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Статті в журналах з теми "Prelued"

Автор: Grafiati

Опубліковано: 11 березня 2023

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1

Carvalho, Larissa Paggioli de. "Bach's Well-Tempered Clavier: Pedagogical Approaches and the Different Styles of Preludes." Per Musi, no. 33 (April 2016): 97–115. http://dx.doi.org/10.1590/permusi20163305.

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Анотація:

Abstract: The present article discusses pedagogical aspects aiming to contribute to teaching and learning Bach's Preludes of the Well-Tempered Clavier. Section one presents a review of the prelude as a musical genre and the different styles that influenced the Well-Tempered Clavier Preludes. Then, there is an analysis of selected preludes that will exemplify the variety of styles found in this work of Bach.

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2

Dragomirescu, Daniel. "Stylistic-Interpretative Statistics of The Creation for Guitar Solo (Preludes no. 1-5) by Heitor Villa Lobos." Review of Artistic Education 17, no. 1 (March 1, 2019): 141–58. http://dx.doi.org/10.2478/rae-2019-0016.

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Анотація:

Abstract In the past, more precisely in the Fifteenth and Sixteenth centuries, both pieces for keyboard instruments (organ or clavecin) and those for the guitar’s ancestor, the lute, were preceded by an introduction bearing the title of prelude. In the seventeenth century, this prelude was used as an introduction to some religious works, being synonymous to the preamble, as both were meant to prepare the atmosphere and tone of a musical piece. Johann Sebastian Bach played a decisive role in the evolution of the prelude, using it as the first part of the preclassic instrumental suite, with the intention of setting the unique tone, the tone in which the whole work will be performed. Later, in the 19th and 20th centuries, taking over the tradition of J.S.Bach, the composers will write cycle pieces for various instruments, which, through their rich, melodic, harmonic, rhythmic variety of form and genre, will enjoy success in the concert halls. Examples include the cycles of preludes of Frederich Chopin, Claude Debussy, Alexandr Skriabin, Serghey Rachmaninov, Mihail Jora, and others. Villa-Lobos preludes touch the audience’s sensitivity more directly than studies. Their appearance is an essential contribution to the guitar repertoire of the 20th century. In the small form, the author proved a brilliant sense of balance, intense feelings, great conceptual originality, making the most of the technical and sound resources of the instrument. These short compositions, always present in the repertory of all great guitarists, require our attention and admiration. Written shortly before 1940, in the original manuscript these preludes were six. Unfortunately, one of them, “the best of all” as the composer said, was lost. As regards this statement, John Duarte, in his work, the Preludes of Villa-Lobos. Some notes” considers this would have an ironic character. “Just like the Three Musketeers who were actually four, so the 5 Preludes were originally six”.143

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3

Moya, Liao. "Influence Of Preludes by G.Gershwin on Zhang Shuai's Composer’s Thinking." Часопис Національної музичної академії України ім.П.І.Чайковського, no. 1(50) (March 18, 2021): 36–48. http://dx.doi.org/10.31318/2414-052x.1(50).2021.233103.

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Анотація:

The specifics of Zhang Shuai’s creative thinking are considered on the basis of drawing parallels between J. Gershwin’s Three Preludes and a similar cycle of Chinese composer’s Ppreludes according to the model and the ratio of ―Gershwin’s‖ and individual. It was found that Zhang Shuai’s creative thinking is manifested at the general compositional level, ie at the level of the cycle with the sequence ―fast — slow — fast‖ and the dominance of rhythmic energy in extreme preludes, and at the level of expressive melody and lyrical mood — in the central prelude. The ―Gershwin‖ influence on the specifics of Zhang Shuai’s creative thinking and on the stylistic level was revealed, in particular: the reliance on the model is manifested in the appeal to the jazz idiom, which affects the nature of rhythmic formulas, as well as harmony and order (combination of diatonic and chromatic structures, application of block chords, orientalism in the final prelude). If G. Gershwin’s creative thinking is characterized by the use of blues tones and chromatic moves, then Zhang Shuai’s creative thinking is characterized by a certain rationalism, due to the appropriate way of constructing new music according to the ―Gershwin‖ model. Analogies between the melodic and rhythmic formulas of the Second Preludes of J. Gershwin and Zhang Shuai, as well as analogies between the logic of the initial exposure of the elements of the theme — their First Preludes. It is proved that the most significant differences between the ―Gershwin‖ model and the music of Zhang Shuai appear at the level of ways of textural development of the material. G. Gershwin’s preludes usually contain two key layers of texture — melody and accompaniment, their texture is ―more graphic‖, more transparent, while in Zhang Shuai it is immediately condensed by a figurative undertone or an additional chord-rhythmic layer. Another difference is in the field of order, because Zhang Shuai has a desire to combine artificially symmetrical structures and the pentatonic basis of melody, which determines the stylistic originality of his music. Individual features of Zhang Shuai’s prelude interpretation as a sample of the pianist’s competitive repertoire are determined.

