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In this study, AI Yemeni Mor Yemeni piece is mid-level piano arrangement is aimed to evaluate the teaching stages of the students in line with the opinions of field experts. The research was analyzed using descriptive analysis and interview method which is one of the qualitative research methods. The appropriateness of the piece was asked to 10 field experts by a semi-structured interview form. The evaluation of the work by field experts in terms of piano teaching techniques according to the piano arrangement has been examined under three sub-titles; the basic information used in the arrangement, the technical equipment used in the arrangement and the interpretation of the work. Within the scope of basic information, number of measures, time repeats, dal segno, D.S.al Fine, octave sign, tie, modifier signs; within the scope of technical expression, pedal, arpeggio, tie and slur, chord transition, closed and open position transition; within the scope of the interpretation of the work, the concepts of nuance and pedal were examined. The findings were analyzed by describing them in accordance with the feedback given by the field experts. As a result, the research was concluded that the arrangement of Al Yemeni Mor Yemeni is appropriate for an individual who plays the piano at an intermediate level. In this direction, the suggestions of the experts in the field were evaluated. Keywords: Cyprus folk song, piano arrangement, piano teaching techniques.

The arpeggione sonata, with its unique position, has entered the short-lived history of the arpeggione, which emerged as a result of the experimental work of instrument makers in the period in which it was written. This sonata is among the last great classical composer Franz Schubert's- late chamber music is one of the essential works in the cello and viola repertoire. As a design of Johann Stauffer in 1823, this instrument attracted the attention of Schubert's friend, guitarist Vincenz Schuster and In 1824, had asked the composer to write a piece for this instrument. While it seemed that no common decision could be made regarding the instrument's name, Schubert had used the terms arpeggione and pianoforte on the manuscript, and Schuster premiered the sonata. Due to the limited interest in arpeggio, the instrument has quickly erased from the memory of society, and the sonata could have only came to light 47 years after the composer's death. In the 20th century, interest in the work was renewed and but cello transcription was preferred. The other ensued transcriptions for strings and wind instruments had followed. The composers and musicians of the 21st century have responded to their renewed interest in arpeggione while composing over 40 works for the instrument. At the same time, it is inevitable that the arrangements of the Arpeggione sonata for the arpeggione and other instruments will be carried into the future and will be part of the history of music, never to be lost again yet it has been observed that had not spawned a phenomenon that can be called the resurrection of arpeggione.

The article on the rendering of the arpeggio is a continuation of the cycle devoted to performance topics in harpsichord music in the second half of the 18th century, the first part of which was published in “Notes Muzyczny” no. 2(10)2019. The author’s assumption is that the condition necessary for acquiring a convincing interpretation of works from the period of Classicism on the harpsichord is following the arpeggio mannerism in compliance with the performance style shaped in the 17th century called style brisé (luthé) and characteristic of the forms such as the allemande, tombeau or préludes non mesuré. Despite the arpeggio’s diversity, unlike ornaments, this mannerism has not been thoroughly described. That is why doubts often occur as to whether or to what extent it can be used in instances when it is not explicitly required. In the context of classical music performance on the harpsichord the arpeggio is of special significance as it is a very important mean of expression. In its many shades it is one of the mannerisms the use of which is a performer’s decision. The modern trend of historical performance has updated the approach towards this mannerism for keyboard music from the classical period, allowing the use of performance traditions of the 17th and the first half of the 18th centuries. While performing arpeggios, one should be guided by the awareness of the historical context, musical sense, but also the instrument’s idiom, and apply them wherever they enhance the sound of the harpsichord and affections of a given fragment of a composition. The article discusses the guidelines on the ways of rendering of arpeggios, mainly based on the Klavierschule oder Anweisung zum Klavierspielen für Lehrer und Lernende by Daniel Gottlob Türk (1789) and its use options in harpsichord music of the second half of the 18th century exemplified by works by W. A. Mozart.

Background: Whole genome duplication (WGD) events are common in the evolutionary history of many living organisms. For decades, researchers have been trying to understand the genetic and epigenetic impact of WGD and its underlying molecular mechanisms. Particular attention was given to allopolyploid study systems, species resulting from an hybridization event accompanied by WGD. Investigating the mechanisms behind the survival of a newly formed allopolyploid highlighted the key role of DNA methylation. With the improvement of high-throughput methods, such as whole genome bisulfite sequencing (WGBS), an opportunity opened to further understand the role of DNA methylation at a larger scale and higher resolution. However, only a few studies have applied WGBS to allopolyploids, which might be due to lack of genomic resources combined with a burdensome data analysis process. To overcome these problems, we developed the Automated Reproducible Polyploid EpiGenetic GuIdance workflOw (ARPEGGIO): the first workflow for the analysis of epigenetic data in polyploids. This workflow analyzes WGBS data from allopolyploid species via the genome assemblies of the allopolyploid’s parent species. ARPEGGIO utilizes an updated read classification algorithm (EAGLE-RC), to tackle the challenge of sequence similarity amongst parental genomes. ARPEGGIO offers automation, but more importantly, a complete set of analyses including spot checks starting from raw WGBS data: quality checks, trimming, alignment, methylation extraction, statistical analyses and downstream analyses. A full run of ARPEGGIO outputs a list of genes showing differential methylation. ARPEGGIO was made simple to set up, run and interpret, and its implementation ensures reproducibility by including both package management and containerization. Results: We evaluated ARPEGGIO in two ways. First, we tested EAGLE-RC’s performance with publicly available datasets given a ground truth, and we show that EAGLE-RC decreases the error rate by 3 to 4 times compared to standard approaches. Second, using the same initial dataset, we show agreement between ARPEGGIO’s output and published results. Compared to other similar workflows, ARPEGGIO is the only one supporting polyploid data. Conclusions: The goal of ARPEGGIO is to promote, support and improve polyploid research with a reproducible and automated set of analyses in a convenient implementation. ARPEGGIO is available at https://github.com/supermaxiste/ARPEGGIO., MC genomics, 22 (1), ISSN:1471-2164

The art of instrumental performance has a specific purpose - to present a musical work (author's product) to a wide public auditorium - an audience. In order to accomplish this practical activity, the performer is necessary to adopt and master certain instrumental skills. Some of them are universal, others are "tied to" the specifics of the instrument itself, and others refer to certain elements of the musical language. By their nature, the techniques are skills created by the both hands finger movements. Fully studied and perfected, they are part of the instrumental technique, which is a tool of clear, convincing and "picturesque" representation of the artistic content of the musical works. In the process of classical guitar education, techniques are mastered step by step in accordance with their complexity, using didactic approaches outlined/exposed in the books. The review of such editions, which are created in a different period of time, illustrates the development of different pedagogical views in the classical guitar training. This provides practical and applied knowledge to the instructor of a musical instrument as an irreplaceable assistant in the teaching practice. This argues the consideration of arpeggio - a major technique skill in the context of its widespread application in the didactic instrumental literature and its fundamental importance for the development of instrumental technique in classical guitar. Expanded exposure with detailed organization of activities and modern manners of mastering the arpeggio technique, the author presents in the article ‘Innovative approach of mastering the specific arpeggio technique in classical guitar education’ (Miteva-Dinkova, S. ‘Innovative approach of mastering the specific arpeggio technique in classical guitar education, Collection of papers from International Scientific Conference ‘Science, Education and Innovations in the Arts’, Plovdiv, 2018). This text clarifies the origin, development and achievement of the most efficient ways of work that provide rapid and positive results in the pedagogical practice based on a review of basic didactic books (Mauro Giuliani – 120 Right Hand Studies, Francisco Tàrrega – Complete Technical Studies, Emilio Pujol – Escuela razonada de la guitarra, Abel Carlevaro – Seria Didactica para Guitarra, part 3 – Right Hand Technique).

