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Статті в журналах з теми "Historical Informed Performance (HIP)"
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Eley, Nolan, Catherine Lavandier, Théodora Psychoyou, and Brian F. G. Katz. "Listener perception of changes in historically informed performance of solo baroque music due to room acoustics." Acta Acustica 8 (2024): 6. http://dx.doi.org/10.1051/aacus/2023069.
Повний текст джерелаАнотація:
A listening test was performed to determine whether there were any perceived differences in the playing styles of musicians as a function of the room in which the music was performed. This listening test was part of a larger study aimed at investigating the impact of room acoustics on historically informed performance (HIP) of baroque music which included an objective analysis framework designed to capture dimensions of performance important to a historical baroque playing style. The test included both flute and viol examples and included the participation of 20 musically trained listeners with a background in HIP. The results of the test showed some significant differences in certain performance parameters for both instruments. In particular, the flute examples demonstrated differences that aligned with reports from the flutists about the strategies they used to adapt to the different acoustics, and there was agreement between listener ratings and previously extracted objective parameters. These findings suggest that room acoustics play a role in shaping musical performance, and that the resulting changes can be perceived by listeners.
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Heyman, Matthias. "Recreating the Beatles." Journal of Popular Music Studies 33, no. 2 (June 1, 2021): 77–98. http://dx.doi.org/10.1525/jpms.2021.33.2.77.
Повний текст джерелаАнотація:
Beatles tributes come in many forms and guises, but look-alikes are arguably the most popular type. Because of their focus on replicating the band’s iconic costumes and hairdo, they usually limit themselves to an easily reproducible core repertoire, forgoing the elaborate post-1966 studio productions. By contrast, sound-alikes strive for complete aural accurateness, often recreating the heavily produced compositions the Beatles never performed outside of the studio. One of the industry’s top-tier Beatles sound-alikes are the Analogues. Neglecting all mimetic visual effects, they re-animate the albums created after 1966, using the same orchestrations and instrumentations as the Beatles, including rare vintage instruments such as the Mellotron. Their approach bears parallels to historically informed performance (HIP), a common practice in Early Music, yet it operates within an entirely different framework. Informed by sound recordings, the Analogues deconstruct and re-record the Beatles’ music to construct their own performance, in the process conceiving a modern technology-based type of HIP. This article begins by establishing a typology of Beatles tributes before examining the process of staging an Analogues performance. It argues that the Analogues’ approach to historical recreation allows them to transcend criticism typically aimed at tributes and, paradoxically, lay claim to an “authentic” performance of what is inherently inauthentic, a live imitation of a recording. Overall, this article demonstrates how HIP can be used effectively outside of its mainstream classical context as a tool for popular music researchers and performers.
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Scott, Rachel E. "HIP Librarians: An Introduction to Historically Informed Performance for Music Librarians." Music Reference Services Quarterly 17, no. 3 (July 3, 2014): 125–41. http://dx.doi.org/10.1080/10588167.2014.935587.
Повний текст джерела
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Tassie, Benjamin. "‘POST-HIP’: NEW MUSIC FOR OLD INSTRUMENTS IN THE TWENTY-FIRST CENTURY." Tempo 75, no. 297 (June 28, 2021): 61–70. http://dx.doi.org/10.1017/s0040298221000231.
Повний текст джерелаАнотація:
AbstractThis article explores an emergent vanguard of the ‘historically informed performance’ (HIP) movement in the twenty-first century, focusing on new music written for, and performed on, historical instruments. Drawing on musicological and journalistic writing, as well as first-hand interviews with artists working in the scene, discussion is centred around the work of three key practitioners: the lutenist Jozef van Wissem, gambist Liam Byrne and baroque violinist Halla Steinunn Stefánsdóttir. Finally, an attempt is made to situate the scene, both in relation to earlier revivalist practice and to broader cultural trends, drawing, in particular, on notions of ‘retromania’, post-internet and post-postmodernist practice.
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Baldelli, Heloise. "HIP as a Creative Tool for Performance Design: Investigating the Performance Practice of Satie’s Mélodies to Challenge the Stereotypes of the Classical Recital." PlaySpace 2, no. 1 (November 2, 2023): 42–54. http://dx.doi.org/10.31265/ps.606.
Повний текст джерелаАнотація:
In the 20th century a wave of experimentation and discussion hit most artistic disciplines. As pianist-researcher Mine Dogantan-Dack points out, classical music has been slow to join in. Although composers have been experimenting with the musical language, classical music performance as an artistic practice has relatively stayed untouched. In the area of vocal music, the traditional recital format with the singer standing by the piano is THE standard. In my doctoral research project, I aim to challenge and explore alternatives to this traditional format. I start by investigating the original performance practice of Satie’s mélodies to then design three different performances of this repertoire using various artistic methods and theoretic concepts. The first one is based on the approach known as historical informed performance (HIP). Satie’s mélodies are little known and seldom performed. They are also difficult to appreciate at a first hearing: incredibly short, condensed in their simplicity, lacking catchy melodies and with obscure texts. My hypothesis is that the standard way of performing them, as a static vocal chamber music recital, doesn’t suit them and makes it in fact harder for the public to appreciate them. Investigating the original performance practice then became a way to rediscover other aspects of the music, beyond the dogmas of the score, and to find inspiration for creating alternative modes of presenting classical vocal chamber music. In this paper I retrace my use of HIP as a creative tool for designing performances of classical music.
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Nurmusabih, Nandya Abror, and Andhika Dzaki Naufal. "Exploring the interpretation techniques in Bach’s Cello Suite No. 1 Prelude: A theoretical and practical approach to baroque performance practice." Interlude: Indonesian Journal of Music Research, Development, and Technology 3, no. 2 (May 31, 2024): 102–23. http://dx.doi.org/10.17509/interlude.v3i2.71882.
Повний текст джерелаАнотація:
This study investigates the essential strategies for interpreting Johann Sebastian Bach's Cello Suite No. 1 Prelude, with a specific emphasis on historically informed performance practices (HIP). The focus of this study is the intricate implementation of Baroque performance methods, including slurs, detached notes, double stops, cross-string techniques, and ornamentation. These skills are crucial for providing a faithful interpretation of Bach's music. The significance of this research is to connect historical performance techniques with present interpretative approaches, guaranteeing that contemporary performers may give performances that are both historically precise and emotionally captivating. The research methodology employed in this study involves an extensive examination of relevant literature, specifically focusing on the contributions of prominent academics such as Frederick Neumann, David Schulenberg, and Jean Claude Veilhan. These scholars have offered valuable insights into the fundamental aspects of Baroque performance practices. Furthermore, this analysis examines the incorporation of historical knowledge with contemporary performance practices by studying the practical insights of esteemed cellists such as Anner Bylsma and Pieter Wispelwey. This dual approach enables a comprehensive comprehension of both the theoretical foundations and actual implementations of the performance strategies in question. This research emphasizes the crucial function of slurs in producing smooth and connected phrasing, the significance of detached notes for precise rhythm, the utilization of double stops and cross-string techniques to enhance harmonic richness and technical complexity, and the importance of ornamentation in deepening the expressive quality of the Prelude. This research offers a complete framework for interpreting Bach's Cello Suite No. 1 Prelude by combining theoretical analysis with practical performance suggestions. This technique not only respects the artistic authenticity of Baroque music but also guarantees that Bach's enduring masterpiece remains relevant to contemporary audiences, thus contributing to the continuous development of classical music performance.
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HUNTER, MARY. "EDITORIAL." Eighteenth Century Music 15, no. 2 (September 2018): 137–41. http://dx.doi.org/10.1017/s1478570618000027.
Повний текст джерелаАнотація:
In the world of historically informed performance (HIP) the word ‘authenticity’ is, if not exactly dead, certainly taboo (‘I know that we shouldn't use the A-word’), fenced in with qualifiers (‘Of course we can't be fully authentic’) or softened to clarify that of course HIP performances are aiming for something less than a full realization of the composer's intentions (‘This may be the way Mozart could have heard it’, or ‘This represents some of the practices of the time’). But at least for the most successful practitioners of HIP (epigones may be a different matter), authenticity discourse was always a significant but simplified version of one part of a more complex and even contradictory set of justifications for using old instruments and techniques. Indeed, HIP practitioners regularly invoke chapter and verse from the treatises or other primary sources in the same breath as claiming not to be interested in authenticity per se or not to be engaged in any kind of ‘reconstruction’. This discursive rupture may be more striking with music of the later seventeenth, eighteenth and nineteenth centuries, where the performance-practice sources are more numerous and the scores are more ‘complete’ by modern standards than those of much earlier music, whose performance has always been more frankly imaginative and conjectural.