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4

Pierova, Maryna. "“CINQ PRELUDES FRAGILES” FOR PIANO BY A. LOURIÉ: THE ATTEMPT OF COMPOSITIONAL AND DRAMATURGICAL ANALYSIS." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 58, no. 58 (March 10, 2021): 53–64. http://dx.doi.org/10.34064/khnum1-58.04.

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Анотація:

Background. The article identifies the stylistic principles of composer’s thinking of A. Lourié on the basis of the “Cinq preludes fragiles” for piano op. 1. The musical science works of recent years, which include the articles by M. Gorodilova, L. Sitsky and D. Gojowy, deal with the problem of repressed Russian avant-garde. Objective. The purpose of the research is to reveal the specifics of individual composer style of A. Lourié on the basis of the “Cinq preludes fragiles” for piano op. 1. Methods. Achieving the goal of the research involves using the following methods: stylistic approach, genre approach and compositional approach. Results and Discussion. Exposition of the main material of the study includes the compositional, dramaturgical and stylistic analysis of the cycle, which is recognized as the first piece by A. Lourié. The analysis of the intonational dramaturgy of the cycle by A. Lourié is a necessary stage in the theoretical understanding of the composer’s artistic thinking and the stylistic features of his heritage. Prelude No. 1 (Lento, es-moll) is a kind of introduction to the holistic “plot” of the cycle, as it represents the world of the lyric hero. It can be assumed that this is the image of the Poet, which is characteristic of the romantic tradition. Prelude No. 2 (Calme, pas vite, es-moll) is also lyrical in nature, with a touch of melancholy, but more active and strong-willed. Prelude No. 3 (Tendre, pensif, B-dur) is the lyric center of the cycle. This is a musical pastoral. In this prelude, various psychological modes are combined: the union of man and nature (contemplation), the thoughts of a man alone with himself (reflection), an internal conversation with the creator (prayer). Prelude No. 4 (Affabile, F-dur) is recognized as a bright intermezzo. The miniature is imbued with states of exultation, delight, joy of being. The general mood of the prelude is supported by the author’s remark “joyeux, capricieusement” (“fun, capriciously”) and corresponds to the intermezzo compositional function. The character of Prelude No. 5 (Modéré, gis-moll) is melancholic and detached. This miniature is very close to the Prelude No. 1, with which it creates an arch of images of the dialectic of the protagonist’s soul. It seems that the hero had lost his life goals again. The dramaturgical author’s intention is realized as follows: Preludes No. 1 and No. 2 represent a double exposure, which reveals the figurative dichotomy of «melancholia – activity» as two hypostases of a lyrical hero; Prelude No. 3 shows the picture of nature and a man’s attitude to it; Prelude No. 4 is the bright culmination of the image of a dream; in Prelude No. 5, a lyrical hero returns to reality. The results of the research support the idea that the main features of A. Lourié’s individual compositional style are the semantics of “fragility”, the principle of thematic concentration and miniaturism of intellection. The semantics of “fragility” is manifested in the poetic aura of the symbolism of the “silver age”, which represented an idea of beauty as the ultimate, vanishing state. The principle of thematic concentration is manifested in the saturation of events in a unit of musical time. The miniaturism of thinking is the ability to model and reflect global ideas of human life in the performing process in a chamber chronotope. Conclusion. In the article the unity of the content and form-building levels of the cycle “Cinq preludes fragiles” for piano op. 1 is revealed. The refraction of the romantic tradition of interpreting the piano in the works of A. Lourié was studied. The role of the miniature genre in the context of the composer’s piano heritage is described. The specificity of metro-rhythm, harmonic and intonational semantics of A. Lourié’s piano works is revealed. The prospects for further researches include the necessity of in-depth study of composer heritage of A. Lourié.