In Western tonal music, pitches are organized hierarchically based on their perceived fit in a specific tonal context. This hierarchy forms scales that are commonly used in Western tonal music. The hierarchical nature of tonal structure is well established behaviourally; however, the neural underpinnings are largely unknown. In this study, EEG data and goodness-of-fit ratings were collected from 34 participants who listened to an arpeggio followed by a probe tone, where the probe tone could be any chromatic scale degree and the context any of the major keys. Goodness-of-fit ratings corresponded to the classic tonal hierarchy. N1, P2 and the Early Right Anterior Negativity (ERAN) were significantly modulated by scale degree. Furthermore, neural marker amplitudes and latencies were significantly correlated with similar magnitude to both pitch height and goodness-of-fit ratings. This is different from the clearer divide between pitch height correlating with early neural markers (100–200 ms) and tonal hierarchy correlating with late neural markers (200–1000 ms) reported by Sankaran et al. (2020) and Quiroga-Martinez et al. (2019). Finally, individual differences were greater than any main effects detected when pooling participants and brain-behavior correlations vary widely (i.e. r = −0.8 to 0.8).

I min uppsats utforskar jag möjligheterna att transkribera verk till mitt eget instrument tvärflöjt. Jag har arbetat med satser ur två konserter, en för violin och en för klarinett, och transkriberat om dessa till flöjt. Jag har fokuserat på en sats ur vardera konsert. Mitt arbete börjar med att välja vilka instrument jag skulle transkribera från. Sedan har jag valt notutgåva för dessa och skrivit in dem i det notskrivningsprogram jag har valt, och därefter påbörjat transkriberingsarbetet. När transkriberingen var klar tog jag kontakt med pianist och påbörjade min instudering av verken, för att därefter spela in de instuderade satserna. Vid inspelningen tog jag hjälp av en medstudent som också hjälpte mig med att editera inspelningarna. Slutligen har jag jämfört de satser jag spelat in på tvärflöjt med inspelningar för originalinstrumenten, violin respektive klarinett. Det resulterade i noter som finns som bilaga och inspelningar jag länkat till. I arbetet med transkription och förberedande litteraturstudier har jag lärt mig att transkription är ett stort ämne i sig och att det kräver efterforskning och förberedelser genom att studera noter, spela och lyssna till musiken som jag har transkriberat. Arbetet gav mig en känsla för vad kompositörernas musik bottnar i och har gett mig en riktning i mitt fortsatta arbete med transkribering.

Automatic music transcription can be defined as the analysis of the acoustic signal to extract a symbolic representation of music. Existing transcription systems typically consider just the notes played at a given moment; however, other aspects such as expressiveness and playing technique can also be considered. This work is focused on how chords are played. Specifically, we consider a special type of chords, those played in arpeggio style, or simply arpeggios, in which the notes are played fast, sequentially from the lowest to the highest pitched note or vice versa and with a large overlap of the notes’ sound. The main goal of this paper is to determine the pitch direction in which the arpeggiated chord was played. Two different classification methods are considered: a Fisher linear discriminant and an SVM linear classification scheme. Different features are presented for this task: one is based on the Mel-frequency cepstral coefficients (MFCCs) and two others, specifically designed for this task, rely on different analyses of the spectrogram. Evaluations have been done with a wide number of musical instruments. The results show that the pitch direction can be reliably detected using the proposed methods.

This paper analyzes how war memories are often romanticized and/or popularized through representations of shōjo (girls) in anime. In Arpeggio of Blue Steel: Ars Nova and Kantai Collection, submarin...

The action/perception theory of cortical organization is supported by the finding that pantomime hand movements of reaching and grasping are different from real movements. Frame-by-frame video analysis and MATLAB®based tracking examined real/pantomime differences in a bilaterally movement, string-pulling, pulling down a rope with hand-over-hand movements. Sensory control of string-pulling varied from visually-direct when cued, visually-indirect when non cued and somatosensory controlled in the absence of vision. Cued grasping points were visual tracked and the pupils dilated in anticipation of the grasp, but when noncued, visual tracking and pupil responses were absent. In real string-pulling, grasping and releasing the string featured an arpeggio movement in which the fingers close and open in the sequence 5 through 1 (pinki first, thumb last); in pantomime, finger order was reversed, 1 through 5. In real string-pulling, the hand is fully opened and closed to grasp and release; in pantomime, hand opening was attenuated and featured a gradual opening centered on the grasp. The temporal structure of arm movements in real string-pulling featured up-arm movements that were faster than down-arm movement. In pantomime, up/down movements had similar speed. In real string-pulling, up/down arm movements were direct and symmetric; in pantomime, they were more circular and asymmetric. That pantomime string-pulling featured less motoric and temporal complexity than real string-pulling is discussed in relation to the action/perception theory and in relation to the idea that pantomimed string-pulling may feature the substitution of gestures for real movement.Significant StatementMost laboratory studies investigating hand movements made by humans feature single hand movements, the current study presents a novel string-pulling task to study bimanual coordination of left and right hands in real and pantomime conditions. The results show that pantomime string-pulling featured less motoric and temporal complexity than real string-pulling. These findings are relevant to the contemporary theory of action and perception that the dorsal stream (parietal cortex) is related to actions and the ventral stream (temporal cortex) is related to perception.

