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We present a novel reinforcement learning architecture that learns a structured representation for use in symbolic melody harmonization. Probabilistic models are predominant in melody harmonization tasks, most of which only treat melody notes as independent observations and do not take note of substructures in the melodic sequence. To fill this gap, we add substructure discovery as a crucial step in automatic chord generation. The proposed method consists of a structured representation module that generates hierarchical structures for the symbolic melodies, a policy module that learns to break a melody into segments (whose boundaries concur with chord changes) and phrases (the subunits in segments) and a harmonization module that generates chord sequences for each segment. We formulate the structure discovery process as a sequential decision problem with a policy gradient RL method selecting the boundary of each segment or phrase to obtain an optimized structure. We conduct experiments on our preprocessed HookTheory Lead Sheet Dataset, which has 17,979 melody/chord pairs. The results demonstrate that our proposed method can learn task-specific representations and, thus, yield competitive results compared with state-of-the-art baselines.

Jazz improvisation on a given lead sheet with chords is an interesting scenario for studying the behaviour of artificial agents when they collaborate with humans. Specifically in jazz improvisation, the role of the accompanist is crucial for reflecting the harmonic and metric characteristics of a jazz standard, while identifying in real-time the intentions of the soloist and adapt the accompanying performance parameters accordingly. This paper presents a study on a basic implementation of an artificial jazz accompanist, which provides accompanying chord voicings to a human soloist that is conditioned by the soloing input and the harmonic and metric information provided in a lead sheet chart. The model of the artificial agent includes a separate model for predicting the intentions of the human soloist, towards providing proper accompaniment to the human performer in real-time. Simple implementations of Recurrent Neural Networks are employed both for modeling the predictions of the artificial agent and for modeling the expectations of human intention. A publicly available dataset is modified with a probabilistic refinement process for including all the necessary information for the task at hand and test-case compositions on two jazz standards show the ability of the system to comply with the harmonic constraints within the chart. Furthermore, the system is indicated to be able to provide varying output with different soloing conditions, while there is no significant sacrifice of “musicality” in generated music, as shown in subjective evaluations. Some important limitations that need to be addressed for obtaining more informative results on the potential of the examined approach are also discussed.

Automatic extraction of features from harmonic information of music audio is considered in this paper. Automatically obtaining of relevant information is necessary not just for analysis but also for the commercial issue such as music program of tutoring and generating of lead sheet. Two aspects of harmony are considered, chord and global key, facing the issue of the extraction problem by the algorithm of machine learning. Contribution here is to recognize chords in the music by the feature extraction method (voiced models) that performd better than manually one. The modelling carried out chord sequence, getting from frame-by-frame basis, which is known in recognition of the chord system. Technique of machine learning such the convolutional neural network (CNN) will systematically extract the chord sequence to achieve the superiority context model. Then, traditional classification is used to create the key classifier which is better than others or manually one. Datasets used to evaluate the proposed model show good achievement results compared with existing one.

This research article aimed to examine and describe different research-based practical and transmedia transposition techniques as basic transposition methods for piano accompaniment. The need for transposition in music, particularly in piano accompaniment, whether in a single line melody, a scale, or an entire composition, is to provide the constituents in the music industry like musicians, pianists, singers, composers, and arrangers with ease and comfortable playing or singing performance using both traditional and/or technological (transmedia) transposition techniques. The most practical way of reading a music sheet is the combination of a lead sheet which composed of the melody and its respective chord/s for each measure or within the measures. Sometimes, song compositions such as folk songs and other traditional songs are just written in a single staff with its defined lyrics. The concern in this matter is the chord that would be used in accompanying the song. In making an accompaniment for this type of music, we could use the three basic types of harmonic progressions in a downward or upward manner by seconds, thirds, and fourths. After learning the basics of chord progressions, the five identified research-based techniques might be used for the process of transposition by church clavinovist and piano enthusiast namely Chord and Interval Transposition Technique, Familiarization and Direct Transposition Technique, Musical Instrument Digital Interface Transposition Technique, Circle of Fifths Transposition Technique, and Functions Transposition Technique.