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5

Daugulis, Ēvalds. "Preludes and Fugues op. 82 by Nikolai Kapustin." Musicological Annual 56, no. 1 (June 30, 2020): 133–47. http://dx.doi.org/10.4312/mz.56.1.133-147.

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Анотація:

The early 20th century witnessed growing interest in the Baroque polyphony genres: prelude and fugue in jazz. Preludes and fugues op. 82 (1997) by the Russian composer Nikolai Kapustin are particularly interesting. The way he integrates the expression of classical music and the specificity of jazz music is very original.

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6

Nikolenko, R. "The specifics of composer’s interpretation of the genre of prelude in Samuil Feinberg’s creativity." Culture of Ukraine, no. 74 (December 20, 2021): 55–60. http://dx.doi.org/10.31516/2410-5325.074.09.

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Анотація:

The aim of the article is to determine the specifics of the composer’s embodiment of the prelude genre in the works of S. Feinberg on the example of two cycles “Four preludes” op. 8 and “Three Preludes” op. 15. The methodology is based on an integrated approach and includes analytical, comparative, as well as structural-functional and genre-style methods. The results are based on the identification of features of the composer’s interpretation of the piano prelude genre in the works of S. Feinberg. Due to the current trend towards the discovery of rarely-performed music, there is a growing interest in the works of S. Feinberg, whose compositional heritage is still poorly known by a wide range of performers and scientists. Some of his works, which are of undoubted artistic value, remain out of the field of view of researchers. This remark is especially appropriate in relation to the genre of prelude in the artist’s legacy, which is represented by two cycles of “Four preludes” op. 8 and “Three Preludes” op. 15. Despite the fact that the composer addressed him in the early period of his work, the originality of the composer’s writing style is clearly manifested in this genre. In the context of the relationship between the compositional style of S. Feinberg and the Scriabin creative tradition, key points are identified that distinguish the manner of interpretation of this genre. It is noted that the originality of composer’s thinking is manifested at various levels of organization of a piece of music. Focusing on the Scriabin’s style of the second period of creativity, which manifests itself in laconic thematism and the absence of a pronounced сantilena, S. Feinberg reinterprets it in figurative, semantic and pianistic terms. The manner of musical utterance of S. Feinberg is marked by greater emotional tension and expression. The composer uses a richer texture, which presents a wide variety of types of small and large piano techniques, with the latter prevailing. It applies elements of polyphonic development. Thanks to this approach to the textured solution, the virtuoso component is even more pronounced in preludes. The scientific novelty of the results obtained lies in the fact that for the first time in Ukrainian musicology, an attempt was made to comprehend the features of the interpretation of the piano prelude genre in the works of S. Feinberg, as well as to trace the features of the creative reinterpretation of the Scriabin composer tradition in the early period of S. Feinberg’s work. The practical significance of the study lies in the possibility of using its results in higher educational institutions of art education when working on the works of S. Feinberg in the class of special piano, as well as to deepen ideas about the specifics of the composer’s style of this artist.

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7

Kopeliuk, Oleh. "THE “24 PRELUDES” FOR THE PIANO BY IVAN KARABYTS AS AN ENCYCLOPAEDIA OF THE UKRAINIAN RENAISSANCE OF THE 1970S." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 58, no. 58 (March 10, 2021): 65–95. http://dx.doi.org/10.34064/khnum1-58.05.