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Schmitges, Andreas. "Funem (sh)eynem vortsl aroys?!—Approaches to the Study of Parallel Eastern Yiddish and German Folk Songs." European Journal of Jewish Studies 8, no. 1 (June 25, 2014): 53–103. http://dx.doi.org/10.1163/1872471x-12341257.
Повний текст джерелаАнотація:
Yiddish and German are two languages and cultures that are considered autonomous and important within the European cultural diversity. Although they are linguistically very close and historically interwoven, not much research has been done concerning the comparison of their folk cultures. The present comparative study of Eastern Yiddish and German folk songs is a first step towards a deeper understanding of the processes of cultural migration and transfer since the Middle Ages. The paper concentrates on three aspects: 1. Discussion of previous undervalued research by scholars in the twentieth century. 2. Uncovering the roots and routes of parallel folk songs. 3. The significance of this research for the development of a historically informed performance practice (hip) for Yiddish folk songs.
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Fiaminghi, Luiz Henrique. "O violino violado: o entremear das vozes esquecidas das rabecas e de "outros violinos"." Per Musi, no. 20 (2009): 16–21. http://dx.doi.org/10.1590/s1517-75992009000200003.
Повний текст джерелаАнотація:
A representação do violino como instrumento musical hegemônico é um fato incontestável se considerarmos sua presença nos mais diversos âmbitos das práticas da música ocidental. As últimas décadas presenciaram, porém, a emergência de algumas vozes dissonantes: as práticas interpretativas historicamente informadas (Historically Informed Performance ou HIP) redescobriram o violino barroco e todo o seu aparato técnico; no Brasil, a rabeca mostrou suas potencialidades, não mais somente nas mãos de ardorosos defensores da cultura popular, mas de músicos em busca de novas sonoridades. Tomando como exemplo a intersecção do popular e erudito contido nas peças para rabeca escritas por José Eduardo Gramani, pretende-se aqui, sobretudo, mais do que apresentar respostas definitivas, abrir novas questões relacionadas ao ensino do violino no mundo contemporâneo, a partir da inserção de instrumentos esquecidos pela história oficial. Neste sentido, reflete alguns dos aspectos defendidos por Walter Benjamin em Sobre o conceito de história, e traz para a pauta das discussões sobre interpretação musical a questão da padronização imposta pela indústria cultural.
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Томницький, Костянтин. "Феномен історично інформованого виконання в підготовці майбутніх викладачів до інтерпретації музичних творів". Південноукраїнські мистецькі студії, № 2 (11 вересня 2024): 77–84. http://dx.doi.org/10.24195/artstudies.2024-2.14.
Повний текст джерелаАнотація:
У статті актуалізовано проблему інтерпретації музичних творів у підготовці музикантів-виконавців, майбутніх викладачів виконавських дисциплін. Зроблено наголос на феномені історично інформованого виконання (historically informed performance (HIP)). Розкрито його переваги, недоліки та перспективи застосування в освітньому процесі закладів вищої музичної та музично-педагогічної освіти. Мета статті полягає в аналізі феномену історично інформованого виконання взагалі, а також у контексті навчання майбутніх музикантів і майбутніх викладачів музичного виконавства інтерпретувати твори й оцінювати інтерпретацію як педагогічний ресурс професійного навчання, зокрема. Представлено внесок історично інформованого виконання (HIP) щодо розуміння музичної спадщини, її збереження, розповсюдження, а також акцентовано увагу на її обмеженнях і викликах, які зумовлені сучасними чинниками віртуально-естетичного й інформаційно-цифрового середовища. Конкретизовано педагогічний потенціал історично інформованого виконання, через розуміння інтерпретаційної концепції як такої, що сприяє більш інклюзивному та нюансованому сприйняттю історичної музики. Представлено дискусійні погляди щодо впливу зазначеного виду інтерпретації на узагальнене розуміння виконавського контексту через роль звукозаписів і актуальність історичних практик у сучасному виконанні. Серед суперечливих питань визначено тему актуального застосування стародавньої музики, що подається через висвітлення різних поглядів на історичне виконання. Зокрема вказано на опосередкований чинник занепаду цивілізації, оскільки зосереджується увага на відродженні старої музики, а не на створенні нової. У статті також розглядаються практичні проблеми історичного відтворення, як-от вплив виконавського контексту та зміна очікувань слухачів через записи. Підкреслюється важливість критичної оцінки актуальності конкретних історичних практик у сучасному виконанні.
Дисертації з теми "Historical Informed Performance (HIP)"
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Yang, Xiaoke. "HIP and the “Mainstream”: Implications of Historically Informed Performance on Contemporary Horn Performance in Mozart’s K. 447." Thesis, University of Sydney, 2020. https://hdl.handle.net/2123/24099.
Повний текст джерелаАнотація:
This study explores the implications of the natural horn on the modern horn and incorporates an historically informed analysis of Mozart’s Horn Concerto No. 3, K. 447. The concerto has become one of the most common in the audition repertoire, with most modern horn players approaching the piece in a conventional manner. Such an approach fails to capture many of the nuances of the piece when performed on the natural horn. However, in the highly competitive audition environment, auditioning on the natural horn or using historical techniques on a modern instrument is fraught with challenges. First, I look at the issue of instrumentation, examining the implications of performing on the natural horn and the associated challenges in bringing these techniques to a modern instrument. Second, I survey the discography of the work and analyse recordings of the concerto over the last sixty years. I also examine ornamental and expressive traditions of historical scholars such as Türk and Quantz. The final section consists of an annotated score and applies some implications of this study to an analysis and interpretation of the piece.
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Werlemann-Godfrey, Harrison Theodore Cleveland. "History, Authenticity and the Experimental : An Ethnography of the Historically Informed Performance Movement in Sydney, Australia 2016-2017." Thesis, The University of Sydney, 2019. http://hdl.handle.net/2123/20861.
Повний текст джерелаАнотація:
This thesis concerns itself with the manner in which history is perceived, produced, marketed, and received through the medium of classical music performance. Specifically, it is concerned with a group of classically-trained musicians operating in Sydney, Australia who describe their practice as ‘historical’ or (at the very least) ‘historically informed’. In this thesis, I introduce the reader to the world of Historically Informed Performance, or ‘HIP’ as it is acronymized by insiders. Specifically, this thesis sets out as an ethnography of HIP grounded in participant-observation. Drawing on phenomenological and semiotic theories of J. Lowell Lewis and Samuel Weber it seeks to answer the questions: ‘what is the Historically Informed Performance ‘movement’ to insiders, and how do they police its boundaries? And what sort of thing is HIP to insiders?’ Looking firstly to texts on and in HIP, this approach reveals a struggle between two seemingly irreconcilable insider discourses of HIP: on the one hand the historical ‘Authenticist’ position and on the other the ‘nondogmatic’ or ‘Experimentalist’ position. However, this thesis argues that such discursive definitions, while important, do not accurately describe HIP, and in the best case, they must be disseminated into practice. As such, notions of Historicity, Authenticity and Experimentalism must be understood as performed on an embodied level in events; through interacting habituated and habituating bodies. In this sense, HIP is constructed out of much more than rigidly defined notions of historicity. It is borne as much of a specific and contingent intimacy, the enactment of historical, consensual social-roles and the complex discipline of instrumental practices.
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Szulman, Julien. "Georges Enesco, violoniste : formation, technique et interprétation." Electronic Thesis or Diss., Sorbonne université, 2024. http://www.theses.fr/2024SORUL066.