Music that is generated by recurrent neural networks often lacks a sense of direction and coherence. We therefore propose a two-stage LSTM-based model for lead sheet generation, in which the harmonic and rhythmic templates of the song are produced first, after which, in a second stage, a sequence of melody notes is generated conditioned on these templates. A subjective listening test shows that our approach outperforms the baselines and increases perceived musical coherence., 8 pages, 2 figures, 3 tables, 2 appendices

Sand casting of lead sheet is a traditional manufacturing process used up to the present due to the special features of sand cast sheet such as their attractive sheen. Similarly to any casting process, sand casting of lead sheet suffers from the presence of surface defects. In this study, a surface defect type, hereby referred to as &lsquo, grooves&rsquo, has been investigated. The focus has been laid on the identification of the main factors affecting defect formation in this process. Based on a set of screening experiments performed using Scanning Electron Microscopy (SEM) as well as the existing literature, a number of factors affecting the formation of such defects was identified and their corresponding significance was estimated using the Analysis of Variance (ANOVA) technique. The obtained results suggest that the most significant factor affecting defect formation in sand casting of lead sheet is the composition of the moulding mixture. Defect formation was also proven to be dependent on the sand grain fineness, the quality of the melt and some of the interactions between the aforementioned process parameters. Finally, an optimal set of process parameters leading to the minimisation of surface defects was identified.

How are lyrical emotions expressed in music? This paper explores the correlation between affect-carrying lyrics and musical features such as beat strength, duration, pitch height, consonance, and mode. Using computer-aided musicology software music21 and the NRC emotion lexicon, we conduct a corpus study on 1,895 folk and popular song lead-sheets encoded as MusicXML. The study reveals that metrical strength and note lengths are highly correlated with affects, while correlations of pitch height, consonance, and mode are in general less significant, at times contradicting previous research. Measurements of minor vs. major chordal context and tonal certainty, however, reveal certain previously unknown differences among emotional states. The paper uses a larger dataset of observations and gives greater values of significance than has appeared in symbolic corpus analysis of emotions in the past, and includes general discussions and directions for future work.

Purpose Radiation protective apparatus is normally specified in "millimeter" of lead equivalence. Typically, it is less than 0.5 mmPb with the exception of lead eyeglasses, which may be 0.75 mmPb equivalent. Upon discovery of commercially available lead foil tape, manufactured by 3M™ "Lead Foil Tape 421" (LFT) which is designed for industrial utility applications. We set out to determine if this LFT can, indeed, be employed as the reference lead in the evaluation of lead equivalency of various protective apparatus. Method The LFT is cut to appropriate size (50 mm × 50 mm) and stacked for varying the total lead thickness for the transmission measurements. The transmission curves are obtained following the geometry spelled out in ASTM Designation F3094‐14 standards. The radiation beam qualities corresponding to modern cardiovascular angiography equipment in the range of 60~120 kVp, in increments of 10 kVp, and in combination with the spectral shaping filters of 0, 0.1, 0.2, 0.3, 0.6 and 0.9 mmCu were employed for characterization of the lead foil tape. The transmission data of lead pieces with known thicknesses (1/64", 1/32" and 3/64") are superimposed on the lead foil tape transmission curves to validate that the 3M™ LFT is indeed usable as 0.1 mm lead. Results The transmission ratio (data points) of lead pieces with known thicknesses at various radiation beam qualities mentioned above, fall right onto the transmission curves of 3M™ LFT with better than 2% accuracy. Therefore, it is indeed behaving like 0.1 mm thick lead sheet, based on the superimposed transmission curves. The 3M™ "Lead Foil Tape 421" is employed as the reference lead for evaluation of radiation protective apparatus at this institution. Verification of lead protective apparatus with unknown lead equivalence can now be determined with a high accuracy and certainty.

Chords are essential in music composition, just like the frame of songs to some extent. However, choosing proper chord sequences to accompany a melody is difficult for novices, which requires the knowledge of musical structure and harmony. The paper proposes a novel method to generate chords matching a given melody using the model CLSTMS that combines two LSTM models. One model focuses on the relationship between measure notes information and corresponding chord, the other explores chord transfer rules. Experiments show that after trained on the lead sheet database, CLSTMS can learn certain principles of composing, and the performance is better than traditional HMM from the perspective of repetition rate.