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Анотація:

Background. The research is devoted to revealing the semantic analysis of the dramaturgy of one of the large-scale compositions in the creative work of IvanKarabyts – the cycle “24 Preludes” for the piano. The composition was written by Ivan Karabyts in 1976 and today it is of great interest to concert performers and fans of modern piano music. The attention of pianists to the cycle “24 Preludes” by I. Karabyts is attracted, firstly, by the distinctive, original musical language, secondly – by a wide range of performing capabilities and means of expression, and thirdly – by vivid images that inspire pianists to reproduce artistic ideas, hidden philosophical implications. The object of research is the cycle “24 preludes” for the piano as a musical encyclopaedia, reflecting the artistic era in the context of the Ukrainian renaissance of tthe 1970s, and the aim is to identify stylistic patterns by means of the semantic analysis of the dramaturgy of the cycle, finding the intersection in a kind of dialogue with a diverse, significant fund of the music of the 20th century. The methodology of research is focused on the relationship of special methods of analysis: functional-structural, intonation, genre, style, semantic and interpretative one. Results. Ivan Karabyts chooses for his cycle a model of tonal dramaturgy of the cycle “24 Preludes”, introduced by F. Chopin and later by D. Shostakovich, namely – the movement along the circle of fifths in the ratio of major-minor. From the point of view of musical semantics of the preludes of the cycle they can be divided into 5 thematic groups (contemplative and introspective lyrics; grotesque and dance; sound imitation and spatial-visual; stylistic allusions; and tragedy ones), varied in genre-stylistic sense (according to the criteria of modelling the awareness of the lyrical hero (I – the world around me.) The dramaturgy of the cycle is built through their correlation, while forming a certain plot, which begins with the image of the lyrical hero, and ends with a demonstration of the society which is ambiguous and problematic for a human. The composer chooses the prelude as a genre with a historical memory of culture, which allows performers and listeners to experience the range of psychological moments of the human spirit in the turbulent world of events of the last third of the 20th century. The composer is fascinated by this genre not by chance, because the prelude allows reflecting in miniature numerous states of “fixed” moments of existence, the inner balance of the artist and the world. Each prelude in the cycle is a kind of creative laboratory, a field of creative experiments. It reflected both already developed and new methods and principles of the composer’s thinking. While performing one prelude after another as a whole composition, one realizes that this genre expresses the freedom of creativity, the element of existence: it is a fantasy, and a story of the heart, and the revelation of the spirit, and at the same time – bright genre sketches. Conclusions. The analysis of the musical semantics of I. Karabyts’s piano cycle “24 Preludes” testified to the presence of 5 genre-stylistic groups in the cycle (according to the criterion of the dual world notion “psychology I – the world around”). Thus, the genre-semantic analysis of the piano cycle “24 Preludes” has shown that I. Karabyts does not lose touch with history and time, by paying tribute to the masters of the 18th–20th centuries, continuing to develop the type of tonal dramaturgy, laid down by J. S. Bach. In the cycle there is a special “counterpoint” of the “blues” stylistic. The dramaturgy of the cycle has a detailed plot, which begins with the image of the lyrical hero, and ends with a demonstration of the society ambiguous and problematic for a human (“I – World”). The dramaturgy of the romantic dual world turns into a harmony of the modern world with multiple images, echoes of time and inner drama. The genre semantics and its analysis allow the performer to comprehend the large-scale cycle as an artistic picture of the world, and its stylistic unity – as a spiritual universe which belongs to the Ukrainian art of the 21st century.

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8

Хатипова, Инна. "ПРЕЛЮДИИ ДЛЯ ФОРТЕПИАНО КОМПОЗИТОРОВ РЕСПУБЛИКИ МОЛДОВА В РЕПЕРТУАРЕ СТУДЕНТОВ-ПИАНИСТОВ АКАДЕМИИ МУЗЫКИ, ТЕАТРА И ИЗОБРАЗИТЕЛЬНЫХ ИСКУССТВ". Педагогічні науки: теорія, історія, інноваційні технології, № 5-6(99-100) (31 серпня 2020): 281–92. http://dx.doi.org/10.24139/2312-5993/2020.05-06/281-292.

