is complemented by knowledge of its adaptive uses. These, however, are not to be found in the primary source, but must be reconstructed by consulting secondary sources of various kinds, from cue sheets to journalistic reviews, which only in their constellation give an account of the cinematic show as a whole. French Abstract: La notion de "source" pose des problèmes considérables pour l'étude de la musique de film muet. D'une part, d'un point de vue purement historique, il convient de rappeler que la plupart des musiques de films de l'époque du muet n'existent plus. D'autre part, un vaste ensemble de recueils d'incidentaux nous est parvenu de l'époque du muet, comme un exemple d'édition spécialisée dans le domaine de la musique de film. Des collections telles que Kinothek, Motion Picture Moods, Filmharmonie , et bien d'autres, étaient constituées de morceaux originaux qui n'étaient pas associés à un film spécifique, mais qui étaient conçus pour s'intégrer dans des situations narratives standard ou pour fournir une ambiance émotionnelle commune. La pratique de la réutilisation et de la refonctionnalisation des morceaux de musique d'ambiance, qui oscille constamment entre la composition et la compilation, soulève des questions philologiques concernant la définition multiple du texte musical, de son auteur et de son interprétation. La partition issue d'un catalogue d'incidentaux n'est pas, en effet, la source d'un opus au sens strict du terme. Elle n'est pas une entité esthétiquement fondée, mais plutôt une instruction opérationnelle au service d'un acte créatif ultérieur : à savoir le geste qui façonnera l'accompagnement musical de la projection d'un film particulier dans la salle de cinéma. L'omniprésence de ces recueils d'incidentaux n'est pas l'exception, mais la règle. Indexer et cataloguer ce type de source n'est pas en soi pertinent sur le plan historique si cette opération n'est pas complétée par une connaissance des utilisations spécifiques de ces sources. Cependant, ce savoir ne se trouve pas dans la source primaire. Il doit être reconstitué en consultant des sources secondaires de différentes natures, des feuilles de repérage aux critiques journalistiques, qui rendent compte, uniquement prises dans leur ensemble, du spectacle cinématographique dans sa globalité. German Abstract: Für die Erforschung von Stummfilmmusik wirft die Auffassung davon, was eine "Quelle" ist, erhebliche Probleme auf. Aus rein historischer Sicht ist daran zu erinnern, dass einerseits ein Großteil der Musik zu den Filmen der Stummfilmzeit nicht mehr existiert. Andererseits ist uns aus dieser Ära ein umfangreiches Repertoire an filmdramatischer Stimmungsmusik als Beispiel für spezialisierte Veröffentlichungen im Bereich Filmmusik überliefert. Sammlungen wie Kinothek, Motion Picture Moods, Filmharmonie und viele andere bestanden aus Originalstücken, die nicht mit einem bestimmten Film verbunden, sondern so gestaltet waren, dass sie in übliche Erzählsituationen passten oder eine allgemeingültige emotionale Aura vermitteln sollten. Die Praxis der Wiederverwendung und Umwidmung von Stimmungsmusiken transportierender Musik, die ständig zwischen Komposition und der Verwendung von Stimmungsmusiken pendelt, wirft philologische Fragen hinsichtlich der jeweiligen Definition von musikalischem Material, Urheber und der Aufführung auf. Eine Partitur eines Stimmungsmusikstückes ist tatsächlich nicht die Quelle eines Musikwerks im engeren Wortsinn. Es handelt sich dabei nicht um ein ästhetisch fundiertes Produkt, sondern eher um eine Handlungsanweisung im Dienste eines nachfolgenden schöpferischen Aktes: desjenigen, der die musikalische Untermalung einer bestimmten Filmvorführung im Kino prägen wird. Die Allgegenwärtigkeit von Stimmungsmusik ist nicht die Ausnahme, sondern die Regel. Das Indexieren und Katalogisieren einer Quelle von filmdramatischen Musikversatzstücken stellt alleine kein nützliches historisches Wissen dar, wenn es nicht durch das Wissen über deren adaptive Verwendung ergänzt wird. Dieses ist jedoch nicht in der Primärquelle zu finden, sondern muss durch Rückgriff auf Sekundärquellen verschiedenster Art rekonstruiert werden – von cue sheets bis hin zu journalistischen Rezensionen – was erst in der Gesamtschau einen Überblick über die filmische Aufführung als Ganzes ermöglicht.