Повний текст джерелаАнотація:
Les diverses activités de Georges Enesco (1881-1955) comme compositeur, chef d'orchestre, violoniste et pianiste, le placent parmi les musiciens les plus fascinants de la première moitié du XXe siècle. Cette thèse se concentre spécifiquement sur son rôle de violoniste, cherchant à dévoiler des éléments tangibles concernant son style d'interprétation. Cette recherche vise à fournir une somme d'informations approfondies tant sur le plan technique que musical, permettant de mieux comprendre le style de jeu du violoniste roumain et offrant des perspectives sur le contexte d'interprétation de l'époque. La première partie de la thèse se consacre à l'étude de son apprentissage du violon, mettant particulièrement l'accent sur son passage au Conservatoire de Paris. La deuxième partie, s'appuyant sur des sources d’origines variées, se focalise sur une description minutieuse de sa technique violonistique. La troisième partie, utilisant le logiciel Sonic Visualiser, constitue une étude de cas portant sur son utilisation du vibrato et du portamento dans les enregistrements qu’il effectue pour la firme Columbia entre 1924 et 1930. Les annexes de la thèse comprennent une discographie exhaustive du violoniste ainsi qu'un répertoire des œuvres pour violon interprétées par le musicien roumainGeorges Enesco's (1881 1955) various activities as a composer, conductor, violinist, and pianist place him among the most fascinating musicians of the first half of the 20th century. This thesis specifically focuses on his role as a violinist, aiming to unveil tangible elements regarding his performance style. The research aims to provide a comprehensive amount of information both technically and musically, allowing for a better understanding of the Romanian violinist's playing style and offering insights into the interpretative context of the time. The first part of the thesis is devoted to studying his violin apprenticeship, with particular emphasis on his time at the Paris Conservatoire. The second part, drawing on various sources, focuses on a meticulous description of his violin technique. The third part, using the Sonic Visualiser software, constitutes a case study examining his use of vibrato and portamento in the recordings he made for the Columbia label between 1924 and 1930. The appendices of the thesis include a comprehensive discography of the violinist as well as a repertoire of works for violin performed by the Romanian musician
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Lang, Megan Elizabeth. "Becoming HIP: discovering musical identities through engagement with music." Thesis, The University of Sydney, 2016. http://hdl.handle.net/2123/16325.
Повний текст джерелаАнотація:
Musical identities and musical engagement are inextricably entwined. Investment in musical pursuits leads to the formation of self-perceptions as a musician, performer, and learner, and these perceptions govern behaviour and development in the practice room and on the stage (Hargreaves, MacDonald, & Miell, 2012). This thesis examines musical identities among students involved with the department for Historically Informed Performance (HIP) at a tertiary music institution. It looks at which musical identities were relevant, how they were manifested, and how they interacted with musical engagement. HIP arose as a reaction against modern classical performance traditions (Haynes, 2007). It is focused on musical interpretation based on knowledge gained from historical sources and period instruments, with significant creative input from performers (Haynes, 2007; Peres Da Costa, 2012). The idealism and challenge inherent to HIP gives it the potential to support strong role and group identities. In addition, its close relationship to modern style supports comparisons of identification and approach which are not possible between different genres. These factors make HIP an ideal focal point for this study. The study consisted of 48 semi-structured interviews with 12 students in various levels of engagement with HIP. Interviews were conducted during the process of preparing, delivering, and evaluating a performance, and were situated according to activity. Through Interpretative Phenomenological Analysis (IPA), themes were identified and grouped into five chapters: ‘Me and Music’, encompasses individual engagement with music through life stories, possible selves, and role identities such as musician, performer, student, or instrumentalist; ‘The Musician in Me’, includes more personal components of musical identities, such as beliefs about the nature of knowledge and ability, and perceptions of skills, abilities, and personal characteristics.; ‘Music, Me, and Others’ considers identity in interaction with important others, particularly one-to-one teachers; ‘Music and Me’, is focused on significant behaviours which are influenced by musical identities; and ‘Becoming HIP’, which examines the interview data in relation to engagement with HIP, and discusses interactions of identification with HIP and musical approach. Identification with HIP was associated with a marked shift towards more positive musical identities. The HIP philosophy and approach supported students in taking greater responsibility for learning, decision-making, and performance. Student perceptions of control and competence were improved, resulting in greater autonomy and performance confidence. Conceptualisations of being a performer became more conducive to aiming for controlled performance, rather than automated delivery of prepared material. Developmental trajectories became surer and future options as performing musicians became more imaginable. Overall, HIP-identified participants began to engage in behaviours and develop skills recognised as conducive to successful transition into a career as a professional musician (Gaunt, Creech, Long, & Hallam, 2012). Importantly, there were also participants who did not fully respond to the HIP approach, in spite of professing their devotion to the style. Reasons for limited identification and engagement could be found in misalignment of self-perceptions and beliefs with the expectations of HIP, offering a potential point for intervention.
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Seah, Tsu Tham Tommy. "Exploring historical Russian pianism in Sergei Lyapunov’s Twelve Transcendental Études, Op. 11: The development of a performance edition." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2018. https://ro.ecu.edu.au/theses/2131.
Повний текст джерелаАнотація:
The genre of the Étude emerged with the increased popularity of the piano in the nineteenth century. It was often composed to provide practice material for perfecting a particular performance technique. Frederic Chopin (1819 – 1849) and Franz Liszt (1811 – 1886) are among the earliest composers whose Études are well established in the canon of concert piano repertory. Later emerged the new genre of Études that are considered worthy of the concert platform – the Concert Étude.
Born in 1859 in Yaroslavl, Russia, Sergei Mikhailovich Lyapunov (1859 – 1924) was a highly regarded composer, pianist, conductor, editor, and teacher of his time. Lyapunov’s ‘Douze Études d’Execution Transcendantes’, Op. 11, was composed by between 1897 and 1905, in the memory of Franz Liszt, and is considered to be one of Lyapunov’s most significant compositional achievements. The influence of Liszt and composers of the Russian Mighty Five are evidently present in Op. 11. Overshadowed by his younger contemporaries whom experimented with new styles and techniques, Lyapunov and his music are largely forgotten today.
This research project explores the performance practice of three Russian pianists – with a focus on pianists associated with the Moscow Conservatory at the turn of the twentieth century – with an aim to quantify aspects of style of Russian pianism of the time. The methodology employed in this research includes both qualitative discourse of literary sources, and a series of systematic computational tempo analyses of reproducing piano roll recordings by pianists that fit the research criteria. Results revealed a number of stylistic aspects such as unnotated arpeggiation, notes inégales, and other aspects of rubato. These aspects of style, alongside historiographical findings, are both corroborated, reconsidered through reflexive pratice, and finally compiled in a performance edition of Lyapunov’s ‘Douze Études d’Execution Transcendantes’, Op. 11.
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Huntingford, James. "Tasteful piano performance in classic-era Britain." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2021. https://ro.ecu.edu.au/theses/2439.
Повний текст джерелаАнотація:
In recent decades, British solo piano repertoire of the Classic era has attracted increasing interest from researchers. A number of scholars have sought to identify the compositional elements that comprise late eighteenth- and early nineteenth-century British piano music. Despite this interest, there has been little research into the conventions of performance with which this repertoire is inextricably associated. Moreover, scant attention has been given to the notions of taste that are so often encountered in contemporaneous music treatises and philosophical writings. This thesis addresses these gaps in the existing literature by examining tasteful piano performance in late eighteenth- and early nineteenth-century Britain. The thesis provides a survey of contemporaneous British writings on the subject of taste—first, the broad notion of taste in British culture during the period, then the notion of taste in music performance in general, and finally the notion of taste specifically in relation to piano music. This survey includes a comprehensive investigation of selected performance practice issues, again as discussed in contemporaneous British primary sources. The study shows that taste was a vital aspect of music performance in Classic-era Britain. Furthermore, the thesis reveals that tasteful performance was intimately connected with issues arising from performance practice, and that decisions made in relation to these issues involved a degree of freedom on the part of the performer. The findings of the study are manifested in annotated scores of selected contemporaneous repertoire, then performatively applied by the author in a recorded performance of the repertoire using an early nineteenth-century English piano.
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Murray, Peggy L. "Dancing in the Seminary: Reconstructing Dances for a 1749 Viceregal Peruvian Opera." Ohio University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1448985385.
Повний текст джерела
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Williams, Nicholas Mark. "A study on performing the Hungarian Rhapsodies in the Liszt tradition." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2020. https://ro.ecu.edu.au/theses/2360.
Повний текст джерелаАнотація:
Franz Liszt’s Hungarian Rhapsodies (1851, 1853) have long been among the most popular collections of piano music. They have also long garnered a reputation for “superficial brilliance and effect” which seems to have influenced the way that famous pianists play the works in public. But would a performer immersed in the Liszt tradition have approached them differently? This dissertation aims to promote a re-evaluation of the Hungarian Rhapsodies from this perspective: considering Liszt’s own ideas on music and performance, the writings and recordings of his pupils, and Liszt’s book Des Bohémiens et de leur musique en Hongrie (1859).
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Vacek, Přemysl. "Barokáři - historicky poučená interpretace staré hudby v Česku očima jejích aktérů." Master's thesis, 2020. http://www.nusl.cz/ntk/nusl-410758.