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Анотація:

In the present article the author presents a review of piano preludes written by Moldovan composers in the second half of 20th century which are frequently studied at the Academy of Music, Theatre and Fine Arts of the Republic of Moldova. The author seeks to characterize their imagery, musical language means and technical difficulties that can be encountered by young performers. The works analyzed are approved in the author's teaching practice. The preludes were written by Gheorghe Neaga, Vladimir Rotaru, Semion Lungul, Constantin Rusnac, Alexei and Marian Stârcea, Vitaly Sechkin. Some information about these miniatures can be found in research by musicologists E. Kletinich, A. Miroshnikova, E. Gupalova. A detailed analysis from a performer's standpoint presented in the article is made for the first time. The piano pieces indicated above are diverse. The two preludes by A. Stârcea contrast with one another: one has a lyrical character, whereas the other one differs in its drama and flustered character. The piece by Gh. Neaga bears the traces of impressionist music. C. Rusnac’s and V. Rotaru’s creations are composed using Moldovan doina stylistics, and S. Lungul’s lyrical miniature is nationally neutral. In the two preludes by M. Stârcea, modern musical language means are used, and sharp rhythms and dissonant harmonies abound. The article also presents five preludes-pictures by Vitaly Sechkin, a Ukrainian composer who spent his last period of life in Moldova. Inspired by Moldovan vivid landscapes, they differ in their imagery and tempo. Nonetheless, each of the miniatures has its own individual appearance and peculiarities of style. All the works reviewed are distinguished by bright themes and original music language. They represent a substantial enrichment of national piano repertoire and are a striking contribution of autochthonous authors to the development of the prelude genre in the world’s piano music.

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9

HAN, ZHANG. "Unique features of the performing style of Ivan Karabyts 24 preludes for piano." CONTEMPORARY ART, no. 18 (November 29, 2022): 277–84. http://dx.doi.org/10.31500/2309-8813.18.2022.269743.

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Анотація:

The article attempts to understand the legacy of Ivan Karabyts from the perspective of modern piano performance, in particular his landmark work 24 Preludes for the Piano with comprehensive analyses of the composer’s creative method, specifics of the artist’s stylistic decisions in the field of piano music, interpretive analysis of the piano cycle 24 Preludes…, which will uncover a wide field for the stage performance of this work and its role in the establishment of the distinctive performance style of Karabyts’ works. That is why cycle 24 Preludes for Piano by Karabyts paints a wide visual and sonic world, which is quite difficult for a pianist to implement. The creative and individualized approach of the pianist should absorb a wide range of figurative and content saturation, often sharply contrasting. For the performer, it remains important to implement the author’s concept of the series’ pieces by focusing on three fundamental artistic layers — folk-musical thinking and folklore genres, stylistic elements of the music of outstanding masters in a retrospective implementation, some features of those styles that exist and develop in parallel with the so-called serious music (jazz, pop music). In addition, the presence of such a diverse foundation determines not only the versatile coverage of the genre content open for the prelude but also the ramification of cross-semantic connections between the parts of the cycle

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10

Long, Christopher P. "Socrates and the Politics of Music: Preludes of the Republic." Polis: The Journal for Ancient Greek Political Thought 24, no. 1 (2007): 70–90. http://dx.doi.org/10.1163/20512996-90000108.

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At least since the appearance of Aristotle’s Politics, Plato’s Republic has been read as arguing for a politics of unity in which difference is understood as a threat to the polis. By focusing on the musical imagery of the Republic, and specifically on its compositional organization around three ‘preludes’, this essay seeks an understanding of Socratic politics that moves beyond the hypothesis of unity. In the first ‘prelude’, Thrasymachus and his insistence that justice is the self-interest of the stronger threatens to subject the harmony of the community to the tyrannical whims of the individual. In the second, the perfected justice of Adeimantus’s city threatens to destroy the erotic rhythm of difference that is the very condition for the possibility of the polis. It is only in the song of dialectic, which itself is called a ‘prelude’, that the tension between the rhythm of plurality and the rational homophony of unity is dynamically tuned in such a way that both the anarchic politics of self-interest and the totalitarian politics of rationalized oppression are equally muted. This conception of politics is embodied in the relationship that emerges between Glaucon and Socrates. Ultimately, the true political community is established here, between rational, erotic individuals seeking justice in concrete, living dialogue.