Extended Abstract Folk songs, representing the rich genre of folk music, are a unique examples of art. They reflect a great history, the daily life, lifestyle, customs and traditions of the people, philosophical-psychological, social, domestic, religious and secular perceptions, joy and sorrow, heroic chronicles. Folk songs are as old as the history of the people. U. Hajibeyli emphasized the importance of collecting folk songs and of composing them to eternalize and of working with them in scientific researches. He has repeatedly used this genre in his works. The popularity of folk songs in composers’ work has led to the creation of new methods of use. It manifests their creativity. In the work of R. Mustafayev there are several styles of performance of folk song for choir. Among them, the accompaniment choir is of great importance. Eight pieces of choreography are written in piano accompaniment. Among them are “Yayliq” (accompaniment, 4 part chorus), “Ey, gozel” (accompaniment, 4 voice choral, soloist), “Sevgilim” (accompaniment, 4 part choir, soloist), “Ay gozel” (accompaniment, 4 voice choir) ), “Qara Gile” (accompaniment, 4 choir chorus), “Qara Teller” (accompaniment, 4 voice choral, soloist), “Aman Ovcu” (accompaniment, 4 voice choral, soloist), “Leylam” (accompaniment, 3 voice chorus), “Sevgilim” (accompanied by 4 voice choir) are choral works composed on the basis of folk songs. Apparently, these jobs are grouped according to certain criteria. Their accompaniment and choir, accompaniment choir and soloist are remarkable. Only one of these exercises is designed for 3 voice choirs, each with a 4-voice chorus party. The soloist party has also been involved in four chorus work, and chorus functioning is based on solo, chorus and piano partrs based on the the folk song “Qara Teller”. The piece starts from instrumental five cycles introduction. Its theme does not imply any fraud of the main melody, but is characteristic of the passage and arpeggio, which demonstrates the technical capabilities of the instrument. Arpeggio chords form the based on the instrumental accompany. The chorus party is homophone-harmonic and it acts as a support for the piano party. The composer was able to accompany an ensemble through the tempo of human voices. The chorus of the “Ay gozel” begins with the introduction of the eight-instrumental entry, which is based on the motives of the song, the first two digits are then expanded in the upper register, down through the sequences, with the passage up to the last two digits ending with the cadence motif. This melody is then played in the second sentence of the choir party, Soprano.During the performance of the second and the sentence, the main melody of the piano accompanied the song, while the third sentence is played by the entrance. It also brings a fullness and ensemble of work. In the work of R. Mustafayev’s accompaniment chorus, the piano party has a position of special importance in shaping the bright and image-emotional world. From this point of view, the “Ay gozel” can serve as a good example. “Qara Gile” “was recorded in 1981. One of the interesting aspects of this work, which has a large volume of instrumental access, is the formation of the chorus partition. Thus, the composer has given harmonic background elements from the beginning to the end in the party of other voices accompanying the main melody. This creates a mood of solo and ensemble accompaniment. The next example we draw on is based on the song “Sevgilim”. This work, written in 1999, is very popular in the khananda (solist) repertoire. The “Sevgilim” chorus is one of the most extensive instrumental examples. The introduction is based on the leitmotiv of the song with a 12-digit (cycles) volume. Another noteworthy aspect of the operation is the use of the principle of distribution of notes we have encountered in the previous examples. Thus, the first two lines of the main melody are played in the case of Unison in the Tenor and Bass party. In the continuation, the whole chorus is played. But here the melodic line of voices differs. Tenor and soprano sounds are given in the octave unison, with the lower Soprano parallel to the melody in the quartz unit. Although the press party is independent, its rhythmic shape is similar to the main ringtones. “Leylam” attracts attention with the interesting part of the chorus of folk song. At the entrance to the 10-piano piano, the composer presents original music tracks using the motives of the song. His character sounds with the general mood of the song. In particular, repeating the 16ths on the “d” sound in the last two digits slightly strengthens the hilarious character. There is an interesting structure in the chorus. The melody was traditionally assigned to Soprano’s voice. As a result, the composer’s interest in the folk song can be easily seen in his works. In the accompaniment of R. Mustafayev’s chorus, first of all the vocal voice capabilities match the basic style of folk song performances. The composer, who is well aware of the details of choral music, not only unveils the singers’ vocal talents, but also pays special attention to the song’s emotional content. It is necessary to mention the role of the piano in the chorus’ performance. The composer used this instrument not only as a companion, but also with skillfulness. Keywordscomposer, choir, instrumental accompaniment, work, folk song, style

The study utilised a fine-grained diagnostic checklist to assess first-year undergraduates in Hong Kong and evaluated its validity and usefulness for diagnosing academic writing in English. Ten English language instructors marked 472 academic essays with the checklist. They also agreed on a Q-matrix, which specified the relationships among the checklist items and five writing subskills. This conceptual Q-matrix was refined iteratively via fitting a psychometric model (i.e. the reduced reparameterised unified model) to empirical data (i.e. the checklist marks) through the computer program Arpeggio Suite. The final Q-matrix was found to be valid and useful; it had far fewer parameters but greater power to discriminate masters and non-masters of academic writing skills. The study found that the cognitive diagnostic model (CDM)-based skill diagnosis could identify the strengths and weaknesses in the five writing subskills for students across three proficiency levels and could provide richer and finer ...

The authors have mapped the three-dimensional motion of a fish onto various electronic music performance gestures, including loops, melodies, arpeggio and DJ-like interventions. They combine an element of visualization, using an LED screen installed on the back of an aquarium, to create a link between the fish’s motion and the sonified music. This visual addition provides extra information about the fish’s role in the music, enabling the perception of versatile and developing auditory structures during the performance that extend beyond the sonification of the momentary motion of objects.

Resumo:Este trabalho apresenta uma digitação violonística para transcrições do prelúdio da Suíte BWV 997, original para alaúde, de Johann Sebastian Bach (1685-1750). Os aspectos musicais abordados para fundamentar a digitação foram divididos e classificados em motivo, melodia polifônica, contraponto, arpejo e homogeneidade tímbrica. O cotejamento foi aplicado como modelo de análise, em algumas transcrições para violão dessa obra, nas quais foram verificadas digitações diversificadas e notações distintas quanto à representação de alguns valores rítmicos e de determinadas alturas.

Detta examensarbete skapades med målet att undersöka skillnader i preferensen gällande arpeggios i NES- och Famicom-musik baserat på kultur. Bakgrundskapitlet tar upp tidigare forskning inom tangentiella ämnen, samt beskriver arpeggios och hur NES- och Famicom-konsolerna är uppbyggda. En kvantitativ metod utvecklas sedan, och problematiseras. Detta följs av en beskrivning av det förarbete som gjordes, och skapandet av de två artefakter som användes. En enkät genomfördes efter förarbetet, och resultatet av denna analyseras därefter i rapporten. Resultatet visar på att det finns vissa skillnader i preferens mellan svenska och japanska lyssnare. Denna slutsats, samt resterande delar av rapporten diskuteras sedan och till sist skrivs det om framtida arbete, så som att en plug-in möjligtvis skulle kunna skapas efter detta arbete har gjorts. Denna plugin skulle göra det lättare att få musik att låta mer europeisk eller japansk.

Literature has shown that playing a musical instrument is associated with the formation of multimodal audio visuomotor representations that are strongly instrument-specific. Here, we investigated the effect of increased motor practice on perceptual sensitivity in 32 professional musicians of comparable expertise but with different amounts of instrumental practice with piano (10,000 vs. 3000 estimated hours). Stimuli consisted of images of pianists’ hands and piano arpeggio sounds. In half of the cases, the piano fingering and piano sounds were congruent, while they were incongruent in the other cases. ERPs were recorded from 128 sites while musicians performed a congruent vs. incongruent discrimination task. A fronto-central error-related negativity (ERN), mainly generated within the anterior cingulate cortex, was observed in response to incongruent videos only in pianists. Non-pianist musicians were able to carry out the task (with a worse performance) but exhibited a smaller response-related N400 to incongruent stimuli. Source reconstruction applied to ERP responses to incongruent stimuli indicated a less automatic mechanism for detecting sensory-motor deviance and a greater emphasis on visual rather than on acoustic features in non-pianists. Overall the data suggest a profound difference between the two populations of musicians and advise against considering “expert” populations to include those that undertook only a few weeks/months of training in a new discipline.

A summary of Music Theory is presented and it is shown how it is integrated in the Musical Abacus. As well, answers are given to several questions that usually arise when one begins to study Music. To do it, a diagram is introduced, which starts with the Theory of Harmonics and ends with Major and minor Scales.

