scholarly journals Listening to the Music Itself

2007 ◽  
Vol 13 (3) ◽  
Author(s):  
Mark Sallmen
Keyword(s):  
Long Range ◽  
Large Scale ◽  
Outer Shell ◽  
Twelve Tone ◽  
Elliott Carter

In “Music and the Time Screen” (1976), Elliott Carter outlines rhythmic procedures in several of his pieces, and then indicates that he has discussed only “the outer shell” and remained silent on “the issues and visions most important and significant during the act of composing.” Following up on these comments, I present a two-part analysis of his “In Genesis” from In Sleep, In Thunder (1981). Part I (“The Shell”) focuses on techniques emphasized in Carter’s writings—large-scale polyrhythms, metric modulations, notated accelerandi and all-interval twelve-tone chords. Part II (“Breaking Through”) deals with other topics: pitch relationships involving the perfect fifths that articulate the large-scale polyrhythms and notated accelerandi, focal pitches that encapsulate the divinity/humanity dichotomy in the poem, motivic unity in the vocal line, and other spontaneous interrelationships that contribute local and long-range coherence.

Transformation Chains, Associative Areas, and a Principle of Form for Anton Webern’s Twelve-tone Music

2019 ◽  
Vol 41 (2) ◽  
pp. 218-243
Author(s):  
Brian Moseley
Keyword(s):  
Long Range ◽  
Large Scale ◽  
Spatial Representations ◽  
Twelve Tone ◽  
Formal Principle ◽  
Associative Organization ◽  
Tonal System ◽  
Serial Composition

Abstract Much of Webern’s twelve-tone music relies on conventional formal types to structure extended composition and long-range compositional strategy. This article describes how these forms were absorbed into his personal twelve-tone style through an exploration of three entwined techniques. His techniques of serial row chaining and associative organization create a deep musical hierarchy that is frequently navigated by a formal principle of large-scale complementation. The analyses appearing here are drawn from across Webern’s twelve-tone period and are elucidated through spatial representations that describe compositional potential and musical realization. In addition to providing a means for analytical interpretation, the analyses reveal how Webern’s fusion of form and twelve-tone technique resemble characteristics of the tonal system while amplifying basic axioms of serial composition.

scholarly journals TransMed: Transformers Advance Multi-Modal Medical Image Classification

Diagnostics ◽  
2021 ◽  
Vol 11 (8) ◽  
pp. 1384
Author(s):  
Yin Dai ◽  
Yifan Gao ◽  
Fayu Liu
Keyword(s):  
Image Analysis ◽  
Image Classification ◽  
Long Range ◽  
Medical Image ◽  
Large Scale ◽  
Medical Images ◽  
Medical Image Analysis ◽  
Lesion Detection ◽  
Tumor Segmentation ◽  
Medical Image Classification

Over the past decade, convolutional neural networks (CNN) have shown very competitive performance in medical image analysis tasks, such as disease classification, tumor segmentation, and lesion detection. CNN has great advantages in extracting local features of images. However, due to the locality of convolution operation, it cannot deal with long-range relationships well. Recently, transformers have been applied to computer vision and achieved remarkable success in large-scale datasets. Compared with natural images, multi-modal medical images have explicit and important long-range dependencies, and effective multi-modal fusion strategies can greatly improve the performance of deep models. This prompts us to study transformer-based structures and apply them to multi-modal medical images. Existing transformer-based network architectures require large-scale datasets to achieve better performance. However, medical imaging datasets are relatively small, which makes it difficult to apply pure transformers to medical image analysis. Therefore, we propose TransMed for multi-modal medical image classification. TransMed combines the advantages of CNN and transformer to efficiently extract low-level features of images and establish long-range dependencies between modalities. We evaluated our model on two datasets, parotid gland tumors classification and knee injury classification. Combining our contributions, we achieve an improvement of 10.1% and 1.9% in average accuracy, respectively, outperforming other state-of-the-art CNN-based models. The results of the proposed method are promising and have tremendous potential to be applied to a large number of medical image analysis tasks. To our best knowledge, this is the first work to apply transformers to multi-modal medical image classification.

TrafficBERT: Pre-trained model with large-scale data for long-range traffic flow forecasting

2021 ◽  
pp. 115738
Author(s):  
KyoHoon Jin ◽  
JeongA Wi ◽  
EunJu Lee ◽  
ShinJin Kang ◽  
SooKyun Kim ◽  
...  
Keyword(s):  
Traffic Flow ◽  
Long Range ◽  
Large Scale ◽  
Traffic Flow Forecasting ◽  
Large Scale Data ◽  
Scale Data

The Finale of Mahler's Fifth Symphony: Long-Range Musical Thought

1987 ◽  
Vol 112 (2) ◽  
pp. 257-279
Author(s):  
Carolyn Baxendale
Keyword(s):  
Long Range ◽  
Large Scale ◽  
New Technique ◽  
Musical Thought ◽  
Musical Concepts ◽  
A New Technique

It is clear that all the experience I had gained in writing the first four symphonies completely let me down in this one- for a completely new style demanded a new technique.Twenty-Five years ago a prominent Mahler enthusiast could describe the finale of Mahler's Fifth Symphony as ‘a windy, uninspired stretch of note-spinning, literally scraping the barrel in search of music’. Few people nowadays would subscribe to this view: indeed the upsurge of interest in the work of other ‘late Romantic’ composers has perhaps served to sharpen our admiration for Mahler's exceptional powers of invention and his no less extraordinary mastery of large-scale form. Yet we are not really any closer to explaining just how such extended works are held together and given shape, particularly in the absence of specific extra-musical concepts such as those of the ‘Wunderhorn’ symphonies.