Lead sheet is widely used for roofing and flashing applications. Continuous casting and rolling are the most common processes used for manufacture of such sheet. Sand casting of lead sheet is a traditional process used since the Romans. Sand cast lead sheet is presently used for restoration of heritage buildings, churches and cathedrals. It possesses a distinct texture due to the uniqueness of the manufacturing process and is considered a premium product. In the present study, sand cast lead sheet samples were collected and characterised. The observations are then compared with characteristics of continuously cast lead sheet obtained from the literature and are reported in this paper.

In this paper, we report an automatic system which combines machine design and machine vision to promote the automatic lead sheet roll production. In terms of the key problem identifying and locating millimetre-level slit in motion, the rotating module and the slit recognition module are designed based on the geometric characteristics of the lead sheet roll hub, and machine vision technology is used to extract the features of slit images. The automatic system enhances the production efficiency of lead sheet roll by nearly 8 times and lowers the production cost.

Algorithmic composition methods must prove themselves within real-world musical contexts to more firmly solidify their adoption in musical practice. The present project is an automatic composing program trained on a corpus of songs from musical theater to create novel material, directly generating a scored lead sheet of vocal melody and chords. The program can also produce output based upon phonetic analysis of user-provided lyrics. The chance to undertake the research arose from a television documentary funded by Sky Arts that considered the question of whether current-generation, computationally creative methods could devise a new work of musical theater (the research described here provides but one strand within that project). Allied with the documentary, the resultant musical had a two-week West End run in London and was itself broadcast in full. Evaluation of the project included both design feedback from a musical theater composer team, and critical feedback from audiences and media coverage. The research challenges of the real-world context are discussed, with respect to the compromises necessary to get such a project to the stage.

Research on automatic music generation has seen great progress due to the development of deep neural networks. However, the generation of multi-instrument music of arbitrary genres still remains a challenge. Existing research either works on lead sheets or multi-track piano-rolls found in MIDIs, but both musical notations have their limits. In this work, we propose a new task called lead sheet arrangement to avoid such limits. A new recurrent convolutional generative model for the task is proposed, along with three new symbolic-domain harmonic features to facilitate learning from unpaired lead sheets and MIDIs. Our model can generate lead sheets and their arrangements of eight-bar long. Audio samples of the generated result can be found at https://drive.google.com/open?id=1c0FfODTpudmLvuKBbc23VBCgQizY6-Rk, Comment: 7 pages, 7 figures and 4 tables

Popular songs have arguably a huge impact on society. It is therefore legitimate to investigate the nature of the creative act underlying popular song composition. Ethnographic experiments in song composition are difficult to conduct. This chapter describes an experiment addressing the role of feedback in the lead sheet composition process. To what extent can peer feedback affect the quality of a music composition? How does musical experience influence the quality of feedback during the song composition process? Participants compose short songs using an online lead sheet editor, and are given the possibility to provide feedback on other participants’ songs. Feedback can either be accepted or rejected in a later step. Quantitative data were collected from this experiment that can be used to estimate the relation between the intrinsic quality of songs (estimated by peer evaluation) and the nature of feedback. Results show that peer feedback can indeed improve both the quality of a song composition and the composer’s satisfaction about it. Also, composers tend to prefer compositions from other musicians with similar musical experience levels.

The Dor 2006 Byzantine shipwreck was discovered in 2006, 800 m south of Dor (Tantura) lagoon, Israel, about 100 m offshore, in a water depth of 4 m, covered by sand. It was a large ship about 25 m long, and its timber remains spread over 10.5 m by 4.5 m. The shipwreck was dated between the mid-6th and the first quarter of the 7th centuries AD. Among the finds were remains of metal objects, comprising two coins, a lead sheet, and concretions of nails and a sickle. Metallurgical non-destructive and destructive analyses of the metal remains demonstrated that the coins were made of copper–lead alloy with a high concentration of lead, produced by casting, later stamped with coin die. The lead sheet was produced by casting, and later shaped into its final form. SEM-EDS, XRD, and XRF analyses revealed that the nail remains were essentially completely corroded iron. Analysis of the completely corroded sickle remains revealed that it was made of bloomery iron. It is suggested that the use of lead in the coins and tin in the lead sheet was due to economic constraints. Iron nails, although widespread, also indicate a preference for a cheaper metal than copper alloy. The lead isotope signature of the lead sheet indicates that the source of the ore was Greece or the Taurus Mountains, which may hint at the origin of the ship or her sailing routes. The ship was built during the period of the transition in ship construction from shell-first to frame-based. The reasons for this transition, which is a well-known process, have been explained only in abstract terms, such as economics, sociology and geography. The use of low-grade metals may be an example of economic pressure, and a specific explanation for the transition.