The purpose of this study is to explore how arpeggioexcercises used as a method for studying improvisation is experienced. Research questions are: What is my attention directed towards when performing the exercise? What benefit for my improvising can there be by using arpeggioexercises? To investigate this, I have done eight practice sessions of one hour each where an arpeggioexercise is used to study a song. All sessions are ended with audio logs where I reflect on how things have gone during the practice session. I have also made two improvisations on the selected song, one before the practice sessions implementing the exercise and after. Regarding the processing of data, I have chosen a phenomenological perspective as a theoretical standpoint. The result shows what has been in my consciousness during the process of practicing and how my improvising has changed. The results first theme "Study Process" describes arpeggio as studying method. This theme is given the categories "Progression", "Detection of problems," "Mechanical exercise". In the second theme, "Improvised solos," describes the benefits of using arpeggios as a method of studying improvisation. Categories are here " Approach to the tonal and harmonic structures", "Rule-breaking approach". During the process, it appears that I have learned some new patterns and that I am more aware of what I do when I improvise. Meanwhile, the process proved to be exhausting. Syftet med föreliggande studie är att utforska hur en specifik arpeggioövning som instuderingsmetod för improvisation erfars. Forskningsfrågor är: Vad riktar jag min uppmärksamhet mot i samband med övandet av arpeggion? Vad för nytta kan det finnas med arpeggioövning för när jag improviserar? För att undersöka detta har jag lagt upp 8 övningspass på en timme vardera där arpeggioövning används för att studera en låt. Alla övningstillfällen har avslutats med ljudloggar där jag reflekterar över hur det har gått under övningspasset. Dessutom har jag gjort 2 improvisationer över vald låt, en innan övningspassens genomförande och en efter. Som teoretisk utgångspunkt har jag valt ett fenomenologiskt perspektiv. I resultatet visas vad som har förekommit i mitt medvetande under instuderingsprocessen och hur mitt improviserande förändrats. Resultatets första tema ”Instuderingsprocessen” beskriver arpeggio som instuderingsmetod och mina tankar kring den. Under detta tema ges kategorierna ”Progression”, ”Uppdagande av problem”, ”Mekanisk övning”. I det andra temat, ”Improviserade solon”, beskrivs hur arpeggio som metod kommer till användning vid improvisation. Kategorier är här ”Förhållning till tonala och harmoniska strukturer”, ”Regelbrytande förhållningssätt”. Under processens gång framkommer att jag lärt mig en del nya mönster och att jag är mer medveten om vad jag gör när jag improviserar samtidigt som instuderingsprocessen visat sig vara utmattande.

International audience; This paper presents a unified framework computer vision approach for finger gesture early recognition and interaction that can be applied on sequences of either RGB or depth images without any supervised skeleton extraction. Either RGB or time-of-flight cameras can be used to capture finger motions. The hand detection is based on a skin color model for color images or distance slicing for depth images. A unique hand model is used for the finger detection and identification. Static (fingerings) and dynamic (sequence and/or combination of fingerings) patterns can be early-recognized based on one-shot learning approach using a modified Hidden Markov Models approach. The recognition accuracy is evaluated in two different applications: musical and robotic interaction. In the first case standardized basic piano-like finger gestures (ascending/descending scales, ascending/descending arpeggio) are used to evaluate the performance of the system. In the second case, both standardized and user-defined gestures (driving, waypoints etc.) are recognized and used to interactively control an automated guided vehicle.

Spinal cord injury and repair is a dynamic field of research. The development of reliable animal models of traumatic spinal cord injury has been invaluable in providing a wealth of information regarding the pathological consequences and recovery potential of this condition. A number of injury models have been instrumental in the elaboration and the validation of therapeutic interventions aimed at reversing this once thought permanent condition. In general, the study of spinal cord injury and repair is made difficult by both its anatomical complexity and the complexity of the behavior it mediates. In this perspective paper, we suggest a new model for spinal cord investigation that simplifies problems related to both the functional and anatomical complexity of the spinal cord. We begin by reviewing and contrasting some of the most common animal models used for investigating spinal cord dysfunction. We then consider two widely used models of spinal deficit-recovery, one involving the corticospinal tracts (CTS) and the other the rubrospinal tract (RST). We argue that the simplicity of the function of the RST makes it a useful model for studying the cord and its functional repair. We also reflect on two obstacles that have hindered progress in the pre-clinical field, delaying translation to the clinical setup. The first is recovery of function without reconnection of the transected descending fibers and the second is the use of behavioral paradigms that are not under the control of the descending fiber pathway under scrutiny.

Glossy networks make use of concurrent transmissions to achieve rapid network flooding in wireless networks with high reliability. They are robust against jamming and header injection attacks. We find that Glossy floods can be hijacked by a packet injection attacker to penetrate into the network and cause severe loss. We demonstrate the design of such an attacker by evaluating its effectiveness in a 30-node testbed. Promos

Playing the piano requires one to precisely position one’s hand in order to strike particular combinations of keys at specific moments in time. This paper presents the first system for automatically generating three-dimensional animations of piano performance, given an input midi music file. A graph theory-based motion planning method is used to decide which set of fingers should strike the piano keys for each chord. As the progression of the music is anticipated, the positions of unused fingers are calculated to make possible efficient fingering of future notes. Initial key poses of the hands, including those for complex piano techniques such as crossovers and arpeggio, are determined on the basis of the finger positions and piano theory. An optimization method is used to refine these poses, producing a natural and minimal energy pose sequence. Motion transitions between poses are generated using a combination of sampled piano playing motion and music features, allowing the system to support different playing styles. Our approach is validated through direct comparison with actual piano playing and simulation of a complete music piece requiring various playing skills. Extensions of our system are discussed. Copyright © 2012 John Wiley & Sons, Ltd.

Mária Comensoli, who studied under Bartók in the mid-1920s, reports that her teacher used “peculiar fingerings and peculiar wrist and arm technique.” Examining such comments and the recordings of the composer-pianist, it becomes clear that Bartók played the piano partly according to the 19th-century performance practice. He frequently played chords in arpeggio, even when there were no markings of arpeggio in the score, and he respected the tone color of each finger by relying on the technique of leaping. Contemporary documents suggest that one of Bartók’s technical advantages was the flexibility of his wrists. In Bartók’s case it may have been a fruit of a conscious training by István Thomán. The writings of the Liszt-pupil Thomán suggest that, like his master, he valued the “active” use of wrists, even though he basically supported the modern, “synthetic” piano technique propagated by Breithaupt, who consistently recommended the “passive” use of the wrists. It is likely that, through Thomán, Bartók learned many things from the 19th-century performance practice.