The concept of linear time as an irreversible succession of events dates back to the late 18th century. Though fundamental to the experience of music written thereafter, time's pure linearity was dented by technologies of mechanical reproduction during the early 20th century. Imagining possible temporal zigzags provided modernists such as Paul Hindemith and Renéé Clair with mechanical paradigms through which to explore the manipulation of time and motion——as infinitely divisible properties——in the decade that witnessed Lindbergh's transatlantic flight, the first radio broadcasts, and an increasing addiction to Edison's Duplex Telegraph wire. Apart from the modernism that exists on the historical timeline, this essay looks for a structural homology between historical and musical events in attempting to establish a distinct ““modernism of time”” for the 1920s; it argues that differing concepts of time were reflected in certain pieces from the early 20th century. Hindemith's one-act operatic epigram Hin und Zurüück (1927) plays with conceptions of time as a narrative of reversal from domestic disaster to ““happy beginning.”” The music, running forward and backward, evokes different processes of memory to illustrate this ““Time Axis Manipulation”” as it is intuitively lived by the stage characters. Clair's contrasting Dadaeque film Entr'acte (1924), set to Satie's music, is an illogical picture sequence that also embodies a construction of time, Instantanééisme, but denies that it can be understood. Both works were conceived as proportional, imperfect mirror forms, indicating an implicit temporal reversal, though from antithetical perspectives. Drawing on the master paradigm of Zeno's arrow, this enquiry explores qualities of musical and visual time as both construction and manipulation of the modernist imagination.

Background. The beginning of the development of musical art in Transcarpathia dates back to the end of the nineteenth century and lasts during the first third of the twentieth century. First of all, it was an interest in the genre of choral music (a synthetic genre based on the merging of the Word and Music), which fully corresponded to the enlightened spirit of life of the Transcarpathians under the political conditions of that time. And only in the second half of the twentieth century intensive blossoming of the varieties of instrumental (kind of «pure») music with its conceptually most complex types of creative thinking and adaptation to the methods of style transformation takes place. The piano music, one of the most abstract forms of the creative process, has revealed its peculiarities in this process. However, the researchers virtually never paid attention to piano pieces for children, which are naturally inferior by their practically necessary and didactically appropriate visual simplicity of musical vocabulary to the works of the so-called large genre. In addition, historically, the creative work of Transcarpathian composers has been considered only as a product of a purely regional significance. Therefore, it is important that the piano works of Transcarpathian composers for children should also be considered in the context of such integrity as the Intentional period of the music history, which has been defined as non-classical and at the same time permeated with the idea of global cultural synthesis Objectives. The essence of the tasks and the purpose is to present the "Child Album" by V. Telychko (the first in Transcarpathia sample of the genre of children’s musical album, 2016) as an example of the creation of the modern intonational image of the world - in its associative diversity and intentionality. Methods. A selection of research methods, namely, analytical (analysis and synthesis, induction and deduction, systematization, classification and generalization), comparative, systemic, phenomenological, functional, has been used in view of the holistic approach – in the spirit of spiritual development of the world. In this regard, the interpretive potential of the concepts of the intonational model and the modal nature of musical themes as types of thinking by sound images is considered methodologically appropriate: both purposefully focus attention of the recipient on the sound «body» and the intonational "soul" of the musical matter in the integrity of the creative idea of the work, and also is didactically productive in terms of comprehension of the architectonics of the world of music as a world of musical ideas. Results. V. Telichko’s "Children’s Album" is a cyclic structure of the linear/plot type, where step-by-step compositional and dramaturgical organization of the whole ensures the principle of successive naming of new, but equal in figurative semantic content pieces. At the same time, it will be superfluous to reflect on the fact that the structure of cycles such as "album" is rarely evaluated as such that it is actually "filled in" (for example, with memorable photos or pictures), and only since then its "white" (from alba) of the blank/empty sheets is filled in with the semantics and the logic of placement of fixed events, phenomena, impressions, etc in a certain order. Against the background of such reflection the memory recalls such "albums" of romantics: all of them are based on the logic of the course of a day lived by a child (for example, P. I. Tchaikovsky). V. Telichko’s principle of collecting pieces "into the album" has such a life-justifiable logic – the gradual flow of events of the day, embodied in a child’s only perception of the world and itself. The semantic code of the composer’s plan is referenced in his dedication: "I devote my love to grandchildren Angelina and Anna" - expressing love for grandchildren, admiring their fantasy and energy, caring for the formation of their worldview on a certain system of values (family, native land, diversity of traditions of the countries of the world , historical memory): the pieces "Morning", "My Mother", "Our Grandmother" represent an idea of an ingenuous and happy feeling of a child in the family; "Anna’s Teddy-Bear", "Angelina’s