The Violinist (1920), the only sculpture made by Gargallo using lead sheet and wood, is being corroded by carbonation, most probably due to the organic vapours released by the wood inside, a material not chemically compatible with lead. Hydrogen plasma has been tested and proved to be an effective treatment meaning that the sculpture has to be dismantled in order to give the plasma gas access to the lead carbonate crusts on the inner surface of the lead sheet. Prior to dismantling, a complete exploration and diagnosis of this lead sculpture has been carried out through neutron imaging at the Paul Scherrer Institute. This non-destructive technique has produced different sets of images including radiography, tomography and 3D reconstruction. Despite the presence of a core made of an organic material such as wood, the digital processing of the images and their in depth visual analysis have yielded new three-dimensional information of inaccessible details of the sculpture, allowing us to assess its present state of conservation and the manufacturing technique and materials used by the artist. The results presented in this article highlight how information from neutron imaging can be of great value when it comes to set the strategies for future conservation treatment

In order to become a successful jazz musician, one has to learn how to read, interpret, and modify lead sheets. Improvising from a lead sheet is a unique performance skill that jazz musicians cultivate on a daily basis and perfect over a long period of time. A typical jazz lead sheet includes a single-line melody, chord symbols, and lyrics. Jazz lead sheets from reputable publishers contain relatively few mistakes. Jazz musicians have appropriated these tunes into their repertoire for obvious reasons: they are great songs written by composers who, above all, valued and understood the importance of a good melody. Their popularity among jazz musicians is probably the best testimony that great music never loses its appeal. Just as in decades past, when jazz musicians offered personal interpretations of these tunes, it is important to learn how to interpret lead sheets in a manner that convincingly expresses the nature, affect, and feel of the song.

The objective of this project is to evaluate the percentage dose reduction in cardiac implantable electronic devices (CIEDs) using a thermoplastic wrapped lead sheet. The dose to CIED is evaluated in various situations with and without a lead shield. The efficiency of this type of shielding is supported by measurements made with a commercial plastic scintillation detector (PSD). Percentage depth dose (PDD) curve and lateral dose measurements (LDMs) were made with and without shielding for photon and electron beams. Photon LDMs were made at a depth of 0.5 cm. PSD measurements were compared with dose calculation from the treatment planning system (TPS). The benefit of shielding is greater at 23 MV than at 6 MV, with an average reduction of 71% and 59% of dose, respectively, for out-of-field distance range between 3 and 15 cm. Measurement of posterior beams shows there is no significant increase in skin dose due to backscatter from the lead sheet even when the field intercepts it. Large deviations between TPS calculation and measurements have been observed. The use of lead shielding with an anterior field is advised and provides an easy way to decrease the cumulative dose to CIEDs. Interception of shielding by an electron beam would increase significantly the cumulative dose to CIED for high energies or decrease the quality of the treatment. For a posterior out-of-field, shielding does not have a significant impact on CIED dose.