Spinal cord injury damaging the rubrospinal tract (RST) interferes with skilled forelimb movement, but identification of the precise role of the RST in this behavior is impeded by the difficulty of surgically isolating the RST from other pathways running within the lateral funiculus (LF). The present study used a skilled reaching task and a behavioral/anatomical dissection method to identify the contribution of the RST to skilled forelimb movement. Rats were trained on the skilled reaching task and subjected to lesions of the LF. Based on histological evaluation, the animals were assigned to large, medium, or small LF lesion size groups. End point and arm/hand/digit movements were subsequently identified for each group. Success was impaired in all groups, but the impairment was not related to lesion size. Frame-by-frame qualitative analysis of the video recordings revealed that large LF lesions abolished the elements of digits close, digits open, arpeggio, grasp, supination 2, and release. Medium LF lesions interfered with a subset of the movement elements that were shown to be affected by the large LF lesions, namely arpeggio and grasp. Only the arpeggio movement was compromised after small LF lesions. The results show that not only does the LF contribute to skilled reaching, but because the RST was likely to have been damaged in all lesion groups, the RST is more involved in hand rotation than in digit use. The results are discussed in relation to the fiber tracts that are likely to be damaged in the different LF lesion groups.

It is widely thought that focusing on highly skilled movements while performing them hinders their execution. Once you have developed the ability to tee off in golf, play an arpeggio on the piano, or perform a pirouette in ballet, attention to what your body is doing is thought to lead to inaccuracies, blunders, and sometimes even utter paralysis. Here I re-examine this view and argue that it lacks support when taken as a general thesis. Although bodily awareness may often interfere with well-developed rote skills, like climbing stairs, I suggest that it is typically not detrimental to the skills of expert athletes, performing artists, and other individuals who endeavor to achieve excellence. Along the way, I present a critical analysis of some philosophical theories and behavioral studies on the relationship between attention and bodily movement, an explanation of why attention may be beneficial at the highest level of performance and an error theory that explains why many have thought the contr...

The present study examined the effects of psychological stress, as manipulated by performance evaluation, on the cognitive, physiological, and behavioral components of music performance anxiety (MPA) and performance quality. Twelve skilled pianists (five women, seven men) aged 21.9 ± 3.3 yrs performed arpeggios on a digital piano at the metronome-paced fastest possible tempo under the evaluation and no-evaluation conditions. Measurements were made of self-reported state anxiety, heart rate (HR), sweat rate (SR), and electromyographic (EMG) activity from eight arm and shoulder muscles, and MIDI signals were obtained. The increases in selfreported anxiety score, HR, and SR in the evaluation condition confirmed the effectiveness of stress manipulation. The EMG activity of all the muscles investigated significantly increased from the no-evaluation to evaluation condition, suggesting that psychological stress can add to the risk of playing-related musculoskeletal disorders. Furthermore, the elevated muscle activity in the forearm was accompanied by increased key velocities. We also obtained the first evidence of increased arm stiffness associated with MPA by estimating the cocontraction levels of antagonist muscles in the forearm and upper arm. Consistent with the three systems model of anxiety, the three MPA components were moderately intercorrelated. Participants with high trait anxiety showed stronger correlations between the self-reported anxiety score and other objective measures, which indicated their heightened perceptual sensitivity to physiological and behavioral changes caused by psychological stress. These results provide some practical implications for understanding and coping with MPA. Med Probl Perform Art 2008;23:120–132.

The MUSICAL ABACUS integrates the main concepts in Music Theory, relating them in a logical and ordered way. Each of its 12 possible positions corresponds to a Major Key and its relative minor. The Keys are sorted out by Perfect Fifths. Each position contains: 1) The Major Scale and its relative minor. 2) The Intervals from the Tonic of the Major Scale. 3) The Key Signature for both Keys. 4) The Order of Sharps and Flats. 5) The 3 Main Chords in both Keys and their Arpeggios. 6) The Harmonics of the Tonic of the Major Key.

Modern music in twenties century is directly impacted by impressionism style,thus Debussy is universally acknowledged as the initiative person of modern music in twenties century. The new conception absorbing oriental elements is soon accepted by China that everything is waiting to be taken up in eighties, the concept of “chromatics” has a strong response in music field, the concept of aesthetics of East and West brings collisions, creative concept receives abstersion ,the new concept has a fresh inspiration on the combination of folk music instrument and the modeling of sound shape, which has a distinctive difference from the traditional folk instruments, showing the diversification of creation phenomenon in the creative field. Erhu concertos get a special popularity during this period, which receives the development with the style of “Venting and Eruption”, showing the production with thousands of multicolored gorgeously. This article chooses some common tracks of playing and teaching as there are too many works during this period. The art characters of Erhu Erhu playing skills and the expansion of the stereo In eighties, the emerging of various types and styles big stone works stimulate the Erhu playing technology moving forward again. Skill of quick bow is more difficult, the application of shock interval is very common, interval relations is not limited to the application of natural interval, variant interval、 arpeggio single and chromatic scale has been applied in many works. For example, The Great Wall Capriccio is the earliest to use the skill, and the skills are very common applied in later works. With the application of “impressionism” style and twelve-tone serial in the works, various kinds of sequence scale is used in untitled musical works, which seems there are rules to follow , actually ever-changing sequence scale makes the sound of erhu generating another fantastic, vacant, ignorant sound effects. Sequence of the sound column breaks original musical scale relations; the traditional melodic development is no longer in existence. The utilization of the range of erhu has been reached its limit. The freedom of rhythm and beat breaks the law of the original, using a lot of irregular rhythm and beat. Modulation is frequently used. Various kinds of interval relations and rhythm’s harmonious relations of arpeggio scale、 chromatic scale、changes in tone scale and sequence of the sound column are the new skills during this period. Skill training of transplantation tracks is more difficult; Such as Vagrant, Variations on a theme by Carmen, whose hard skills has been the new target of pursuit for the player. The characteristics of the technique can be summarized as high, difficult and new, strange during this period. The mingle of western composing skills and Chinese aesthetic Most of the subjects of the works in early eighties adopt the well-known folk music material, way of creation is mainly via recomposing great music which has been around for years, and works usually adopts single movement of body structure, mostly with a narrative plot and the nature of the singing with sound chamber lines. The model of using familiar melody for creation, being repeated used will easily cause sameness and forming a line production, which will loss impetus of hearing because the lack of innovation. At the same time, as the original existing melody of the dialogue International Conference on Economics, Social Science, Arts, Education and Management Engineering (ESSAEME 2015) © 2015. The authors Published by Atlantis Press 89 between ecru and band and sound longitudinal acoustic effects, which will result the lack of overall conception because the diversion of the conceive and design of the longitudinal acoustic. In 1982,the appearance of erhu concerto The great wall capriccio makes people find everything fresh and new, the cordial and freshness, fresh and alive note which all revealing the spirit of the nation, bring the impact of the hearing to people and shaking people's hearts, generating a sense of national pride and inspiring strong national cohesion of the people. Artistic and literary characteristics of the form and content of work 1). Based on the tradition, seeking new thoughts 2). Breaking tradition, pursuit of exoticism and fanaticism Creation of erhu concerto and development of the art of playing Viewing and emulating performance of the national folk music recital and the national children's folk music solo game in 1982; Erhu invitational game in Beijing in 1985; national folk music instrument competition of ” Shan Cheng Bei” Cup and international competition of Chinese instruments of “ART Cup”IN 1989. All above national instrumental music events are showing the quick development of folk music during eighties, which are also showing a strong desire to music works of new national instrumental in music industry during this period, and the emerging of large amount of new works further pushes the development of the actuating performance art. Such as The great wall capriccio, The First Erhu Concerto, which has become the turning point on the moving forward of erhu art. The great wall capriccio continues the style of the majestic momentum of Sanmen Gorge Rhapsody, and it increases tolerance and implication on cultural connotation, which is more like a demeanor and ore mature and rich on praxes of technique, utilizing unprecedented manifestation no matter on the vocabulary、 theme、types or forms of literature and construction of works, making the application by integrating Chinese and western culture, greatly expand the art intrinsic expression of erhu. The deep of The great wall capriccio conforms to the deep temperament of erhu, besides that, Stature and verve、the rhyme of the euphemism 、composed of capability of Min Huifang expresses the greatness 、pageantry、forceful and the profound vision of the Great Wall and also showing the temperament of the Chinese nation fully and delightfully. We can use the four simplest words of Min Huifang which represent the the traditional aesthetics of China to describe the worksemotion, temperament, character and rhyme. Emotion, having a sense of propriety, singing wonderfully with a silver voice and deep feeling and revealing naturally. Temperament, means artistic conception accessible, pure temperament , followed by bowing heartful, hidden track showing shape, entelechy showing far away, and reaching the scenic spots of "lifelikeness" .Character, which means the style of noble, and it is the “personality”of Music. Rhyme, means the lingering charm of Music and the nation, showing the charm of beauty of operatic tunes of @erhu by using traditional techniques. “Breath” should be heavy, stable, deep and long. Clapper talk skills should be integrated into the expressive force and bearing and verve of the Music. The music expresses the most excellent quality of erhu, and that's part of its charm. Train of thought for composition of Liu Jinwen and his bold atmosphere of the work style gives successors a lot of enlightenments, which causes Great changes of erhu composition in the future, and he has become the precursor of large concerto. Different themes and genres Erhu concerto works spring up in late period. The First Erhu Concerto changes the style of deep temperament of The great wall capriccio,which showing its temperament of fashion via luxuriant sound, and has a higher requirements on voice quality of Erhu. Rapid sound group、big jump interval, change panels and overtone which forms a lot of note piece. The First Erhu Concerto was firstly performed in Hong Kong in 1988,Mr Min Huifang, Who was the famous Erhu performer won the the great praises .But it didn’t draw attention of national people

