Ralph L. Parris, The Origin, Development and Diffusion of the Steel Band in the Caribbean and Beyond: The Historical Geography of a Musical Instrument. Lampeter, Wales: Edwin Mellen Press, 2015. Pp. 156. $186.59 (cloth).

2018 ◽  
Vol 103 (4) ◽  
pp. 725-727
Author(s):  
Michael Steele-Eytle
Clay Minerals ◽  
2000 ◽  
Vol 35 (4) ◽  
pp. 719-733 ◽  
Author(s):  
T. Clayton ◽  
R. B. Pearce

AbstractSecondary clay minerals observed in the two uppermost basalt lava flows at ODP Site 1001, in the Caribbean Sea, drilled from the large igneous province of Cretaceous age, result from low-temperature alteration processes. Alteration mainly proceeds by circulation and diffusion of sea water. Six different types of clay mineral assemblage were recognized. Initial alteration with oxygenated sea water involves Fe and K fixation, creating visible oxidation halos parallel to the sides of cracks and fissures. A saponite/ beidellite mixture, interstratified smectite-glauconite, interstratified glauconite-nontronite and Fe oxyhydroxides are obtained depending on the distance from fluid conduits. The presence of beidellite may be due to enhanced Al mobilization resulting from high fluid flux. These early minerals are cross-cut by thin veins of pure celadonite or glauconite with further vesicle infill. Late-stage alteration is typified by the formation of saponite and takes place under closed reducing conditions resulting from deposition of the sedimentary overburden.


MRS Bulletin ◽  
1995 ◽  
Vol 20 (3) ◽  
pp. 44-46 ◽  
Author(s):  
Uwe J. Hansen ◽  
Thomas D. Rossing ◽  
Ellie Mannette ◽  
Kaethe George

The evolution of the steel pan during the last half century represents the emergence of a truly new musical instrument. Originating in the folk culture of the Caribbean, it has become popular throughout North and South America, as well as in Europe. The haunting sounds of steel drums, generally called “steel pans” by players and tuners, are now enjoyed worldwide. Pans are usually crafted from commercial 55-gallon steel oil drums. The top with its various openings is discarded, and only the bottom, along with the side, is used for the pan. The length of the side skirt varies depending on the pitch range of the completed instrument. Thus, a bass pan will utilize almost the entire length of the original drum, whereas a lead pan, or a single tenor, will be cut to retain only a very short skirt. The pitch of each note section is primarily determined by the size and geometric shape of the section as bounded by a grooved seam. Figure 1 shows representative layouts of several pans. The note arrangement in some pans is such that several pans are required to play a melody. For example, a double-second instrument consists of two pans, while a bass includes as many as six. In addition to the section size, the mass density, stiffness, and curvature contribute significantly to the pitch of each note. The overall timbre of the tone produced depends to a great extent on the spectral content of the note. This, in turn, depends strongly on the normal modes of the excited note section, and to some lesser extent, on the normal modes of all other sections. This latter dependence is caused by the fact that all note sections are imbedded in the same solid matrix of the drumhead. Therefore, vibrations in one note section cause all note sections to vibrate. The nature of the coupling between sections has been the subject of considerable interest to researchers in the field. Inasmuch as the entire pan represents a highly nonlinear system, the tone quality also varies significantly with excitation amplitude.


Linguistics ◽  
2020 ◽  
Vol 58 (1) ◽  
pp. 109-130
Author(s):  
James A. Walker ◽  
Miriam Meyerhoff

AbstractResolving the convergence of low-back vowels in English constitutes a pivot with repercussions for the rest of the vowel system. We consider how speakers on an eastern Caribbean island co-opt the inherent variability of vowel systems to differentiate themselves. Examining the vowels of Bequia English (St. Vincent and the Grenadines) shows the main source of variation to lie in the position and duration of four low back vowels (cloth, lot, palm, thought), which do not act as the same pivot point for realignment of the vowel space as in North American English. The crucial distinction between transmission and diffusion lies at the heart of our findings: principles of language change derived from varieties characterized by transmission may differ from principles associated with histories of diffusion central to many contact and creole varieties.


1976 ◽  
Vol 32 ◽  
pp. 109-116 ◽  
Author(s):  
S. Vauclair

This paper gives the first results of a work in progress, in collaboration with G. Michaud and G. Vauclair. It is a first attempt to compute the effects of meridional circulation and turbulence on diffusion processes in stellar envelopes. Computations have been made for a 2 Mʘstar, which lies in the Am - δ Scuti region of the HR diagram.Let us recall that in Am stars diffusion cannot occur between the two outer convection zones, contrary to what was assumed by Watson (1970, 1971) and Smith (1971), since they are linked by overshooting (Latour, 1972; Toomre et al., 1975). But diffusion may occur at the bottom of the second convection zone. According to Vauclair et al. (1974), the second convection zone, due to He II ionization, disappears after a time equal to the helium diffusion time, and then diffusion may happen at the bottom of the first convection zone, so that the arguments by Watson and Smith are preserved.


2020 ◽  
Vol 31 (2) ◽  
pp. 81-86
Author(s):  
Wido Nager ◽  
Tilla Franke ◽  
Tobias Wagner-Altendorf ◽  
Eckart Altenmüller ◽  
Thomas F. Münte

Abstract. Playing a musical instrument professionally has been shown to lead to structural and functional neural adaptations, making musicians valuable subjects for neuroplasticity research. Here, we follow the hypothesis that specific musical demands further shape neural processing. To test this assumption, we subjected groups of professional drummers, professional woodwind players, and nonmusicians to pure tone sequences and drum sequences in which infrequent anticipations of tones or drum beats had been inserted. Passively listening to these sequences elicited a mismatch negativity to the temporally deviant stimuli which was greater in the musicians for tone series and particularly large for drummers for drum sequences. In active listening conditions drummers more accurately and more quickly detected temporally deviant stimuli.


1963 ◽  
Vol 8 (2) ◽  
pp. 69-70
Author(s):  
WALTER MISCHEL
Keyword(s):  

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