Rani novi vijek je vrijeme brojnih promjena u svim sferama ljudske djelatnosti, pa tako i u brodogradnji. Ubrzane promjene u brodskoj konstrukciji koje su nastupile u ovom razdoblju rezultat su potrebe za stvaranjem plovila koje može izdržati mjesecima na moru tijekom prekooceanskih putovanja koja postaju čovjekova svakodnevnica. Veliki i komplicirani brodovi zahtijevaju nove vrste zaštite, a aplikacija olovnog lima na trup broda samo je jedna od njih. Ovaj rad pokušava razraditi problematiku upotrebe olova za zaštitu brodskog trupa, koja do sada nije bila obrađena u hrvatskoj arheološkoj literaturi. Prikupljanjem oskudnih podataka iz povijesnih izvora, dosadašnjih arheoloških istraživanja i informacija s lokaliteta, daje se osnovni uvid u svrhu ovakve zaštite, njezinu rasprostranjenost i tehniku izrade. Sve to poslužilo je kao podloga za analizu olovne obloge pronađene u uvali Suđurađ na otoku Šipanu, u kojoj je 1576. godine potonuo dubrovački brod Sv. Jerolim. The Early Modern Age is a time of change in the array of human activities, with shipbuilding being just one aspect. Transatlantic voyages became more frequent and a part of men's everyday lives. This resulted in accelerated changes in ship construction as a direct result of the need for a ship that could spend months at sea. The large and more complex vessels needed new types of protection against damage. The application of lead sheathing to the ships' hulls is just one in an assemblage of ways in which people tried to protect their ships. The goal of this thesis is to elaborate on the process of lead sheathing, a topic which until now has been seldom represented in the Croatian archaeological literature. The acquisition of sparse data from historical sources, former archaeological research and information from the field gives insights into the purpose, diffusion of sites and the production techniques of lead sheathing for the ships' hulls. The said discussion is the foundation for the study of the sheets of lead found at the Sv. Jerolim shipwreck in the Bay of Suđurađ on the Island of Šipan. The ship sank in the year 1576, and belonged to the Republic of Dubrovnik.

Jazz music is a genre that consists mainly of improvising over known tunes, represented as a lead sheet. This study addresses the question ‘to what extent does a lead sheet carry information about its composer?’ Primarily, this study considers chord progressions alone, and secondarily melodic and temporal information combined with various multiple viewpoint models. Using these classifiers, a novel subsequence selection algorithm is presented to trace stylistic similarities within a lead sheet. We conclude that composers can, to a reasonable extent, be recognized from their chord progressions, and that the consideration of melodic and temporal information improves classification accuracy by a small but statistically significant amount.

In this paper,for the precision of tension control affects the products quality and performance of the device. In the coiling process while the tension control of the lead plate coiling machine is not stable, it will cause uneven thickness of lead sheet, affect the winding quality of lead sheets, and impact electrolysis efficiency. In this paper, according to the requirements of electrolytic process and the lead sheet winder actual working process, designing a tension control system in order to improve the precision of tension control.

Wearing lead X-ray-protective aprons is a routine in nuclear medicine department in parts of China. However, the staff are often perplexed by questions such as if it is imperative to wear aprons when injecting radioactive drugs, how much radiation dosage can be shielded and if the apron will produce secondary radiation instead? To answer these questions, a semiconductor detector was employed to record different gamma and X-ray spectra with and without the lead apron or lead sheet. Then, we could estimate the signal shielding ratio to different photons for the lead apron and compare with the hospitals measured data. In general, the two results coincided well. The spectral results showed that the detrimental secondary X-rays irradiation rises when the energy of gamma rays exceeds the K absorption edge of lead (88 keV). Moreover, the aprons are not so effective for gamma rays of 364 keV emitted from 131I and 511 keV emitted from the positron radioactive nuclides. This work is purely a physical measurement in the laboratory. To the best of our knowledge, this is the first quantitative study on the level of gamma rays protection offered by the medical lead aprons and the importance of the spectroscopic measurements is discussed in this paper.

We present FlowComposer, a web application that helps users compose musical lead sheets, i.e. melodies with chord labels. FlowComposer integrates a constraint-based lead sheet generation tool in which the user retains full control over the generation process. Users specify the style of the lead sheet by selecting a corpus of existing lead sheets. The system then produces a complete lead sheet in that style, either from scratch, or from a partial lead sheet entered by the user. The generation algorithm is based on a graphical model that combines two Markov chains enriched by Regular constraints, representing the melody and its related chord sequence. The model is sampled using our recent result in efficient sampling of the Regular constraint. The paper reports on the design and deployment of FlowComposer as a web-service, part of an ecosystem of online tools for the creation of lead sheets. FlowComposer is currently used in professional musical productions, from which we collect and show a number of representative examples.