During the execution of the skilled reaching task, naive rats bring their elbow to the midline of their body to aim at the food target, perform the arpeggio movement to grasp it and supinate the paw to bring the food to their mouth. Red nucleus lesions in the rat interfere with each of these three movement elements of reaching. On the other hand, lesions to the rubrospinal tract, which originate from the magnocellular subdivision of the red nucleus, only interfere with the arpeggio movement. This latter evidence strongly suggests that impairment in aiming and supinating could be under the control of the parvocellular subdivision of the red nucleus. In order to test this hypothesis, rats were trained on the skilled reaching task and then received either complete lesions of the red nucleus or lesions restricted to its parvo- or magnocellular subdivision. In line with previous data, complete excitotoxic lesions of the red nucleus compromised limb aiming, arpeggio and supination. Lesions restricted to the parvocellular division of the red nucleus abolish supination and interfere with aiming, although the latter result did not reach significance. The results are discussed in terms of the distinct connectivity and functional significance of these two architectonic subdivisions of the red nucleus.

In this final chapter we will put all of the previous chapters to use by following the construction of three very different projects: Bulwer-Lytton power amplifier designed to drive the author’s Arpeggio loudspeaker (see the “Articles” section of the diyAudio website); RIAA stage remote power supply; hybrid balanced RIAA stage designed to allow a Denon DL103 moving coil cartridge to drive the Bulwer-Lytton power amplifier. Detailed discussion of audio design featured in Valve Amplifiers (fourth edition), so our primary concern here is practical implementation and EMC (electromagnetic compatibility). The intention is not to provide a set of construction instructions that must be slavishly followed, but to highlight practical problems that occur using different chassis techniques and show how they may be overcome.

Several biomechanical studies have been done with regard to the fingertip, hand, wrist, and upper arm in pianists. However, these studies have generally focused either on one isolated part of the anatomy, or on one specific motion. It is notable that none of the studies conducted to date examines the execution of a technical skill at the piano, such as a scale or arpeggio, in terms of the cooperative work done by all involved parts of the anatomy. Drawing upon established quantitative data, this study took a qualitative approach in describing and analyzing the execution of selected piano technical tasks. The procedure developed for conducting a biomechanical analysis can be readily applied in both medical and pedagogical venues with the goal of preventing injury. Med Probl Perfwm Art 15:55-64, 2000. F ocusing on human anatomy as a critical factor in piano technique is a somewhat recent innovation. Only since the late-nineteenth and early-twentieth centuries have pedagogues begun to address the motions of piano playing from a scientific or objective perspective. Some of their beliefs have been validated by later scientific observation. However, many of these pedagogues based their recommendations on an incomplete or even incorrect knowledge of anatomy and human motions. Their terminology in discussions concerning anatomy is frequently imprecise and many of the recommendations of these pedagogues are contradicted by medical, biomechanical, and/or ergonomic observations. Therefore, some of the practices and techniques recommended by these pedagogues have the potential to contribute to injury development. Undertaking systematic qualitative analpis of movement patterns performed at the piano can offer valuable information in developing or modifying piano technique. In developing technique, students and teachers have typically relied primarily on recommendations of skilled performers. However, advice offered by individual players is most often based on individual subjective experiences. Though such recommendations may prove helpful, in many instances they may actually be counterproductive to the development of biomechanically appropriate piano technique. Understanding of human biomechanics has vastly improved in the last hundred years. Dr. W~isten is assistant professor of piano at Chadron State Colkge, Chadron, Nebraska. Address correspondence and reprint requests to: Brenda G . Wristen, Ph.D., Chndron Stare College-Music Department, 1000 Main Street, Chadron, NE 69337. e-mail: . With input from the recently developed sciences of ergonomics and biomechanics, it is now possible to examine piano technique in order to determine how the human body may be used maximally and most efficiently. Since medical, biomechanical, and ergonomic studies have theorized that some physical motions, most notably extreme wrist motions, can contribute to the development of an injury, it is worthwhile to examine piano technique with the aim of minimin ing these motions. Unfortunately, qualitative studies with regard to motions used in piano playing have generally focused on motions so small and isolated from the integrated work done by the entire upper half of the body as to be completely inapplicable to practical piano technique. Wagner is perhaps the most familiar name associated with biomechanics and anthropometry of the hand.'n2 However, Wagner dealt mostly with hand anthropometry, attempting to correlate relative success as a pianist to the size of the hand span and joint mobility. Wagner did attempt to measure active joint mobility, and demonstrated that the range of mobility in healthy joints, notably the meta~ar~ophalangeal (MCP) 1, was very wide. He also observed that pianists employ a position of pronation for inordinate periods of time. From these data, he attempted to develop an "ideal" hand profile for success in piano performance based on hand measurements. He suggested that this profile might be useful in improving the performance of "those who do not belong to the small group of people who are manually specially gifted," specifically by identifying certain players as at risk for occupational injury and in contributing to the ergonomic design of the piano. However, Wagner did not attempt to address the application of biomechanical forces to the playing apparatus or hypothesize motions that may potentially lead to injury. He noted that this task was an important one to be addressed in the future, but was beyond the scope of his present study. This project represents an attempt to identify potentially harmful motion in piano technique at large, and to theorize about normative motion patterns for selected skills. Trpes of overuse injuries commonly suffered by pianists were reviewed to discover presumable patterns of etiologies. Relevant medical, biomechanical, and ergonomic studies were reviewed to determine which motions used in piano playing may have the potential to cause injury. Building further upon theories gen