Повний текст джерелаАнотація:
In this thesis I present a community of musicians dealing with a specific approach to music of older styles - historically informed performances (HIP). The aim is to answer the question as to why these promising classically educated musicians decided to leave the traditional career path in their field and chose alternative musical expression. I follow the rise and development of the professional scene of historically informed performances and its community from the turn of the 80s and 90s of the 20th century to the present day. Based on the analysis and interpretation of oral historical interviews, I describe changes in this environment and subsequent reflection on the perception of the profession and lives of the actors. I focus on their individual perceptions of authenticity and historical time, formed by their incorporation in early music.
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Stasko, Carly. "A Pedagogy of Holistic Media Literacy: Reflections on Culture Jamming as Transformative Learning and Healing." Thesis, 2009. http://hdl.handle.net/1807/18109.
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This qualitative study uses narrative inquiry (Connelly & Clandinin, 1988, 1990, 2001) and self-study to investigate ways to further understand and facilitate the integration of holistic philosophies of education with media literacy pedagogies. As founder and director of the Youth Media Literacy Project and a self-titled Imagitator (one who agitates imagination), I have spent over 10 years teaching media literacy in various high schools, universities, and community centres across North America. This study will focus on my own personal practical knowledge (Connelly & Clandinin, 1982) as a culture jammer, educator and cancer survivor to illustrate my original vision of a ‘holistic media literacy pedagogy’. This research reflects on the emergence and impact of holistic media literacy in my personal and professional life and also draws from relevant interdisciplinary literature to challenge and synthesize current insights and theories of media literacy, holistic education and culture jamming.
Книги з теми "Historical Informed Performance (HIP)"
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Travis Jr., Raphael. The Healing Power of Hip Hop. ABC-CLIO, LLC, 2015. http://dx.doi.org/10.5040/9798400662171.
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Using the latest research, real-world examples, and a new theory of healthy development, this book explains Hip Hop culture's ongoing role in helping Black youths to live long, healthy, and productive lives. In The Healing Power of Hip Hop, Raphael Travis Jr. offers a passionate look into existing tensions aligned with Hip Hop and demonstrates the beneficial quality it can have empowering its audience. His unique perspective takes Hip Hop out of the negative light and shows readers how Hip Hop has benefited the Black community. Organized to first examine the social and historical framing of Hip Hop culture and Black experiences in the United States, the remainder of the book is dedicated to elaborating on consistent themes of excellence and well-being in Hip Hop, and examining evidence of new ambassadors of Hip Hop culture across professional disciplines. The author uses research-informed language and structures to help the reader fully understand how Hip Hop creates more pathways to health and learning for youth and communities.
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Solheim, Jennifer. The Performance of Listening in Postcolonial Francophone Culture. Liverpool University Press, 2018. http://dx.doi.org/10.5949/liverpool/9781786940827.001.0001.
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The Performance of Listening in Postcolonial Francophone Culture argues That globalized media has allowed for efficient transmission of transnational culture, and in turn, our everyday experiences are informed by sounds ranging from voices, to music, to advertising, to bombs, and beyond. In considering cultural works from French-speaking North Africa and the Middle East all published or released in France from 1962-2011, Solheim’s study of listening across cultural genres will be of interest to any scholar or lay person interested in contemporary postcolonial France. This book is also a primer to contemporary Francophone culture from North Africa and the Middle East. Some of the French-speaking world’s most renowned and adored artists are the subject of this study, including preeminent Algerian feminist novelist, filmmaker and historian Assia Djebar (1936-2015), the first writer of the Maghreb to become part of the Académie Française; celebrated Iranian graphic novelist and filmmaker Marjane Satrapi (Persepolis, Chicken with Plums); the lauded Lebanese-Québecois playwright and dramaturge Wajdi Mouawad (Littorial, Incendies), and Lebanese comic artist and avant jazz trumpeter Mazen Kerbaj, whose improvisation with Israeli fighter jets during the 2006 Israeli War, “Starry Night,” catapulted him to global recognition. An interdisciplinary study of contemporary Francophone cultures, this book will be of interest to scholars and students in literary studies, performance studies, gender studies, anthropology, history, and ethnomusicology.
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Guymer, Sheila. Eloquent Performance. Edited by Danuta Mirka. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199841578.013.0023.
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This chapter explores how skilled performers use topical analysis in their interpretative decision-making, presenting material from lesson-interviews conducted with fortepianists Robert Levin and Bart van Oort. Drawing on treatises by Türk, Quantz, Kirnberger, Koch, and Leopold Mozart, it examines some historical foundations of Leonard Ratner’s topics, their connections with eighteenth-century concepts of musical character and expression, and topics’ limitations as tools in the process of analysis and interpretation. The chapter takes the Allegro movements of Mozart’s Sonata K. 333 as two case studies. It concludes that awareness of topical references in this repertoire aids performers in systematically identifying and executing contrasts, enabling more expressive and communicative performance. It suggests that a sensitive understanding of historically informed performance practices benefits topic theorists, as analyses may be undermined by anachronistic assumptions about how the music sounds in performance.
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Fazio, Tom. The Essence of Lightness: A Roadmap to Peak Performance and Self-Mastery ...and Also a Historical Fiction Kung Fu Action Hip-Hop Humor Musical Epic. Tom Fazio, 2019.
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White, Miles. Affective Gestures. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036620.003.0004.
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This chapter looks at the ways in which the body, aesthetic features of hip-hop music, and the material culture that surrounds it are deployed to construct affect and help delineate between what is meant by hard and hardcore, both as music and as masculine performance. In hip-hop culture, uniqueness and the expression of individual identity are prioritized through behavior, modes of dress, language, and other ways. Those who adopt these styles of behavior in mannerism, dress, speech, or attitude become part of a community of practice that is able to persist because the expressive codes associated with the culture have the power to invoke it through any number of performative texts. The chapter also traces the historical evolution of hip-hop culture from a largely benign music to something more malevolent.
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Stulman, Louis. Prophetic Words and Acts as Survival Literature. Edited by Carolyn J. Sharp. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199859559.013.18.
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Informed by historical interests and contemporary trauma theories, this chapter reads written prophecy in the Hebrew Bible—as opposed to its oral iteration—as ancient Israel’s disaster and survival literature. Specifically, the literarization of prophecy connects word and sign-act to prophetic performance of the realities of trauma. When this complex alchemy “enacts” the horrors of war, exile, and confinement through the prism of word and deed, it (1) gives expression to unspeakable loss, (2) generates space for the work of grief, and (3) constructs new trajectories of meaning for survivors struggling to cope with the collapse of their social and symbolic worlds.
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Espinosa, Ruben, ed. Shakespeare / Skin. Bloomsbury Publishing Plc, 2024. http://dx.doi.org/10.5040/9781350261631.
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This volume offers a comprehensive array of readings of ‘skin’ in Shakespeare’s works, a term that embraces the human and animal, noun and verb. Shakespeare / Skindeparts from previous studies as it deliberately and often explicitly engages with issues of social and racial justice. Each of the chapters interrogates and centres ‘skin’ in relation to areas of expertise that include performance studies, aesthetics, animal studies, religious studies, queer theory, Indigenous studies, history, food studies, border studies, postcolonial studies, Black feminism, disease studies and pedagogy. By considering contemporary understandings of skin, this volume examines how the literature of the early modern past creates paths to constructing racial hierarchies. With contributors from the USA, UK, South Africa, India, Sri Lanka, Singapore and Australia, chapters are informed by an array of histories, shedding light on how skin was understood in Shakespeare’s time and at key moments during the past 400 years in different media and cultures. Chapters include considerations of plays such asTitus Andronicus, The TempestandA Midsummer Night’s Dream,and work by Borderlands Theater,Los Colochosand Satyajit Ray, among many others. For researchers and instructors, this book will help to shape teaching and inform research through its modelling of antiracist critical practice. Collectively, the chapters in this collection allow us to consider how sustained attention to skin via cross-historical and innovative approaches can reveal to us the various uses of Shakespeare that shed light on the fraught nature of our interrelatedness. They set a path for readers to consider how much skin they have in the game when it comes to challenging structures of racism.
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André, Naomi. Black Opera. University of Illinois Press, 2018. http://dx.doi.org/10.5622/illinois/9780252041921.001.0001.