Interaction, Improvisation, and Interplay in Jazz. By Robert Hodson. New York: Routledge, 2007. [ix, 197 p. ISBN-10: 041597680-4; ISBN-13: 9780415976800. $95.] Music examples, bibliographical references, index. The present volume began as a Ph.D. dissertation, Interaction and Improvisation: Group Interplay in Jazz Performance (University of Wisconsin at Madison, 2000). Far from being an armchair academic, Hodson began his study with his observations and experiences as a jazz pianist in small groups. What he offers here is a rationale for including rhythm section musicians in analyses of jazz solos, a multilayered tool of analysis that may be applied to several classic small-group jazz recordings, and a definition (with a method inherent) in positive terms of what is "free jazz." In the opening chapter, "Jazz Improvisation," Hodson asks "what is the process of player interaction in jazz, and the role this interaction plays in generating improvised music" (p. 1). He observes that most analytic writing on jazz presents transcriptions of a soloist's improvisation with the accompaniment given in chord symbols. However, he rightfully points out that the soloist was playing with a rhythm section consisting of several musicians, usually a pianist, bassist, and drummer, sometimes a guitarist. The author demonstrates the necessity of taking a rhythm section member into account when analyzing a featured musician's solo with the example of Cannonball Adderley's alto saxophone solo from "Groovin' High" (from Adderley and Milt Jackson, Things Are Getting Better, Riverside RLP 12-286 [1958], LP). Near the end of his first solo chorus, the saxophonist appears to switch from a bebop style to a blues style. While acknowledging that Adderley may have had various reasons for doing so, Hodson argues that his abrupt switch in style was a response to pianist Wynton Kelly's flattening the third and thirteenth scale intervals of the prevailing chord, which suggest "blue notes" (pp. 8-9). To elaborate this point, the author shows in a transcribed music example how the two musicians continue to respond to each other during the beginning of the soloist's second chorus. The rest of the chapter is devoted to a careful explanation of the "musical roles and behaviors" of soloists and rhythm section members prevalent since 1944, much of which will be very familiar to veteran jazz readers, yet helpful to those new to the music. Later in the book, Hodson will refer to roles and behavior as "performance practice." The second chapter, "Harmony and Inter action," begins by noting that the harmonic chord progression as presented by a jazz ensemble during a performance may differ from the "lead sheet" rendering of melody and chord symbols that the musicians may be using (and on which many jazz analysts often rely). As Hodson poses the problem (p. 52): "What exactly are you analyzing when you analyze jazz harmony?" Sometimes what is analyzed is the chord progression provided by the lead sheet (which may differ from another lead sheet for the same jazz piece), or performances from recordings (which may be affected by changes in personnel and/or performing conditions). The author leads the reader to recognize that jazz harmony is not rigid, but ever subject to changes and little adjustments by the performing musicians to suit themselves and their immediate situation. Such recognition serves not as an ultimate answer, but instead as a momentary befuddlement as to what to do with such an open, flexible treatment of harmony by rhythm section members. Borrowing Noam Chomsky's linguistics concepts of deep, shallow, and surface structures from Cartesian Linguistics ([New York: Harper and Row, 1966], 32-33), Hodson fashions equivalent structures for jazz towards a three-level analytical tool. As he writes (p. 61): "I would therefore like to redefine the deep structure of jazz harmony as a simplified abstraction, a mental map or network that lies beneath the chord changes. …