The timing of arpeggiated chords involving both hands sequentially was measured in performances of Edvard Grieg's Erotik, op. 43, No. 5, by ten graduate student pianists (who played the piece three times after brief study) and by eight commercially recorded ("expert") pianists. Arpeggio durations depended more on the preceding note value and position in the phrase than on the number of notes. The student pianists frequently overlapped the two hands, contrary to the notation. Those student arpeggios which were executed correctly frequently showed lengthening of the final and, less often, of the initial interonset interval. There were consistent individual differences in the students' timing patterns. The expert pianists showed even larger individual differences and few commonalities. The origins of these differences and their perceptual and aesthetic implications remain to be investigated.

Researchers generating new genome-wide data in an exploratory sequencing study can gain biological insights by comparing their data with well-annotated data sets possessing similar genomic patterns. Data compression techniques are needed for efficient comparisons of a new genomic experiment with large repositories of publicly available profiles. Furthermore, data representations that allow comparisons of genomic signals from different platforms and across species enhance our ability to leverage these large repositories. Here, we present a signal processing approach that characterizes protein–chromatin interaction patterns at length scales of several kilobases. This allows us to efficiently compare numerous chromatin-immunoprecipitation sequencing (ChIP-seq) data sets consisting of many types of DNA-binding proteins collected from a variety of cells, conditions and organisms. Importantly, these interaction patterns broadly reflect the biological properties of the binding events. To generate these profiles, termed Arpeggio profiles, we applied harmonic deconvolution techniques to the autocorrelation profiles of the ChIP-seq signals. We used 806 publicly available ChIP-seq experiments and showed that Arpeggio profiles with similar spectral densities shared biological properties. Arpeggio profiles of ChIP-seq data sets revealed characteristics that are not easily detected by standard peak finders. They also allowed us to relate sequencing data sets from different genomes, experimental platforms and protocols. Arpeggio is freely available at http://sourceforge.net/p/arpeggio/wiki/Home/.

Few investigations have analysed the relations of breathing and pianists' movements. In past studies, however, coordination of breathing with repetitive movements were examined. The current experiment explored the coordinative relations of breathing with three different finger-movement markers (pitch, meter, and thumb passage) during the performance of repetitive exercises at the piano. Eight pianists played the C major scale and arpeggio at different tempi. The Musical Instrument Digital Interface (MIDI) data were collected and the pianists' respiration was simultaneously monitored by inductive plethysmography. Analysis showed that the breathing varied between participants. Other than some exceptional cases for which movement markers coincided with the end of inspiration and the end of expiration of the breathing curve, no coordination or relation occurred between breathing and finger movement.

We previously found that the spatial memory of piano keyboard was not accurate enough to play without external spatial cues even in trained pianists. Therefore, the real-time acquisition of spatial information should be essential for piano performance. The aim of the present study was to test how and when the online acquisition of the visual and auditory information contribute to the performance of pianists. Seven undergraduate and graduate students majoring piano performance at a university participated in our experiment. They were asked to play the task sequences, which consisted of scale, arpeggio of triads, alternating fourth and fifth, and alternating fourth, fifth and one octave leap, on an electric piano. Each pianist played in four conditions: “Ordinary,” “No-sound,” “No-vision,” and “No-sound & No-vision.” The locations of the pressed keys were assigned to the locations of the keys to be pressed with dynamic programming after the midi note numbers were converted to the “location numbers.” We anal...

This paper specifically targets violin learners who are working on their pitch accuracy. We employ a pitch tracking algorithm to extract the pitch played. Through volume thresholding and region detection, only parts of frames are processed. So our system can provide real-time feedback to show violin learners whether they played the right pitch. The system also provides the major scales and arpeggio scores as teaching materials, and violin learners can choose different tempos to practice, depending on their level. The user-friendly system interface allows violin learners to easily perceive the pitch differential between the pitch of the target note and the pitch played, allowing users to precisely adjust their playing. The statistical feedback records progress and analyzes error patterns, enabling violin teachers to evaluate student progress precisely, and correct common error patterns effectively.

[1] Portrayals of the pianist Glenn Gould are often contradictory. Some hear in Gould's performances of Bach a deeply introspective, analytical, almost clinical rendering, whereas others celebrate the pianist's passion, virtuosity, and hypnotic ecstasy.(1) Some listeners and viewers are so caught up with the strikingly unique qualities of Gould's playing, his body, and his unconventional interpretations that they often claim that "the music" is lost in the haze. Yet many of these same critics also marvel at his ability to "X-ray" Bach's compositions, to reveal the inner voices and clarify his complicated counterpoint.(2)Example 1. Glenn Gould's performance of the Bach Prelude in C minor, measures 1-6,from Thirty Two Short Films About Glenn Gould (Girard, 1993)(click to view)[2] These seemingly oppositional perspectives of Gould, the self-indulgent versus the analytical pianist, can be seen to reflect not only the different stages of his career but also the conflicting perceptions of the same performance. Consider his 1962 interpretation of Bach's Prelude in C minor from Book One of the Well-Tempered Clavier (BWV 847), which is featured in both Francois Girard's 1993 film, Thirty Two Short Films About Glenn Gould and The Triplets of Belleville (2003), directed by Sylvain Chomet. In the former we hear and see Gould's recording as though from the inside of the piano, the hammers striking the strings and the dampers lifting in coordinated precision with the pianist's unmistakable rendition (Example 1). This juxtaposition-the sight of the piano's inner workings with the sound of Gould's disembodied and detached, almost mechanistic interpretation-evokes an analytical perspective, an "X-ray" of the performance that reveals Gould's calculated dissection of Bach's Prelude.Example 2. Caricatured Glenn Gould performance of the C-minor Prelude, measures 1-11,from The Triplets of Belleville (Chomet, 2003)(click to view)[3] In The Triplets of Belleville, by contrast, we see a cartoon version of Gould playing Bach's music on an old black-and-white television.(3) This caricature of the pianist plays on a low chair with legs crossed and long tangled fingers. His eyes are shut and his body sways as though lost in the moment (Example 2). As the work progresses, Gould's hands and elongated fingers cross over and under each other, visually twisting Bach's multiple voices into a disjointed tangle as a metaphor for the piece's impenetrable texture.[4] One might excuse these conflicting interpretations of Bach's Prelude and/or Gould's interpretation of the work, by recognizing that neither film director is a professional pianist nor a music theorist. But they might be onto something. A closer look at Gould's idiosyncratic performance both clarifies and obscures what traditional analytical techniques tell us about the C-minor Prelude. Gould's unique articulation and voicing clarify the musical texture in a manner that illuminates less tractable issues in counterpoint, hypermeter, and harmonic tension. Yet, by comparing and contrasting Gould's performative "X-ray" of the Prelude with that of other performers and editors, we will demonstrate how the pianist ultimately opens up new unresolved questions, while still generating what is, for many, an artistically compelling interpretation of this work.(4)[5] The C-minor Prelude, described by Tovey as an "arpeggio prelude," is harmonically driven (Tovey 1924, 26). With his characteristically detached articulation, however, Gould does more than merely outline the harmonic progression.(5) Consider the opening four measures: like its C-major predecessor, the C-minor Prelude uses a standard progression to establish the tonic (here, i-iv-viio7-i). But as opposed to David Ledbetter's claim that Bach intended this Prelude to help bring the "thumb and little finger into line with the middle three fingers" so that "all five fingers are equal," Gould distinguishes the notes on the first and third beats with a sharp accent (Ledbetter 2002, 136 and 151; listen to Gould's performance in Example 1). …