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This is a book about thinking, interpreting, and writing about music in performance that incorporates how race, gender, sexuality, and nation help shape the analysis of opera today. Case-study operas are chosen within the diaspora of the United States and South Africa. Both countries had segregation policies that kept black performers and musicians out of opera. During the civil rights movement and after apartheid, black performers in both countries not only excelled in opera, they also began writing their own stories into the genre. Featured operas in this study span the Atlantic and bring together works performed in the West (the United States and Europe) and South Africa. Focal works are: From the Diary of Sally Hemings (William Bolcom and Sandra Seaton), Porgy and Bess, and Winnie: The Opera (Bongani Ndodana-Breen). A chapter is devoted to the nineteenth-century Carmens (novella by Mérimée and opera by Bizet) and black settings in the United States (Carmen Jones, Carmen: A Hip Hopera) and South Africa (U-Carmen eKhayelitsha). Woven within the discussions of specific works are three rubrics for how the text and music create the drama: Who is in the story? Who speaks? and Who is in the audience doing the interpreting? These questions, combined with a historical context that includes how a work also resonates in the present day, form the basis for an engaged musicological practice.
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Cox, Christoph, and Daniel Warner, eds. Audio Culture. Bloomsbury Publishing Inc, 2017. http://dx.doi.org/10.5040/9781501318399.
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The groundbreaking Audio Culture: Readings in Modern Music (Continuum; September 2004; paperback original) maps the aural and discursive terrain of vanguard music today. Rather than offering a history of contemporary music, Audio Culture traces the genealogy of current musical practices and theoretical concerns, drawing lines of connection between recent musical production and earlier moments of sonic experimentation. It aims to foreground the various rewirings of musical composition and performance that have taken place in the past few decades and to provide a critical and theoretical language for this new audio culture. This new and expanded edition of the Audio Culture contains twenty-five additional essays, including four newly-commissioned pieces. Taken as a whole, the book explores the interconnections among such forms as minimalism, indeterminacy, musique concrète, free improvisation, experimental music, avant-rock, dub reggae, ambient music, hip hop, and techno via writings by philosophers, cultural theorists, and composers. Instead of focusing on some “crossover” between “high art” and “popular culture,” Audio Culture takes all these musics as experimental practices on par with, and linked to, one another. While cultural studies has tended to look at music (primarily popular music) from a sociological perspective, the concern here is philosophical, musical, and historical. Audio Culture includes writing by some of the most important musical thinkers of the past half-century, among them John Cage, Brian Eno, Ornette Coleman, Pauline Oliveros, Maryanne Amacher, Glenn Gould, Umberto Eco, Jacques Attali, Simon Reynolds, Eliane Radigue, David Toop, John Zorn, Karlheinz Stockhausen, and many others. Each essay has its own short introduction, helping the reader to place the essay within musical, historical, and conceptual contexts, and the volume concludes with a glossary, a timeline, and an extensive discography.
Частини книг з теми "Historical Informed Performance (HIP)"
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Fay, Richard, Daniel J. Mawson, and Nahielly Palacios. "8. Intercultural Musicking." In Teaching Music Performance in Higher Education, 195–220. Cambridge, UK: Open Book Publishers, 2024. http://dx.doi.org/10.11647/obp.0398.10.
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The term klezmer, from the Hebrew klei zemer (vessel of song), originally referred to a musician rather than to a music culture. Such musicians (plural form, klezmorim) were essential in the largely dance-based music culture of Yiddish-speaking Ashkenazi Jewish communities in Eastern Europe. We have taught klezmer ensemble performance over the last decade in a UK university music department. The klezmer ensemble (founded in 2011) is linked to an assessed module in ensemble performance taken by music undergraduates in a department which has ‘Western’ music theory and practice at its core despite becoming more diverse in recent years. The ensemble provides opportunities for performance both within the university and the local community. It functions as a space for intercultural ‘musicking’, enabling students to not only become familiar with a Musical Other but also develop a sense of situated performance. The aspiration is for the teaching and learning to be critically underpinned, alert to the need for appropriacy and the avoidance of appropriation. Accordingly, the students learn to perform klezmer in a culturally-, historically-. and functionally-informed way with a keen eye also on the situatedness of their contemporary performances. As informed by the work of Schön (himself a musician who illustrated his reflective processes with reference to musicians), as extended by Farrell, the chapter explores the processes and roles of various types of, and moments for, reflection in students' experience of klezmer performance, and it considers how such reflective practices contribute to the students' developing performative confidence and purposefulness vis-a-vis situated performance.
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Elsener, Bernhard, Tiziana Lombardo, Federica Cocco, Marzia Fantauzzi, Marie Wörle, and Antonella Rossi. "Breathing New Life into Historical Instruments. How to Monitor Corrosion." In Musikforschung der Hochschule der Künste Bern, 61–72. Schliengen: Edition Argus, 2022. http://dx.doi.org/10.26045/kp64-6179-005.
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‘To play or to display’ is the dilemma that museums have to face, given the increasing trend towards historically informed performance. Brass instruments can suffer corrosion both during and after playing due to the high humidity inside them. To forestall or at least reduce corrosion, drying with a fan has been chosen as a preventive measure. The state of corrosion inside the tuning slides of the instruments was determined with a specially developed electrochemical sensor. The results of the project show that drying with a fan indeed reduces ongoing corrosion, when compared to a group of instruments played without preventive measures that showed an increasing corrosion rate over time.
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Ramirez Aranda, Nohemi, and Rubén Vezzoni. "Technology as a Tool for Environmental Engagement. The Case of Digital Participatory Mapping (DPM)." In Co-Creativity and Engaged Scholarship, 417–55. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-84248-2_14.
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AbstractThe conservativeness of traditional scientific methods, which nevertheless still tend to dominate much of the (social) sustainability sciences, is challenged by technological progress when untested tools of research are proposed as innovative scientific methods. This is the case of online platforms. The knowledge creation process in the digital era, including forms of research communication, can be profoundly different from traditional research methods. We already know how digital tools may influence the performance of research methods, mainly by maximizing the efficiency of data collection and elaboration. However, the original and collaborative practices in which they can develop, as well as their possibilities towards more democratic and inclusive participation processes, remain an unexplored domain. This chapter is an attempt to include digital technologies, and particularly the case of online participatory platforms based on geographic information systems (GIS), in the array of creative and visual research methods.We discuss software packages and current online approaches, such as web apps and native apps (Klettner & Huang, 2011, Scholte et al., 2018). The exploration of the innovative opportunities offered by digital tools starts with a concise review of their application from an historical perspective and its progression until recent times. The review focuses mostly on the options that digital platforms offer to involve citizens in the co-creation of research studies by enabling peer-to-peer environments that may inspire democratic discussions. The adoption of different types of online platforms is then discussed, not only presenting their virtues but also their downsides. This takes the form of an open discussion between the two authors, informed by each critically reflecting on their first-hand practical experiences in adopting digital tools in their research.We are entering a new era, in which access to big data—through platforms using GIS—provides resources and power to bring to the table the silent majority that is often overlooked in decision-making processes. The many possibilities offered by this unprecedented access to information are yet to be tested. Whether digital platforms will turn out to be a solution for improving the inclusiveness of research studies or not will likely depend on the consciousness and motivations of the designers and developers of these tools.
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Scheider, Magnus Tessing. "Contemporaneity in Historically Informed Performance." In Performing the Eighteenth Century: Theatrical Discourses, Practices, and Artefacts, 81–109. Stockholm University Press, 2023. http://dx.doi.org/10.16993/bce.e.
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Discussing how historical acting principles might enrich today’s theatre, the author suggests that theatre scholars turn away from semiotics: a twentieth-century theory that still informs today’s views of eighteenth-century acting, largely due to Dene Barnett, an influential pioneer of Historically Informed Performance. As an alternative to semiotic representation, the author points to Jan Kott’s concept of contemporaneity, which refers to a special relationship between the text, the actor, and the spectator. This leads him to promote the finesse: a crucial but forgotten concept of eighteenth-century acting theory that was associated with the actor’s revealment of the uniqueness of the character.
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Rolfhamre, Robin. "Performative Musicology and HIP as Rhetoric and Pedagogy for the Past in Present and Future." In Views on Early Music as Representation, 21–95. Cappelen Damm Akademisk/NOASP, 2022. http://dx.doi.org/10.23865/noasp.157.ch2.