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11

Lahiri, Koushik. "Prelude." Indian Journal of Dermatology 57, no. 1 (2012): 1. http://dx.doi.org/10.4103/0019-5154.92664.

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12

Lara Montero, Alfonso. "Prelude." WELFARE E ERGONOMIA, no. 1 (March 2017): 5–6. http://dx.doi.org/10.3280/we2016-001001.

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13

Tilesch, George A. "Prelude." Információs Társadalom 21, no. 2 (June 1, 2021): 9. http://dx.doi.org/10.22503/inftars.xxi.2021.2.1.

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14

TOMOEDA, Toshio. "Prelude." TRENDS IN THE SCIENCES 14, no. 1 (2009): 28–29. http://dx.doi.org/10.5363/tits.14.1_28.

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15

Seibles, Tim. "Prelude." Callaloo 15, no. 4 (1992): 914. http://dx.doi.org/10.2307/2931894.

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16

RILEY, PETER. "Prelude." Critical Quarterly 33, no. 2 (June 1991): 25. http://dx.doi.org/10.1111/j.1467-8705.1991.tb00940.x.

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Mathieu, Irène. "Prelude." Callaloo 38, no. 2 (2015): 384–85. http://dx.doi.org/10.1353/cal.2015.0043.

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18

Prattis, J. Iain. "Prelude." Anthropology and Humanism Quarterly 13, no. 3 (October 1988): 67–71. http://dx.doi.org/10.1525/ahu.1988.13.3.67.

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19

Tariot, Pierre N. "Prelude." Alzheimer Disease & Associated Disorders 17, SUPPLEMENT 4 (July 2003): S97. http://dx.doi.org/10.1097/00002093-200307004-00002.

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Relkin, Norman. "Prelude." Alzheimer Disease & Associated Disorders 20, Supplement 1 (April 2006): S1. http://dx.doi.org/10.1097/01.wad.0000213801.74434.0d.

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21

Peabody, Elizabeth Palmer. "Prelude." ESQ: A Journal of the American Renaissance 57, no. 1-2 (2011): vi—viii. http://dx.doi.org/10.1353/esq.2011.0026.

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22

Weihl, William E. "Prelude." ACM SIGOPS Operating Systems Review 26, no. 2 (April 1992): 24. http://dx.doi.org/10.1145/142111.964625.

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23

Abdelmottlep, Mamdooh A. "Prelude." الفكر الشرطي 22, no. 85 (April 2013): 5. http://dx.doi.org/10.12816/0000392.

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March, James G. "Prelude." Scandinavian Journal of Management 21, no. 4 (December 2005): 365. http://dx.doi.org/10.1016/j.scaman.2005.09.006.

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Harpy-Witch, Melanie, and Alias D. Saint-Leger. "Prelude." Experimental Dermatology 14, no. 2 (February 2005): 143–44. http://dx.doi.org/10.1111/j.0906-6705.2005.0285b.x.

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Meinwald, Jerrold. "Prelude." Daedalus 141, no. 3 (July 2012): 5–7. http://dx.doi.org/10.1162/daed_a_00156.

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Hall, Jane. "Prelude." Clinical Social Work Journal 37, no. 1 (November 27, 2008): 77–78. http://dx.doi.org/10.1007/s10615-008-0187-8.

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28

Okorodudu, Anthony O. "Prelude." Point of Care: The Journal of Near-Patient Testing & Technology 3, no. 4 (December 2004): 147–48. http://dx.doi.org/10.1097/00134384-200412000-00001.

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29

Okorodudu, Anthony O. "Prelude." Point of Care: The Journal of Near-Patient Testing & Technology 4, no. 1 (March 2005): 1–2. http://dx.doi.org/10.1097/00134384-200503000-00001.

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30

Abdelmottlep, Mamdooh A. "Prelude." الفكر الشرطي 22, no. 86 (July 2013): 362. http://dx.doi.org/10.12816/0001315.

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31

Abdelmottlep, Mamdooh A. "Prelude." الفكر الشرطي 22, no. 87 (October 2013): 350. http://dx.doi.org/10.12816/0001673.