Hobbyhorse" and "Angelina’s Waltz " represent a lively imagination of children, each of them having a favorite game "theme"; the plays "About Transcarpathia", "Kolomyika", "Tropotyanka", "Long road" and "It’s raining" are outlined by the situation of instructive stories of grandfather about the regionally formed traditions of the Transcarpathians, their spirit and uneasy destiny; while the pieces "On Scotland", "On Slovakia" and "On Japan" outline the interests of somewhat different cognitive significance - the intention to comprehend a certain national "otherness", which has its own color of its culture; in the end, "A Lullaby for Anna" creates, so to say, a backlash against the grand finale-prologue, consisting of the pieces "On Austria" (the cultural center of the European musical classicism) and "On Romania" (regionally closest to Transcarpathia country). Another signifying circumstance of the idea and plan of the cycle refers to the types of performances and personification of images, both as members of the family circle and as a certain social unity: in addition to the versions of solo performance, in a considerable number of plays there is ensemble performance in four and six hands; at the same time, each of the parts is composed as a certain texture layer, which in aggregate (duo, terzetto) gives the effect of an "orchestral" score. However, the most important thing is that for the instrumentalist performer, and for the listener or analyst (who is also a "listener"), the "Children’s Album" by V. Telichko is a test of the ability to perceive musical vocabulary in the form of a certain sound form/idea with which it is necessary to have a relationship according to the algorithm of personal identification. On the one hand, in the musical text there is an opportunity to recognize the classical models of musical vocabulary (cantilena, recitation, motility, general forms of motion, signaling, sound illustration); and on the other - due to the constructive interference of the classical techniques of the creation of musical matter (emancipated dissonance, the non-systemic character of the tonality, etc.) the meanings are accumulated. Another important component of the composer’s plan is to introduce a purely methodical (level of methodical reception) task of developing the technology of the game on the piano into the original sound form/idea, which first of all requires a skillful usage of all the fingers. Conclusions. As a research material the "Children’s Album" by a contemporary composer from Transcarpathia, V. Telichko provides several important and mutually perceptible scientific tasks directly related to musicology and pedagogical practice: testing of the theoretically updated analytical apparatus for tracking the intonational field of music and its thoughts and comprehension of the didactically expedient implementation of its results in the educational sphere; in particular, in terms of the prospective guideline for the development of musicality (a high measure of the ability to self-identification with the musical image) and the piano skills of a child musician.

Background. The beginning of the development of musical art in Transcarpathia dates back to the end of the nineteenth century and lasts during the first third of the twentieth century. First of all, it was an interest in the genre of choral music (a synthetic genre based on the merging of the Word and Music), which fully corresponded to the enlightened spirit of life of the Transcarpathians under the political conditions of that time. And only in the second half of the twentieth century intensive blossoming of the varieties of instrumental (kind of «pure») music with its conceptually most complex types of creative thinking and adaptation to the methods of style transformation takes place. The piano music, one of the most abstract forms of the creative process, has revealed its peculiarities in this process. However, the researchers virtually never paid attention to piano pieces for children, which are naturally inferior by their practically necessary and didactically appropriate visual simplicity of musical vocabulary to the works of the so-called large genre. In addition, historically, the creative work of Transcarpathian composers has been considered only as a product of a purely regional significance. Therefore, it is important that the piano works of Transcarpathian composers for children should also be considered in the context of such integrity as the Intentional period of the music history, which has been defined as non-classical and at the same time permeated with the idea of global cultural synthesis Objectives. The essence of the tasks and the purpose is to present the "Child Album" by V. Telychko (the first in Transcarpathia sample of the genre of children’s musical album, 2016) as an example of the creation of the modern intonational image of the world - in its associative diversity and intentionality. Methods. A selection of research methods, namely, analytical (analysis and synthesis, induction and deduction, systematization, classification and generalization), comparative, systemic, phenomenological, functional, has been used in view of the holistic approach – in the spirit of spiritual development of the world. In this regard, the interpretive potential of the concepts of the intonational model and the modal nature of musical themes as types of thinking by sound images is considered methodologically appropriate: both purposefully focus attention of the recipient on the sound «body» and the intonational "soul" of the musical matter in the integrity of the creative idea of the work, and also is didactically productive in terms of comprehension of the architectonics of the world of music as a world of musical ideas. Results. V. Telichko’s "Children’s Album" is a cyclic structure of the linear/plot type, where step-by-step compositional and dramaturgical organization of the whole ensures the principle of successive naming of new, but equal in figurative semantic content pieces. At the same time, it will be superfluous to reflect on the fact that the