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In this chapter, I examine early music performance, musicology and music pedagogy in order to propose moving from what I argue to be an understanding of HIP (historically informed performance) as something analogous to a learning outcome, to the idea of utilising its potential as a pedagogical and rhetorical practice, providing a different context in which to develop its potential. First, I present a canvas on which HIP is delineated. Next, I engage in a logical exercise to unlock and explore HIP’s inner workings. Expanding on John Hillis Miller’s (2009) performativity sub one and sub two, I proceed to propose four different types of performativity (i.e., performativities0–3) centred on John Langshaw Austin, Jacques Derrida and Judith Butler respectively. Providing some foundation for this exercise is a survey based on 132 music research journal articles published over the last five years in six representative, refereed journals. This leads me to a first attempt at proposing a dedicated performative musicology. Here, I introduce a rhetorical perspective on the past in the present based on the work of Antonis Liakos and Mitsos Bilalis (2017), Rivers and Weber (2011) and Rueger (2011). This ultimately leads to a final perspective of regarding HIP as a pedagogical activity providing a space for future ethical concerns. Or, more descriptively phrased: a pedagogy for the past in the present and future.
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Rink, John. "Authentic Chopin." In Music in Profile, 99–126. Oxford University PressNew York, 2023. http://dx.doi.org/10.1093/oso/9780197565391.003.0006.
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Abstract Like chapter 5, the sixth chapter conjoins historical and analytical enquiry in promoting a particular kind of authenticity as a goal in performing music. In this respect, Chopin serves as a model, given that he ‘could remain true to his own artistic principles yet achieve a supremely musical result’. Three of his works (Scherzo in C♯ minor Op. 39, Prelude in D major Op. 28 No. 5, Concerto Op. 21) are studied in turn to show how a performer’s ‘second sight’ – or internalised, embodied understanding – of music can be obtained through the process of refraction highlighted in chapter 1. Topics addressed along the way include expressive form, rhythmic shape and musical language. One conclusion is that the exercise of intuition in performance can be rooted in historical knowledge among other things, which is to say that performance might be informed and intuitive at the very same time.
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Cook, Nicholas. "1. Music in the moment." In Music: A Very Short Introduction, 4–28. Oxford University Press, 2021. http://dx.doi.org/10.1093/actrade/9780198726043.003.0002.
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This chapter focuses on music’s existence in real time. On the printed page, music is a series of notes fixed in the same relationships for all time. But as played and heard, music is a world of ‘endless movement, not discrete “forms” but continuous “forming”’—a world of lived experience that expresses human relationships in their most essential, stripped-down form. The chapter discusses the role of improvisation in both jazz and classical music, and the relationship between knowledge and practice as illustrated by historically informed performance (HIP); it also considers music’s ability to bring about social bonding and the political significance it acquires from this, whether in national anthems or protest songs.
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Correia, Jorge Salgado. "From Researcher/Performer to Artistic Researcher: Looking Back at the Past in Search of New Possibilities." In Views on Early Music as Representation, 223–57. Cappelen Damm Akademisk/NOASP, 2022. http://dx.doi.org/10.23865/noasp.157.ch9.
Повний текст джерелаАнотація:
Musicians involved in historically informed performance are pulled in different directions, driven by two different motivations, and when one of them is taken to the extreme, the other runs the risk of being, if not overtaken, at least overshadowed. One is the motivation to observe and analyse the past, i.e., to contribute to historical knowledge; the other is the motivation to conceive a pertinent artistic intervention, i.e., to contribute to an artistic domain. Reinforced and reassured by an analysis of the chapters in this book, I argue that this contribution to an artistic domain is an essential component of artistic research, supported by documentation that clarifies the pertinence of artistic interventions, promotes more empathetic connections and deeper intimate fruition, and results in mythopoetic reconfigurations. Only a discourse in the narrative mode can possibly play this roll, because it does not exclude embodied meanings and processes of subjective self-disclosure (re-enactments). This discursive mode will enable a reflection on the pertinence of the (inter)subjective concerns that motivated the creation, the pertinence of the creative processes, and/or the aesthetic, ethical, and ecological pertinence of the artistic intervention. Thus, going beyond an understanding of musical practice as simple “artefact-performance-reception” and embracing a sense of possibility, a specific territory opens for HIP performers. It consists of an embodied intersubjective amalgam of beliefs, convictions and mythopoetic configurations, where they, as artistic researchers, can intervene creating new realities and provoking changes and reconfigurations – rhetorically, pedagogically, and above all artistically.
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"Introduction." In Reckoning with Restorative Justice, 1–32. Duke University Press, 2023. http://dx.doi.org/10.1215/9781478027362-001.
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The introduction traces the troubled state of Indigenous incarceration in the United States and across the globe, as well as the origins of the Kailua Prison Writing Project at the Women's Community Correctional Center. The then warden, Mark Kawika Patterson, introduced Hawaiian programming in his trauma-informed care initiative to address the kinds of trauma experienced by the women inside, ranging from personal to collective historical trauma. Historical trauma is particularly deleterious for Native Hawaiian women, who are disproportionately represented among the prison population. State violence is the malefactor in Hawai‘i as the linkages of multiple forms of interpersonal violence and trauma with settler colonialism are palpable in the contemporary landscape. Expressivity (poetry, life writing, and performance) counters the demarcation of a civic death for those incarcerated and emphasizes the specificity of inside women's voices in Hawai‘i.
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Kivy, Peter. "On the Historically Informed Performance." In Music, Language, and Cognition, 91–110. Oxford University PressOxford, 2007. http://dx.doi.org/10.1093/oso/9780199217663.003.0007.
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Abstract After my book Authenticities was published in 1995,1 various people told me that I was, in effect, beating a dead horse; for the book was an extended analysis and critique of what had come to be known as the “historically authentic performance”, which was supposed to be—at least as I understood it—the performance of a musical work in strict compliance with the way that work would have been performed in its own historical period and no other; or, if it didn’t come to the same thing, in strict compliance with the performing intentions of the composer. But, so I was told, no one was pedantic or dogmatic enough any longer to endorse or pursue that sort of thing. Rather, what was now endorsed and pursued in its stead was something much more reasonable, yet, I presume, still in the historicist spirit: it was called the “historically informed performance”. And none of the critical or analytical things I said in Authenticities, so these folks admonished me, had anything to do with that project at all.
Тези доповідей конференцій з теми "Historical Informed Performance (HIP)"
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Ueda, Tomoyo. "Marimba Plays Early Music: An Approach Informed by Historical Performance Practice." In Selected Proceedings of the 2009 Performer's Voice International Symposium. IMPERIAL COLLEGE PRESS, 2011. http://dx.doi.org/10.1142/9781848168824_0006.
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Kyffin, William, David Gandy, and Barry Burdett. "A Study of the Material Properties and Performance of Hot Isostatically Pressed (HIP) Type 316L Stainless Steel Powders and HIP Processing Available From Today’s International Supply Chain." In ASME 2018 Pressure Vessels and Piping Conference. American Society of Mechanical Engineers, 2018. http://dx.doi.org/10.1115/pvp2018-84072.
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Hot Isostatic Pressing (HIP) of type 316L austenitic stainless steel powder has been an established manufacturing practice for more than twenty five years within the oil and gas sectors and more recently in the naval defence industry. The successful ASME Code Case approval (N-834) has facilitated the manufacture of 316L components via Powder Metallurgy HIP (PM/HIP) for the civil nuclear sector. However, a number of issues have tended to hinder the uptake of PM/HIP as an alternative viable manufacturing route for both castings and forgings. Firstly, the powder specification for 316L and HIP processing parameters has typically been left to the discretion of the manufacturers. As such, the finer details of HIP product specification require greater clarity and definition for optimum performance/reproducibility. Secondly, comparison of historical data for 316L PM/HIP has shown variation in the Charpy impact toughness performance. These differences have been attributed to the oxygen content of the atomised powder, with greater oxygen contents yielding product with reduced impact properties. Based on these factors, a systematic study of the current state of the art of 316L commercial powder production, encapsulation/consolidation and selected HIP parameters was undertaken in collaboration with the Electric Power Research Institute (EPRI). A 316L powder specification was developed that primarily limited the oxygen content of the powder to under 130ppm. This lower oxygen limit reflects the improvements that commercial powder suppliers have been making over the past decade to ensure greater powder cleanliness. The test programme generated a significant body of test data based on 3 × 3 × 3 matrix of: powder supply, HIP service provider and HIP sustain times. The results were excellent across the full range of variables studied with all test billets passing the specification requirements of ASTM A988 and additional imposed requirements. Very consistent 316L material properties were produced for billets manufactured via differing HIP service providers across the comprehensive destructive test programme. This demonstrates the robustness and uniformity of the PM/HIP supply chain in producing 316L material of the requisite quality. In addition, no significant difference in material properties was noted for material pressed between 2–8 hours hold time, suggesting that the HIP process window is large with respect to hold time. Of significant note was that material produced with one powder yielded material with consistently the highest strengths and Charpy impact toughness. This has been attributed to chemical composition of the powder, which featured both a low oxygen and also a high nitrogen content.