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32

Abdelmottlep, Mamdooh A. "Prelude." الفكر الشرطي 23, no. 88 (January 2014): 15. http://dx.doi.org/10.12816/0001941.

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33

Wong, Yih-jiun Peter. "Prelude." Sophia 49, no. 2 (June 2010): 181. http://dx.doi.org/10.1007/s11841-010-0185-5.

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34

Wang, YuPeng. "Prelude." Science China Physics, Mechanics and Astronomy 56, no. 12 (November 16, 2013): 2240–42. http://dx.doi.org/10.1007/s11433-013-5338-4.

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35

Xue, Yongkang, and Paolo M. Ruti. "Prelude." Climate Dynamics 35, no. 1 (May 28, 2010): 1–2. http://dx.doi.org/10.1007/s00382-010-0831-1.

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36

Lechuga, Michael A., and John M. Ackerman. "Prelude." Review of Communication 22, no. 4 (October 2, 2022): 257–58. http://dx.doi.org/10.1080/15358593.2022.2147018.

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37

Lascurain Fernández,, Mauricio. "China, preludio de un nuevo orden mundial." Espacialidades 12, no. 2 (July 1, 2022): 74–96. http://dx.doi.org/10.24275/uam/cua/dcsh/esp/2022v12n2/lascurain.

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38

Boesiger, E. A., A. D. Donley, and S. Loewenthal. "An Analytical and Experimental Investigation of Ball Bearing Retainer Instabilities." Journal of Tribology 114, no. 3 (July 1, 1992): 530–38. http://dx.doi.org/10.1115/1.2920915.

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Factors contributing to the dynamic instability of ball retainers in precision bearings were investigated. A real-time, rolling-element bearing dynamics simulation was written (PADRE - Planar Analysis of a Dynamic Retainer) for rapid evaluation of key bearing design factors. This code permits economic screening of a large number of bearing geometric parameters as a prelude to other more comprehensive dynamic bearing codes. The simulation uses a recently-developed integration package to increase computational speed and accuracy, and also employs a simplified lubricant traction model due to Johnson and Tevaarwerk. Tests with precision angular-contact ball bearings verified important features of this analysis including friction threshold for instability, retainer motion, and the instability frequency. Retainer instability was found to be highly sensitive to retainer-ball friction and exhibited a constant characteristic frequency, which was independent of speed, external vibration, radial load, and preload.

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39

Winstead, Anita. "Dramatic Prelude." Gifted Child Today 20, no. 1 (January 1997): 16–29. http://dx.doi.org/10.1177/107621759702000105.

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40

Jarvis, M. "A Prelude." English 55, no. 213 (September 1, 2006): 311–13. http://dx.doi.org/10.1093/english/55.213.311.

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41

Sobin, G. "Prelude X." Literary Imagination 7, no. 1 (January 1, 2005): 135. http://dx.doi.org/10.1093/litimag/7.1.135.

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42

Paus, Ralf, Maciej Owecki, and Jerzy Sowiński. "Prelude 2." Experimental Dermatology 16, no. 1 (January 2007): 47–49. http://dx.doi.org/10.1111/j.1600-0625.2006.00519_2.x.

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43

&NA;. "NASS Prelude." Back Letter 13, no. 11 (November 1998): 121. http://dx.doi.org/10.1097/00130561-199811000-00002.

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44

Wei, Xiaojuan, Jinglin Li, Quan Yuan, Kaihui Chen, Ao Zhou, and Fangchun Yang. "Predicting Fine-Grained Traffic Conditions via Spatio-Temporal LSTM." Wireless Communications and Mobile Computing 2019 (January 14, 2019): 1–12. http://dx.doi.org/10.1155/2019/9242598.