Although it is well known that rats can use one limb to reach for and retrieve food, the way that the paw and digits are used to grasp the food has not been described. Using results obtained from a high speed videorecording procedure, the present study describes how small and large pieces of food are located by the paw and grasped with the digits in a reaching task. As the rat pronates a paw over food, the tips of digits 5 through 2 are successively placed and spread over the target area in an arpeggio movement. The target area is then palpated by downward movements of the palm. If food is not present, the paw is withdrawn without grasping. If food is contacted, the food is manipulated and grasped by the digits with grasp patterns that depend upon food size. Large food pellets are contacted with the pad of digit 3 and then grasped between digits 3 and 4. Small food pellets are first contacted with pad of digit 4 and are grasped between digits 4 and 5. Digit 5 can be partially flexed medially so that the food is held in a modified power grip between digits 4 and 5. The results show that rats use a whole paw movement to position the digits in an arpeggio fashion and they use fractionated digit movements to grasp food. The results are discussed in relation to the possible comparative and anatomical significance of the movements.

[1] I would like to address an analytic idea proposed by Samuel Ng in his review of Peter Smith's monograph on Brahms's Piano Quartet No. 3 in C minor. In his discussion of the opening of the first movement, Ng takes issue with Smith's reading of the G-major chord in bar 21 as the dominant. Instead, he says that the appearance of this chord comes as an unexpected surprise. Not only does he call it "the first striking harmonic event of the piece," but he also later describes it as "a truly expressive gesture that eludes virtually any structural explanation." Furthermore, he suggests that the G chord appearing two bars later (bar 23) is the more natural continuation. Ng attempts to find an integral relationship between form and content, and to "reveal structural intricacies that may well embody expressive connotations." His analytic reading of the opening theme is, however, surely incorrect. Not only is the G-major chord in bar 21 the long-expected dominant, but it is the G chord that offers the unexpected surprise. I wish to address this issue not just in order to present yet another alternative reading, but because the correct interpretation of the opening of this Brahms Piano Quartet evokes an important Classical tonal procedure that both Smith and Ng overlook in their analyses.[2] One of the striking features at the beginning of the Brahms Piano Quartet No. 3 in C minor is the quadrupled B that appears in bar 11, after the half cadence on the dominant. It transposes the four-octave C at the start of the piece down a whole step, and ushers in the return of the opening theme in the key of B-flat minor. Before examining the tonal structure of the antecedent part of the Quartet (bars 1-31), I would like to discuss the convention of this opening gesture.[3] The opening theme of the Brahms is modeled after the Classical construction of two parallel phrases in which the second repeats the opening at a different pitch level. The most usual procedure is to repeat the second phrase a whole step above the initial statement. In Mozart's Piano Sonata in D, K. 576, for example, the rising arpeggio of the opening theme announced in D major is answered by another statement of the arpeggiated theme in E minor (Example 1). In order to avoid parallel fifths and octaves in the voice-leading from I to II, a dominant chord appearing at the end of the opening phrase serves as a voice-leading corrective. The beginning of Brahms's Symphony No. 2, op. 73, has a similar construction, but here a B-minor chord, resulting from a 5-6 contrapuntal motion, breaks up the potential parallels between the two statements of the opening theme in D major and E minor (Example 2).Example 1. Mozart, Piano Sonata in D, K. 576, i (bars 1-6)(click to enlarge and see the rest)Example 2. Brahms, Symphony no. 2 in D, i (bars 1-11)(click to enlarge and see the rest)[4] While the parallel construction of two phrases on adjacent ascending steps appears rather frequently in the major mode, the reverse situation, of answering a phrase down by step, occurs much less often. In fact, in major, an answering phrase on VII is not possible if it remains in its normal form as a diminished triad. In order to enable such a repetition, must be chromatically altered to , transforming VII into a major triad.(1) The beginning of Beethoven's "Waldstein" Sonata presents such a procedure; following the opening theme's initial statement in the tonic C major, it appears four bars later in B-flat major. Example 3 shows how a contrapuntal 5-6 motion breaks up the potential parallels in the stepwise motion from I to VII. At the foreground level, the intervening chord in this contrapuntal progression is tonicized by an applied chord.[5] The initial statement of the opening theme at the beginning of the "Waldstein" would appear to lead to its repeated statement in B-flat. However, the first four bars are repeated over bars 5-8, and a descending chromatic bass results. …

While MIDI is still the most viable music proto- col, it is not appropriate for use in live networked mu- sic performances. We propose a network data format called MINI. It eliminates the disturbing arpeggio ef- fect caused by network packet delay jitter, and yields smaller packets that can be further reduced by omit- ting marginal MIDI features. MIDI­MINI transcoding is transparent, and works with standard MIDI instru- ments. We present the MINI design rationale, protocol, and empirical performance results.

This paper describes an evolutionary music composition system that combines trainable music critics with a bag of notes constraint. Unlike many evolutionary composition systems, there is no human interaction involved in the loop. The role of the human within our system is to select the set of melodies to train the critics on, and choose the bag of notes. The trainable critics are N-gram model. The system then evolves pleasant sounding melodies by permuting the order of the notes selected from the bag. The bag of notes constraint prevents a previously observed problem. We solve a prior problem where the maximum likelihood sequence (MLS) generated by our N-gram model is repetitive using the bag of notes constraint. In this paper, two experiments are constructed. Both experiments are identical except for the melody representations, which are absolute pitch (AP) and pitch difference (PD) representations. In each case, the bag of notes constraint results in more pleasing melodies, and the melody shape of the melodies are more controllable and predictable with appropriate operators. We suggest that using absolute pitch representation leads to better sounding melodies than the pitch difference representation, especially if the user enjoys arpeggio effects.

Arpeggio is a peer-to-peer file-sharing network based on the Chord lookup primitive. Queries for data whose metadata matches a certain criterion are performed efficiently by using a distributed keyword-set index, augmented with index-side filtering. We introduce index gateways, a technique for minimizing index maintenance overhead. Because file data is large, Arpeggio employs subrings to track live source peers without the cost of inserting the data itself into the network. Finally, we introduce postfetching, a technique that uses information in the index to improve the availability of rare files. The result is a system that provides efficient query operations with the scalability and reliability advantages of full decentralization, and a content distribution system tuned to the requirements and capabilities of a peer-to-peer network.