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Liming, James K., and Ernest J. Kee. "Integrated Risk-Informed Asset Management for Commercial Nuclear Power Stations." In 10th International Conference on Nuclear Engineering. ASMEDC, 2002. http://dx.doi.org/10.1115/icone10-22033.
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The objective of this paper is to provide electric utilities with a concept for preparing and implementing integrated risk-informed asset management (RIAM) programs for power stations and generating companies. RIAM is a process by which analysts review historical performance and develop predictive logic models and data analyses to predict critical decision support figures-of-merit (or metrics) for generating station managers and electric utility company executives. These metrics include, but are not limited to, the following: profitability, projected revenue, projected costs, asset value, safety (catastrophic facility damage frequency and consequences, etc.), power production availability (capacity factor, etc.), efficiency (heat rate), and others. RIAM applies probabilistic safety assessment (PSA) techniques and generates predictions probabilistically so that metrics information can be supplied to managers in terms of probability distributions as well as point estimates. This enables the managers to apply the concept of “confidence levels” in their critical decision-making processes.
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Liming, James K., and James E. Salter. "A Multiple Decision Support Metrics Method for Effective Risk-Informed Asset Management." In 12th International Conference on Nuclear Engineering. ASMEDC, 2004. http://dx.doi.org/10.1115/icone12-49025.
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The objective of this paper is to provide electric utilities with a concept for developing and applying effective decision support metrics via integrated risk-informed asset management (RIAM) programs for power stations and generating companies. RIAM is a process by which analysts review historical performance and develop predictive logic models and data analyses to predict critical decision support figures-of-merit (or metrics) for generating station managers and electric utility company executives. These metrics include, but are not limited to, the following: profitability, net benefit, benefit-to-cost ratio, projected return on investment, projected revenue, projected costs, asset value, safety (catastrophic facility damage frequency and consequences, etc.), power production availability (capacity factor, etc.), efficiency (heat rate), and others. RIAM applies probabilistic safety assessment (PSA) techniques and generates predictions probabilistically so that metrics information can be supplied to managers in terms of probability distributions as well as point estimates. This enables the managers to apply the concept of “confidence levels” in their critical decision-making processes.
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Zhu, Hua, Hong Huang, Kehan Yin, Zejun Fan, Hai Jin, and Bang Liu. "CausalNET: Unveiling Causal Structures on Event Sequences by Topology-Informed Causal Attention." In Thirty-Third International Joint Conference on Artificial Intelligence {IJCAI-24}. California: International Joint Conferences on Artificial Intelligence Organization, 2024. http://dx.doi.org/10.24963/ijcai.2024/790.
Повний текст джерелаАнотація:
Causal discovery on event sequences holds a pivotal significance across domains such as healthcare, finance, and industrial systems. The crux of this endeavor lies in unraveling causal structures among event types, typically portrayed as directed acyclic graphs (DAGs). Nonetheless, prevailing methodologies often grapple with untenable assumptions and intricate optimization hurdles. To address these challenges, we present a novel model named CausalNET. At the heart of CausalNET is a special prediction module based on the Transformer architecture, which prognosticates forthcoming events by leveraging historical occurrences, with its predictive prowess amplified by a trainable causal graph engineered to fathom causal relationships among event types. Further, to augment the predictive paradigm, we devise a causal decay matrix to encapsulate the reciprocal influence of events upon each other within the topological network. During training, we alternatively refine the prediction module and fine-tune the causal graph. Comprehensive evaluation on a spectrum of real-world and synthetic datasets underscores the superior performance and scalability of CausalNET, which marks a promising step forward in the realm of causal discovery. Code and Appendix are available at https://github.com/CGCL-codes/CausalNET.
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Chase, Jonathan, Duc Thien Nguyen, Haiyang Sun, and Hoong Chuin Lau. "Improving Law Enforcement Daily Deployment Through Machine Learning-Informed Optimization under Uncertainty." In Twenty-Eighth International Joint Conference on Artificial Intelligence {IJCAI-19}. California: International Joint Conferences on Artificial Intelligence Organization, 2019. http://dx.doi.org/10.24963/ijcai.2019/806.
Повний текст джерелаАнотація:
Urban law enforcement agencies are under great pressure to respond to emergency incidents effectively while operating within restricted budgets. Minutes saved on emergency response times can save lives and catch criminals, and a responsive police force can deter crime and bring peace of mind to citizens. To efficiently minimize the response times of a law enforcement agency operating in a dense urban environment with limited manpower, we consider in this paper the problem of optimizing the spatial and temporal deployment of law enforcement agents to predefined patrol regions in a real-world scenario informed by machine learning. To this end, we develop a mixed integer linear optimization formulation (MIP) to minimize the risk of failing response time targets. Given the stochasticity of the environment in terms of incident numbers, location, timing, and duration, we use Sample Average Approximation (SAA) to find a robust deployment plan. To overcome the sparsity of real data, samples are provided by an incident generator that learns the spatio-temporal distribution and demand parameters of incidents from a real world historical dataset and generates sets of training incidents accordingly. To improve runtime performance across multiple samples, we implement a heuristic based on Iterated Local Search (ILS), as the solution is intended to create deployment plans quickly on a daily basis. Experimental results demonstrate that ILS performs well against the integer model while offering substantial gains in execution time.
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Bhatt, Saachin, Mustansar Ghazanfar, and Mohammad Hossein Amirhosseini. "Machine Learning based Cryptocurrency Price Prediction using Historical Data and Social Media Sentiment." In 5th International Conference on Machine Learning & Applications. Academy & Industry Research Collaboration, 2023. http://dx.doi.org/10.5121/csit.2023.131001.
Повний текст джерелаАнотація:
The purpose of this research is to investigate the impact of social media sentiments on predicting the Bitcoin price using machine learning models, with a focus on integrating onchain data and employing a Multi Modal Fusion Model. For conducting the experiments, the crypto market data, on-chain data, and corresponding social media data (Twitter) has been collected from 2014 to 2022 containing over 2000 samples. We trained various models over historical data including K-Nearest Neighbors, Logistic Regression, Gaussian Naive Bayes, Support Vector Machine, Extreme Gradient Boosting and a Multi Modal Fusion. Next, we added Twitter sentiment data to the models, using the Twitter-roBERTa and VADAR models to analyse the sentiments expressed in social media about Bitcoin. We then compared the performance of these models with and without the Twitter sentiment data and found that the inclusion of sentiment feature resulted in consistently better performance, with TwitterRoBERTa-based sentiment giving an average F1 scores of 0.79. The best performing model was an optimised Multi Modal Fusion classifier using Twitter-RoBERTa based sentiment, producing an F1 score of 0.85. This study represents a significant contribution to the field of financial forecasting by demonstrating the potential of social media sentiment analysis, onchain data integration, and the application of a Multi Modal Fusion model to improve the accuracy and robustness of machine learning models for predicting market trends, providing a valuable tool for investors, brokers, and traders seeking to make informed decisions
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AL-Otaibi, Basel, Issa Abu Shiekah, Manish Kumar Jha, Gerbert de Bruijn, Peter Male, Shahad Al-Omair, and Hossam Ibrahim. "60 Years Field Performance Data-Driven Analytics to Generate Updated Waterflood Field Development Plan in a North Kuwait Giant Carbonate Reservoir." In Abu Dhabi International Petroleum Exhibition & Conference. SPE, 2021. http://dx.doi.org/10.2118/207231-ms.