Large‐Scale, Long‐Range‐Ordered Patterning of Nanocrystals via Capillary‐Bridge Manipulation

2017 ◽  
Vol 29 (46) ◽  
pp. 1703143 ◽  
Author(s):  
Jiangang Feng ◽  
Qian Song ◽  
Bo Zhang ◽  
Yuchen Wu ◽  
Tie Wang ◽  
...  
Keyword(s):  
Long Range ◽  
Large Scale ◽  
Capillary Bridge

scholarly journals Lagrangian formation pathways of moist anomalies in the trade-wind region during the dry season: two case studies from EUREC<sup>4</sup>A

2021 ◽  
Author(s):  
Leonie Villiger ◽  
Heini Wernli ◽  
Maxi Boettcher ◽  
Martin Hagen ◽  
Franziska Aemisegger
Keyword(s):  
Long Range ◽  
North Atlantic ◽  
Large Scale ◽  
Cold Front ◽  
Trade Wind ◽  
Long Range Transport ◽  
The North ◽  
Range Transport ◽  
The North Atlantic ◽  
The Tropics

Abstract. Shallow clouds in the trade-wind region over the North Atlantic contribute substantially to the global radiative budget. In the vicinity of the Caribbean island Barbados, they appear in different mesoscale organisation patterns with distinct net cloud radiative effects (CRE). Cloud formation processes in this region are typically controlled by the prevailing large-scale subsidence. However, occasionally weather systems from remote origin cause significant disturbances. This study investigates the complex cloud-circulation interactions during the field campaign EUREC4A (Elucidate the Couplings Between Clouds, Convection and Circulation) from 16 January to 20 February 2020, using a combination of Eulerian and Lagrangian diagnostics. Based on observations and ERA5 reanalyses, we identify the relevant processes and characterise the formation pathways of two moist anomalies above the Barbados Cloud Observatory (BCO), one in the lower (~1000–650 hPa) and one in the middle troposphere (~650–300 hPa). These moist anomalies are associated with strongly negative CRE values and with contrasting long-range transport processes from the extratropics and the tropics, respectively. The low-level moist anomaly is characterised by an unusually thick cloud layer, high precipitation totals and a strongly negative CRE. Its formation is connected to an “extratropical dry intrusion” (EDI) that interacts with a trailing cold front. A quasi-climatological (2010–2020) analysis reveals that EDIs lead to different conditions at the BCO depending on how they interact with the associated cold front. Based on this climatology, we discuss the relevance of the strong large-scale forcing by EDIs for the low-cloud patterns near the BCO and the related CRE. The second case study about the mid-tropospheric moist anomaly is associated with an extended and persistent mixed-phase shelf cloud and the lowest daily CRE value observed during the campaign. Its formation is linked to “tropical mid-level detrainment” (TMD), which refers to detrainment from tropical deep convection near the melting layer. The quasi-climatological analysis shows that TMDs consistently lead to mid-tropospheric moist anomalies over the BCO and that the detrainment height controls the magnitude of the anomaly. However, no systematic relationship was found between the amplitude of this mid-tropospheric moist anomaly and the CRE at the BCO. Overall, this study reveals the important impact of the long-range transport, driven by dynamical processes either in the extratropics or the tropics, on the variability of the vertical structure of moisture and clouds, and on the resulting CRE in the North Atlantic winter trades.

IGOR STRAVINSKY (1882–1971)The Owl and the Pussy-Cat (1966)

2020 ◽  
pp. 300-302
Author(s):  
Jane Manning
Keyword(s):  
Large Scale ◽  
Igor Stravinsky ◽  
Strong Connection ◽  
Twelve Tone ◽  
Final Work

This chapter studies Igor Stravinsky's final work, The Owl and the Pussy-Cat. With typical sly relish, Stravinsky seems to be mocking any pomposity in his admirers, confounding everyone by leaving the stage with a brief, light-hearted coda to his cherished large-scale achievements. This well-loved nonsense verse by Edward Lear was the first poem his wife Vera got to know, and the piece is dedicated to her. This chapter reveals that the song has a strong connection between English and Russian schools of absurdist humour. To add to the fun, Stravinsky even here adheres to a strict twelve-tone system, affectionately lampooning the method he favoured for his last works.

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