En este trabajo se analizan tres inscripciones ibéricas procedentes del Castellar de Meca (Ayora, Valencia), todas ellas en escritura ibérica suroriental. Una, ya conocida, sobre cerámica pintada, que Pierre Paris llevó al Louvre a principios del siglo XX, y dos pequeñas inscripciones inéditas procedentes de una colección particular: un pequeño fragmento de lámina de plomo y un pequeño ostrakon de cerámica. Para la inscripción pintada, se propone una lectura alternativa más respetuosa con la paleografía del texto que la lectura tradicional. Por lo que respecta al texto de la lámina de plomo, aunque solo tiene tres signos, se pueden establecer claros paralelismos con la lámina de plomo del Llano de la Consolación (Montealegre del Castillo, Albacete). Finalmente, sin descartar otras opciones, el contenido del ostrakon podría ser de tipo metrológico. This paper analyses three south-eastern Iberian inscriptions from Castellar de Meca (Ayora, Valencia): the first is a painted inscription brought by Pierre Paris to the Louvre Museum in the early twentieth century; the others are two small unpublished inscriptions from a private collection: a small lead sheet and a small ceramic ostrakon. In the case of the painted inscription, we propose an alternative reading more respectful with the text palaeography. In the case of the text of the lead sheet, although it only contains three signs, clear parallels with the lead plaque of Llano de la Consolation (Montealegre del Castillo, Albacete) can be established. Finally, the meaning of the ostrakon text could be of metrological type. Este trabajo se ha realizado dentro del marco del proyecto del Ministerio de Economía y Competitividad HAR2013-41447-P “El Bronce Final y la Edad del Hierro en el Sureste y el Levante de la Península Ibérica: procesos hacia la urbanización” y de los proyectos FFI-2011-25113 y 2014SGR63.

En aquest treball s’estudia una petita làmina de plom obtinguda de les prospeccions superficials realitzades al jaciment de la Palma (l’Aldea), identificat amb el campament romà de finals del s. III aC anomenat Nova Classis a les fonts antigues. La làmina està molt fragmentada i presenta una inscripció ibèrica de només dos segments. Pel que fa al lèxic, cal destacar el segment bitiukin que encaixaria com a una nova variant d’un paradigma probablement verbal freqüent en textos sobre plom que s’havia detectat en la variant biteukin en el darrer plom de Monteró (Camarasa)., This paper studies a small sheet of lead from surface surveys conducted at the site of La Palma (L’Aldea), identified with the Roman encampment of the third century BC named Nova Classis by the ancient sources. The lead sheet is highly fragmented and presents an Iberian inscription of only two segments. As for the vocabulary, it has to be pointed out that the segment bitiukin fits as a new variant of a paradigm, probably verbal, common on lead sheets and that was also present in the biteukin variant in the last lead sheet from Monteró (Camarasa).

In Part 1 of this paper the microstructures generated in the Pb–Cu system at copper contents less than the eutectic content of 0·06 wt-% were studied for sheet produced both by the conventional method of rolling from heavy cast block and by a direct casting method without rolling. In Part 2 the mechanical properties associated with these microstructures are investigated and the mechanisms by which failure occurred are considered. Similar levels of tensile strength and thermal fatigue resistance are obtained but with lower tensile strain to fracture in the cast material. Both materials are considered satisfactory for use in flashing and roofing applications.MST/1465

A subroutine package, ANAAS, is presented, which contains lateral distribution of particles in air showers induced by protons or gamma rays and a prescription for estimating the incident energy of air showers observed with surface arrays. The lateral distributions have been constructed taking the detector response into account. Two detector structures are considered. One is to represent the most typical plastic scintillator detectors (3.5 cm under 0.1 cm steel) and the other is the same one with an additional lead sheet (0.5 cm) on the steel. The latter is being popularly used in arrays for high-energy gamma-ray point-sources observations.

Over the past few decades, the field of transcribing musical scores and arrangements has been strongly affected by both the computer and MIDI technology. This process has been greatly enhanced through the use of newer generations of computer software that makes it possible for music notation data to be entered into a computer either manually (by placing the notes onto the screen via keyboard or mouse movements), by direct MIDI input, or by sheet music scanning technology. Once entered, these notes can be edited in an on-screen environment that lets you change and configure a musical score or lead sheet using standard cut-and-paste editing techniques. In addition, most programs allow the score data to be played directly from the score by electronic instruments via MIDI. A final and important program feature is their ability to quickly print out hard copies of a score or lead sheets in a wide number of print formats and styles.