Повний текст джерелаАнотація:
Abstract After 40 years of depletion drive, a mature, giant and multi-layer carbonate reservoir is developed through waterflooding. Oil production, sustained through infill drilling and new development patterns, is often associated with increasingly higher water production compared to earlier development phases. A field re-development plan has been established to alleviate the impact of reservoir heterogeneities on oil recovery, driven by the analysis of the historical performance of production and injection of a range of well types. The field is developed through historical opportunistic development concepts utilizing evolving technology trends. Therefore, the field has initially wide spacing vertical waterflooding patterns followed by horizontal wells, subjected to seawater or produced water injection, applying a range of wells placement or completion technologies and different water injection operating strategies. Systematic categorization, grouping and analyzing of a rich data set of wells performance have been complemented and integrated with insights from coarse full field and conceptual sector dynamic modeling activities. This workflow efficiently paved the way to optimize the field development aiming for increased oil recovery and cost saving opportunities. Integrated analysis of evolving historical development decisions revealed and ranked the primary subsurface and operational drivers behind the limited sweep efficiency and increased watercut. This helped mapping the impact of fundamental subsurface attributes from well placement, completion, or water injection strategies. Excellent vertical wells performance during the primary depletion and the early stage of water flooding was slowly outperformed by a more sustainable horizontal well production and injection strategy. This is consistent with a conceptual model in which the reservoir is dominated by extensive high conductive features that contributed in the early life of the field to good oil production before becoming the primary source of premature water breakthrough after a limited fraction of pore volume water was injected. The next level of analysis provided actual field evidence to support informed decisions to optimize the front runner horizontal wells development concept to cover wells length, orientation, vertical placement in the stratigraphy, spacing, pattern strategy and completion design. The findings enabled delivering updated field development plan covering the field life cycle to sustain and increase field oil production through adding ~ 200 additional wells and introducing more structured water flooding patterns in addition to establishing improved wells reservoir management practices. This integrated study manifests the power, efficiency and value from data driven analysis to capture lessons learned from evolving wells and development concepts applied in a complex brown field over six decades. The workflow enabled the delivery of an updated field development plan and production forecasts within a year through utilizing data analytics to compensate for the recognized limitations of subsurface models in addition to providing input to steer the more time-consuming modeling activities.
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Elghoneimy, Mahmoud, Nguyen Hiep, Ayrat Fakhrylgayanov, Abdulrahman Gari, Nurbol Nsanov, Ahmed Osman, Wei Chen, Luis F. Gonzalez, and Anton Shatrovskiy. "Data-Driven Drilling Performance Improvement: The Synergy of Digitalization and Offset Well Data Utilization." In International Petroleum Technology Conference. IPTC, 2024. http://dx.doi.org/10.2523/iptc-24314-ms.
Повний текст джерелаАнотація:
Abstract Data-driven optimization for drilling operations is becoming increasingly important in the oil and gas industry. Digitalization and utilization of historical offset well data can provide critical insights into improving drilling performance and aid in making informed decisions for the best selection of drilling parameters. This paper aims to present an integrated approach between a research center and the field that leverages offset well data and drilling engineering domain knowledge with data science and machine-learning models to improve drilling performance through more stable drilling dynamics. This novel drilling optimization method utilizes a digitalized process that combines drilling dynamics data from offset wells and drilling engineering domain knowledge with advanced data science algorithms (statistical analysis, optimal searching, and machine learning) to generate optimum drilling parameters automatically. This hybrid optimization approach, integrating science and domain knowledge, aims to systematically minimize the energy dissipated in drilling shocks and vibration (S&V), which would then lead to maximizing drilling efficiency in a continuous improvement cycle. The effectiveness of this approach is proven through case studies from various oil and gas fields in which we discuss the associated key challenges for current and future developments. The authors showcase through these examples the significant gains in drilling engineering efficiency when automated data analytics’ workflows are used to make the utmost value of offset well data utilization in improving drilling parameters. The results include a significant reduction of S&V, which leads to better directional drilling accuracy and reduced downhole tool failure risks. The approach has also increased drilling performance, resulting in faster and more efficient drilling operations. Furthermore, the use of this approach has led to a reduction in overall drilling time, resulting in substantial cost savings for drilling major oil and gas fields.
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Retagne, Wiebke. "Evolutionary predictive model of the space debris environment." In IV Aerospace PhD-Days. Materials Research Forum LLC, 2024. http://dx.doi.org/10.21741/9781644903193-30.
Повний текст джерелаАнотація:
Abstract. In recent years, the exponential growth of space debris has become evident. To mitigate debris problem, a precise model for predicting the space debris environment is necessary. This research project tackles this challenge of space debris modelling, through adopting the continuum approach. In the continuum approach a space debris cloud is treated as a fluid. As a novel aspect, the model will include a detailed uncertainty analysis. The challenge here is to find a unified approach to deal with the different uncertainty sources. The analysis will help to identify the largest uncertainty sources and will aid in developing a more precise model. To find a balance between robustness and computational time high performance computing will be employed. Furthermore, the effect of mitigation measures and newly launched missions will be investigated through the combination of historical data with economic forecasting methods, making it possible to make informed decisions for sustainable space operations.
Звіти організацій з теми "Historical Informed Performance (HIP)"
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Kruse, C., Dong Hun Kang, Kenneth Mitchell, Patricia DiJoseph, and Marin Kress. Freight fluidity for the Port of Baltimore : vessel approach and maritime mobility metrics. Engineer Research and Development Center (U.S.), January 2022. http://dx.doi.org/10.21079/11681/43000.
Повний текст джерелаАнотація:
The United States Army Corps of Engineers is tasked with maintaining waterborne transportation system elements. Understanding channel utilization by vessels informs decisions regarding operations, maintenance, and investments in those elements. Historically, investment decisions have been informed by safety, environmental considerations, and projected economic benefits of alleviating channel restrictions or shipping delays (usually derived from models). However, quantifying causes and impacts of shipping delays based on actual historical vessel location data and then identifying which causes could be ameliorated through investment has been out of reach until recently. In this study, Automatic Identification System vessel position reports were used to develop quantitative measures of transit and dwell-time reliabilities for commercial vessels calling at the Port of Baltimore, Maryland. This port has two deep-water approaches: Chesapeake Bay and the Chesapeake and Delaware Canal. Descriptive metrics were determined for each approach, including port cycle time, harbor stay hours, travel time inbound, and travel time outbound. Then, additional performance measures were calculated: baseline travel time, travel time index, and planning time index. The key finding of this study is that the majority of variability in port cycle time is due to the variability in harbor stay hours, not from channel conditions or channel restrictions.
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Financial Stability Report - First Half of 2022. Banco de la República, September 2023. http://dx.doi.org/10.32468/rept-estab-fin.sem1.eng-2022.
Повний текст джерелаАнотація:
Banco de la República’s main objective is to preserve the purchasing power of the currency in coordination with the general economic policy that is intended to stabilize output and employment at long-term sustainable levels. Properly meeting the goal assigned to the Bank by the 1991 Constitution critically depends on preserving financial stability. This is understood to be a general condition in which the financial system evaluates and manages the financial risks in a way that facilitates the economy’s performance and efficient allocation of resources while, at the same time, it is able to, on its own, absorb, dissipate, and mitigate the appearance of risks that may arise as a result of adverse events. This Financial Stability Report provides Banco de la República’s diagnosis of the financial system’s and the recent performance of its debtors as well as of the main risks and vulnerabilities that could affect the stability of the Colombian economy. That is why the financial market participants and the public are being informed, and public debate on trends and risks affecting the system is being encouraged. The results presented here also serve the monetary authority as a basis for making decisions that will enhance financial stability in the general context of its objectives. This edition marks the twentieth anniversary of the Financial Stability Report, which was first published in July 2002. Over these past twenty years, the credit and macroprudential policy framework in Colombia has been continuously reinforced while financial regulation and supervision have closely followed international standards. As a result the Colombian financial system has expanded its services to the economy and has weathered diverse economic circumstances while remaining sound and stable, since 2002. Over the course of time, the Financial Stability Report has been and continues to be permanently updated by Banco de la República in order to improve its usefulness to the general public. The analysis presented in this Report allows us to conclude that the recovery of lending activity in Colombia has been consolidated in recent months. Credit (in all its categories) has picked up and the decline in past-due and risky loans continues. The capital adequacy and liquidity indicators of credit institutions are comfortably above the regulatory minimums. The performance of credit institutions and nonbanking financial institutions, in a context of increased market volatility, reflects the soundness and stability of the Colombian financial system. At the same time, the combination of various global events and the recent trend in lending poses some vulnerabilities for the stability of the financial system. First, as mentioned in the previous edition of the Report, the exposure of the Colombian economy and financial institutions to sudden changes in global financial conditions has persisted in recent months in an environment of high uncertainty. Second, recent months have seen a rapid expansion of loans to households in Colombia in both the housing category and, especially, the consumer category. The trend in credit growth could eventually cause fragilities given that the ratio of household indebtedness to disposable income is around its historical maximum. In any case, the results presented in this Report indicate that the financial system has shown itself to be sufficiently resilient to adverse scenarios on both vulnerability fronts. In compliance with its constitutional objectives and in coordination with the financial system’s security network, Banco de la República will continue to closely monitor the outlook for financial stability at this juncture and will make the decisions that are necessary to ensure the proper functioning of the economy, facilitate the flow of sufficient credit and liquidity resources, and further the smooth functioning of the payment system. Leonardo Villar Gómez, Governor