structure of cycles such as "album" is rarely evaluated as such that it is actually "filled in" (for example, with memorable photos or pictures), and only since then its "white" (from alba) of the blank/empty sheets is filled in with the semantics and the logic of placement of fixed events, phenomena, impressions, etc in a certain order. Against the background of such reflection the memory recalls such "albums" of romantics: all of them are based on the logic of the course of a day lived by a child (for example, P. I. Tchaikovsky). V. Telichko’s principle of collecting pieces "into the album" has such a life-justifiable logic – the gradual flow of events of the day, embodied in a child’s only perception of the world and itself. The semantic code of the composer’s plan is referenced in his dedication: "I devote my love to grandchildren Angelina and Anna" - expressing love for grandchildren, admiring their fantasy and energy, caring for the formation of their worldview on a certain system of values (family, native land, diversity of traditions of the countries of the world , historical memory): the pieces "Morning", "My Mother", "Our Grandmother" represent an idea of an ingenuous and happy feeling of a child in the family; "Anna’s Teddy-Bear", "Angelina’s Hobbyhorse" and "Angelina’s Waltz " represent a lively imagination of children, each of them having a favorite game "theme"; the plays "About Transcarpathia", "Kolomyika", "Tropotyanka", "Long road" and "It’s raining" are outlined by the situation of instructive stories of grandfather about the regionally formed traditions of the Transcarpathians, their spirit and uneasy destiny; while the pieces "On Scotland", "On Slovakia" and "On Japan" outline the interests of somewhat different cognitive significance - the intention to comprehend a certain national "otherness", which has its own color of its culture; in the end, "A Lullaby for Anna" creates, so to say, a backlash against the grand finale-prologue, consisting of the pieces "On Austria" (the cultural center of the European musical classicism) and "On Romania" (regionally closest to Transcarpathia country). Another signifying circumstance of the idea and plan of the cycle refers to the types of performances and personification of images, both as members of the family circle and as a certain social unity: in addition to the versions of solo performance, in a considerable number of plays there is ensemble performance in four and six hands; at the same time, each of the parts is composed as a certain texture layer, which in aggregate (duo, terzetto) gives the effect of an "orchestral" score. However, the most important thing is that for the instrumentalist performer, and for the listener or analyst (who is also a "listener"), the "Children’s Album" by V. Telichko is a test of the ability to perceive musical vocabulary in the form of a certain sound form/idea with which it is necessary to have a relationship according to the algorithm of personal identification. On the one hand, in the musical text there is an opportunity to recognize the classical models of musical vocabulary (cantilena, recitation, motility, general forms of motion, signaling, sound illustration); and on the other - due to the constructive interference of the classical techniques of the creation of musical matter (emancipated dissonance, the non-systemic character of the tonality, etc.) the meanings are accumulated. Another important component of the composer’s plan is to introduce a purely methodical (level of methodical reception) task of developing the technology of the game on the piano into the original sound form/idea, which first of all requires a skillful usage of all the fingers. Conclusions. As a research material the "Children’s Album" by a contemporary composer from Transcarpathia, V. Telichko provides several important and mutually perceptible scientific tasks directly related to musicology and pedagogical practice: testing of the theoretically updated analytical apparatus for tracking the intonational field of music and its thoughts and comprehension of the didactically expedient implementation of its results in the educational sphere; in particular, in terms of the prospective guideline for the development of musicality (a high measure of the ability to self-identification with the musical image) and the piano skills of a child musician.

These days, PC vision has advanced to where a PC can perceive its client utilizing an essential picture handling calculation. Individuals are involving this vision in many pieces of day to day existence as of now of improvement, like face acknowledgment, variety identification, programmed vehicles, etc. PC vision is utilized in this examination to make an optical mouse and console that utilizations hand movements. The PC's camera will filter the picture of different developments made by an individual's hand, and the mouse or pointer will move in light of the development of the motions, including doing well and left clicks utilizing particular signals. Essentially, unique motions can be utilized to control the console, for example, a one-finger signal to pick a letters in order and a four figure signal to swipe left and right. Without any wires or different gadgets, it will work as a virtual mouse and console. The venture's just piece of equipment is a webcam, and the coding is finished in Python utilizing the Boa constrictor stage. The Raised body absconds are made first, and afterward a calculation is made by planning the mouse and console capabilities to the blemishes utilizing the imperfection computations. On the off chance that you map ping several them with the mouse and console, the PC will perceive the motion and answer fittingly

This chapter discusses the rise of a painting in everyday life in Northern Europe. It focuses on the representations of ‘everyman’ in the art of the early pioneers of genre painting: Pieter Bruegel the Elder and Hieronymus Bosch. It considers the figure of ‘trapping’ in these artists, as a model both of everyman's relation to the world and of the picture's relation to the viewer.