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Predicting traffic conditions for road segments is the prelude of working on intelligent transportation. Many existing methods can be used for short-term or long-term traffic prediction, but they focus more on regions than on road segments. The lack of fine-grained traffic predicting approach hinders the development of ITS. Therefore, MapLSTM, a spatio-temporal long short-term memory network preluded by map-matching, is proposed in this paper to predict fine-grained traffic conditions. MapLSTM first obtains the historical and real-time traffic conditions of road segments via map-matching. Then LSTM is used to predict the conditions of the corresponding road segments in the future. Breaking the single-index forecasting, MapLSTM can predict the vehicle speed, traffic volume, and the travel time in different directions of road segments simultaneously. Experiments confirmed MapLSTM can not only achieve prediction for road segments based a large scale of GPS trajectories effectively but also have higher predicting accuracy than GPR and ConvLSTM. Moreover, we demonstrate that MapLSTM can serve various applications in a lightweight way, such as cognizing driving preferences, learning navigation, and inferring traffic emissions.

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45

Horwitz, Gregory D., and William T. Newsome. "Target Selection for Saccadic Eye Movements: Prelude Activity in the Superior Colliculus During a Direction-Discrimination Task." Journal of Neurophysiology 86, no. 5 (November 1, 2001): 2543–58. http://dx.doi.org/10.1152/jn.2001.86.5.2543.

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We investigated the role of the superior colliculus (SC) in saccade target selection while macaque monkeys performed a direction-discrimination task. The monkeys selected one of two possible saccade targets based on the direction of motion in a stochastic random-dot display; the difficulty of the task was varied by adjusting the strength of the motion signal in the display. One of the two saccade targets was positioned within the movement field of the SC neuron under study while the other target was positioned well outside the movement field. Approximately 30% of the neurons in the intermediate and deep layers of the SC discharged target-specific preludes of activity that “predicted” target choices well before execution of the saccadic eye movement. Across the population of neurons, the strength of the motion signal in the display influenced the intensity of this “predictive” prelude activity: SC activity signaled the impending saccade more reliably when the motion signal was strong than when it was weak. The dependence of neural activity on motion strength could not be explained by small variations in the metrics of the saccadic eye movements. Predictive activity was particularly strong in a subpopulation of neurons with directional visual responses that we have described previously. For a subset of SC neurons, therefore, prelude activity reflects the difficulty of the direction discrimination in addition to the target of the impending saccade. These results are consistent with the notion that a restricted network of SC neurons plays a role in the process of saccade target selection.

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46

Majchrzyk, Aleksander, and Anna Żylińska. "Początki królestwa zwierząt – preludium eksplozji kambryjskiej." Przegląd Geologiczny 70, no. 8 (September 14, 2022): 571–80. http://dx.doi.org/10.7306/2022.19.

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47

Laskier, Michael M. "Prelude to Colonialism." European Judaism 52, no. 2 (September 1, 2019): 111–28. http://dx.doi.org/10.3167/ej.2019.520209.

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This study is a portrayal of Moroccan Muslims and Jews by European travellers, journalists, experts and diplomats from the latter half of the nineteenth century until the transformation of Morocco in 1912 into a colonial entity under French and Spanish protectorates. In this pre-colonial setting, we catch a glimpse of a traditional society and its gradual, albeit partial, evolution towards modernity among the Jews as well as an understanding of Europe’s economic, political and cultural penetration into the Sharifian Empire, which for hundreds of years preserved its independence when many Islamic societies capitulated to foreign domination. What were the major challenges confronted by Morocco in the pre-colonial era? Did Muslims and Jews conform to or reject modernisation brought by European culture? What were the socioeconomic conditions and the juridical status of the Jews vis-à-vis the Muslim majority? These are some of the main concerns of our investigation.

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48

Kabigting, Edwin-Nikko R. "The Scholar’s Prelude." Nursing Science Quarterly 35, no. 3 (June 27, 2022): 383–84. http://dx.doi.org/10.1177/08943184221092440.

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The author in this article reflects on the importance of conceptual analysis, explores predominant conceptual analysis methods in the discipline of nursing, and connects it to ideas within musical composition.

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49

Weber, C. A., K. E. Maloney, and J. C. Sanford. "`Prelude' Everbearing Raspberry." HortScience 39, no. 3 (June 2004): 633–34. http://dx.doi.org/10.21273/hortsci.39.3.633.

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50

Mirzeler, M. K. "Guest Editor's Prelude." Ethnohistory 53, no. 1 (January 1, 2006): 3–11. http://dx.doi.org/10.1215/00141801-53-1-3.

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