The facade of the church of the Pavia Charterhouse, built at the end of the 15th century, shows outstanding decorative features made of different stone materials, such as marbles, breccias and sandstones. Magnificent ornamental elements are made of thin lead sheets, and some marble slabs are inlaid with them. Metal elements are shaped in complex geometric and phytomorphic design, to form a Greek fret in black contrasting with the white Carrara marble. Lead pins were fixed to the back of the thin lead sheets with the aim of attaching the metal elements to the marble; in so doing the pins and the lead sheets constitute a single piece of metal. In some areas, lead elements have been lost, and they have been substituted with a black plaster, matching the colour of the metal. To the authors' knowledge, this kind of decorative technique is rare, and confirms the refinement of Renaissance Lombard architecture. This work reports on the results of an extensive survey of the white, orange and yellowish layers, which are present on the external surface of the lead. The thin lead sheets have been characterized and their state of conservation has been studied with the aid of Optical Microscopy, SEM-EDS, FTIR and Raman analyses. Lead sulphate, lead carbonates and oxides have been identified as decay products.

Thèse diffusée initialement dans le cadre d'un projet pilote des Presses de l'Université de Montréal/Centre d'édition numérique UdeM (1997-2008) avec l'autorisation de l'auteur.

The AAPM Task Group 51 (TG-51) recently published its protocol for clinical reference dosimetry of megavoltage radiation therapy. Explicit application of TG-51 to a high energy accelerator with electron capability requires the clinical physicist to have a 1 mm thick sheet of lead and a parallel plate chamber. Many clinical physicists have neither, therefore the authors have studied the impact of alternative measurement techniques on output calibration to solve this problem. Depth dose measurements with a lead sheet in the beam are required to determine the beam quality (kQ) by obtaining the %dd(10)/sub x/ (depth dose with electron contamination removed) for energies /spl ges/10 MV, TG-51 also states that a parallel plate chamber is recommended for electron calibration and is required for reference dosimetry for electron energies /spl les/6 MeV. To determine if these requirements are necessary, the Radiological Physics Center (RPC) made measurements on Varlan, GE, and Siemens units for 10 and 18 MV photons and 5-20 MeV electrons. The comparison of lead versus no lead revealed that the k/sub Q/ value, thus the calibration of the beam, will vary by no more than 0.2%. The comparison between a parallel plate and a cylindrical Farmer chamber showed no measurable difference in the calibration across the range of electron energies. Omission of the lead to determine k/sub Q/ and use of a cylindrical chamber for low electron energies have an insignificant effect on the calibration.

Milled lead sheet exhibits a recrystallised microstructure, the grain size of which decreases with increasing copper content; copper is present as particles of ~1–5μm in length, formed from the initial needles or plates of the cast billet by spheroidisation, or by particle break-up during rolling. A comparison of materials produced by several manufacturers indicates that the copper distribution and final grain size are dependent on the thermomechanical history of the sheet. Direct method sheet exhibits a cast cellular structure within grains which usually extend through the full thickness of the cast sheet; copper is present as a fine dispersion (particles ~0·5 μm dia.) at cell boundaries. The copper distribution in both materials was stable with prolonged heating (100 h at 200°C), but some grain growth occurred in the milled sheet. It was not possible to obtain a fully dispersed eutectic microstructure at the eutectic composition; primary lead dendrites (or cells) were always present. This is tho...

Introduction Lead sheet has made a comeback during the last few years. Over 90,000 tonnes of lead sheet was used for roofing, cladding and flashing applications during 1987 — the highest quantity ever known to be used in a year in the UK. Flashings and weatherings account for over 75 per cent of the tonnage, the balance being used for re‐roofing old or historic buildings and roofing and cladding for new buildings.

The production of continuously cast thin lead sheet at Cominco's Product Research Centre at Sheridan Park, Ontario is described.The immersion-drum casting machine costing less than $100,000 produces cast lead sheet 3' .feet wide and in gauges from 1/2 lb/ft2 (0.008 inch) to over 3 lb/ft2 (0.048 .inch) at a casting rate as high as 10 tons per hour. Casting parameters for sheet between these limits are discussed and illustrated.The low machine cost and high production rate result in more economical production of lead sheet than is possible by conventional rolling, particularly in the lighter gauges, and is enhancing the development of new uses and the expansion of existing uses for lead sheet. An outstanding example is the growing acceptance of lead sheet for the control of noise in offices and apartments. Resume Les auteurs decrivent la fabrication de tole fine de plomb, par coulee continue, au Centre de Recherche Cominco sur les produits, a Sheridan Park, Ontario.La machine de coulee a cylindre i...