Abstract Much of the history of physics has been characterized by the effort to understand, in great detail, increasingly smaller pieces of nature; beginning with classical particles and waves, and progressing to molecules, atoms, nuclei, and elementary particles. This trend became especially pronounced in the twentieth century with the development of sophisticated experi mental apparatus capable of probing deeply into nature’s innermost parts. Aside from the sense that one is closer to reality at the deeper levels of nature, it is plausible to assume that a clear understanding of the small pieces of nature will lead to a clear view of the large picture. The whole is presumed equal to the sum of its parts. This approach is sometimes call reductionism. More recently, in certain areas of physics, the opposite methodology has proved fruitful. New structure and organization may become evident when there is complexity, large numbers of parts, several degrees of freedom, or even just sufficient energy to make a discrete change in the system. Indeed, sometimes the whole is more than the sum of its parts. This creation of new richness of behavior often occurs in the study of processes that are pushed well beyond their equilibrium configurations. Researchers find new levels of organization, new complexity that does not seem to be obvious from a consideration of the individual parts of the process (Prigogine 1980). For example, if reactants are forced rapidly into certain chemical reactions, the resultant products may show spatial or temporal ordering (Zhabotinskii 1991). Or convective systems with large temperature gradients may exhibit new structural or dynamic organization of fluid motion. Even the motion of the humble pendulum achieves a new level of complexity if it is driven energetically at nonresonant frequencies.

Abstract A Part From A Dialogue Track that had mainly been recorded live on the set, the sound of Citizen Kane was pieced together in a studio. It cannot be attributed to any single contributor because its function was progressively determined during various stages of the film ‘s creation and production. The role played by sound in the transitions from one scene to another was defined during the development of the screenplay (although several of the most striking transitions do not appear in the final shooting script) and took specific form during editing. Most of the dialogue was recorded on the set, whereas sound effects that give atmosphere and dramatic impact to each sequence were added at various points during editing and mixing. Co screenwriter Herman J. Mankiewicz, production mixer Bailey Fesler, editor Robert Wise, and the sound-effects engineers each contributed suggestions at one time or another, as did composer Bernard Herrmann, whose music occasionally acts as a substitute for sound effects.1 Chief among these collaborators was dubbing mixer James G. Stewart, who had been with RKO since 1931 and Citizen Kane enjoyed a spectacular critical reception. American novelist John O ‘Hara, writing for Time magazine, said quite simply that it was the best motion picture he had ever seen. ‘ Other serious reviewers in this country didn ‘t debate whether or not it was unusually good, but whether or not it was a great, even revolutionary, achievement. Meanwhile, Kane was the subject of considerable controversy in Hollywood; it was nominated for nine Academy Awards but received only one, for best original screenplay by Herman Mankiewicz and Orson Welles, who were booed by detractors at the award ceremony.

Spam in the computer does not simply mean ads. Spam is any message, article, or ad that repeats itself an unacceptable number of times so that it causes annoyance. The content of the spam is of no importance. It could contain your simple “Make Money Fast” hyperlink or a beautiful piece of poetry, but if the message is continuously repeated it becomes spam. The term spam is thought to have been taken from a famous Monty Python sketch. In that sketch spam came with everything the people ordered and the waitress would be constantly saying the word spam. Therefore the meaning of spam is something that repeats itself causing much anger or annoyance. Spam can be categorized as follows: • Junk mail: Mass mailings from legitimate businesses that is unwanted. • Noncommercial spam: Mass mailings of unsolicited messages without an apparent commercial motive including chain letters, urban legends, and joke collections. • Offensive and pornographic spam: Mass mailings of “adult” advertisements or pornographic pictures. • Spam scams: Mass mailings of fraudulent messages or those designed to con people out of personal information for the purpose of identity theft and other criminal acts. • Virus spam: Mass mailings that contain viruses, Trojans, malicious scripts, and so forth. Spoofing (Schwartz & Garfinkel, 1998) is a technique often used by spammers to make them harder to trace. Trojan viruses embedded in e-mail messages also employ spoofing techniques to ensure the source of the message is more difficult to locate (Ishibashi, Yamai, Abe, & Matsuura, 2003). Spam filters and virus scanners can only eliminate a certain amount of spam and also risk catching legitimate e-mails. As the SoBig virus has demonstrated, virus scanners themselves actually add to the e-mail traffic through notification and bounceback messages. SMTP is flawed in that it allows these e-mail headers to be faked, and does not allow for the sender to be authenticated as the “real” sender of the message (Geer, 2004). This article looks at a new type of spam known as spam over Internet telephony (SPIT).