Die Journal Article Tag Suite ist ein XML-Standard zum Auszeichnen von wissenschaftlichen Artikeln. Sie besteht derzeit aus drei Tag-Sets, die unterschiedlich einschränkend hinsichtlich der möglichen Auszeichnung von Inhalten sind: Journal Archiving and Interchange, Journal Publishing und Article Authoring. Die Tag-Sets lassen sich von den Nutzer*innen den eigenen Bedürfnissen anpassen. Es können nicht benötigte Elemente und Attribute entfernt und neue Elemente und Attribute hinzugefügt werden. Doch gerade diese Flexibilität birgt auch Probleme: Zum einen leidet durch die individuelle Anpassung der Tag-Sets die Austauschbarkeit der Daten, zum anderen führen Tag-/Attribut-Wünsche, die, gerade in Bezug auf die Übernahme von Grün nach Blau, an das JATS-Komitee herangetragen und realisiert werden, dazu, dass das blaue Tag-Set immer mehr dem grünen Set gleicht. Das Ziel dieser Arbeit ist es, durch die Analyse verschiedener Customizings der JATS-Community ein Konsens-Customizing JATS Blue Lite zu definieren, welches 90 Prozent der betrachteten Customizings abdeckt, aber nur 60 Prozent des ursprünglichen blauen Tag-Sets enthält. JATS Blue Lite soll restriktiver sein als das bestehende blaue Tag-Set und einen größeren Unterschied zum bestehenden grünen Tag-Set aufweisen. Auf Basis der Analyse wurden zwei Customizations naive minimal und minimal definiert, die weniger Elemente und Attribute enthalten als das bestehende blaue Tag-Set und trotzdem die Customizings der Community ähnlich gut abdecken.:1 EINLEITUNG 1.1 PROBLEMSTELLUNG UND ZIEL DER ARBEIT 1.2 AUFBAU DER ARBEIT UND METHODISCHES VORGEHEN 2 DIE JOURNAL ARTICLE TAG SUITE (JATS) 2.1 DIE ENTSTEHUNG DER JOURNAL ARTICLE TAG SUITE (JATS) 2.1.1 Die PubMed Central DTD 2.1.2 Die erste Version 2.1.3 Die zweite Version 2.1.4 Die dritte Version und die Beteiligung der National Standards Organization (NISO) 2.1.5 Die NISO-Standards 2.1.6 Der aktuelle Standard 2.2 DIE TAG-SETS DER JOURNAL ARTICLE TAG SUITE (JATS) 2.2.1 Journal Archiving and Interchange 2.2.2 Journal Publishing 2.2.3 Article Authoring 2.3 DER VERGLEICH DER DREI TAG SETS 2.3.1 Der Unterschied zwischen Journal Publishing und Journal Archiving and Interchange 2.3.2 Der Unterschied zwischen Journal Publishing und Article Authoring 2.4 DIE STRUKTUR DER TAG SETS 2.4.1 Elemente 2.4.1.1 front 2.4.1.2 body 2.4.1.3 back 2.4.2 Attribute 2.4.3 Strukturformate 2.5 CUSTOMIZABILITY 2.5.1 Anpassen der bestehenden Tag-Sets 2.5.1.1 Beispiele 2.5.2 Kompatibilität mit JATS 2.5.3 Vorteile des Subsettings 3 ADÄQUATHEIT EINES CUSTOMIZINGS 3.1 DEFINITION 3.2 ENTWICKLUNG EINER METRIK ZUR MESSUNG DER ADÄQUATHEIT EINES CUSTOMIZINGS 3.2.1 Vorüberlegungen 3.2.2 Der erste Ansatz 3.2.3 Der zweite Ansatz 3.2.4 Der dritte Ansatz 3.2.5 Der vierte Ansatz 3.2.6 Der fünfte Ansatz und die finale Metrik 4 DIE CUSTOMIZING-ANALYSE 4.1 DIE DATENSAMMLUNG 4.2 DIE DATENANALYSE 4.2.1 Die Analyse-Werkzeuge 4.2.2 Anpassungen der Analyse 4.3 DATENAUSWERTUNG 4.3.1 Die Nutzung der Journal Article Tag Suite 4.3.2 Definition eines Konsens-Customizings JATS Blue Lite 4.3.3 Eignung der Konsens-Customizings 4.3.4 Kritik 5 FAZIT 5.1 ZUSAMMENFASSUNG 5.2 AUSBLICK

A history of the evolution of dance music throughout time and the instruments used for each type of dance.

Pang, Pui Ling. / Thesis submitted in: October 2008. / Thesis (M.Mus.)--Chinese University of Hong Kong, 2009. / Includes bibliographical references (leaves 154-169). / Abstracts in English and Chinese. / Chapter Chapter 1 --- Grasping Genre --- p.1 / Purpose and Outline of Study --- p.1 / The Concept of Genre --- p.3 / Classic View --- p.5 / Recent Views --- p.12 / Contemporary Study of Genre in Music --- p.15 / Historical Study of Genre --- p.16 / Hermeneutic Study of Genre --- p.18 / Study of the Serenade as a Musical Genre --- p.19 / Chapter Chapter 2 --- The History of Serenade to the End of the Eighteenth Century --- p.21 / The Origin of Serenade --- p.21 / Early Serenades and the Vocal Tradition --- p.26 / Emergence of Instrumental Serenades --- p.30 / Serenades and Related Genres in the Eighteenth Century --- p.34 / Mozart 's Serenades --- p.41 / Chapter Chapter 3 --- "Intellectual, Social, and Stylistic Backgrounds" --- p.48 / Contextual Changes at the Turn of the Nineteenth Century --- p.48 / Serenades in the Early Nineteenth Century --- p.55 / Chamber Serenades --- p.55 / Serenades by Leading Composers of the Period --- p.57 / Serenades in the Operas --- p.65 / Chapter Chapter 4 --- Brahms's Serenades --- p.69 / Compositional Background --- p.69 / Music Analysis --- p.82 / "Serenade in D Major, op. II" --- p.83 / "Serenade in A Major, op. 16" --- p.92 / Brahms's Borrowings --- p.98 / Instrumentation and Tonal Plan --- p.100 / Early Reception --- p.103 / Chapter Chapter 5 --- Serenades in the Late Nineteenth Century --- p.109 / Serenades for Orchestra --- p.110 / Volkmann and His String Serenades --- p.113 / "String Serenades of Dvorak, Tchaikovsky, Suk，and Elgar" --- p.118 / "Dvorak's Wind Serenade in D Minor, op. 44" --- p.123 / Serenade as a “Miniaturéح Symphony --- p.125 / Other Serenades --- p.130 / Single-movement Serenades for Orchestra --- p.131 / Serenades for Chamber Ensemble --- p.133 / Serenades for Solo Piano --- p.135 / Chapter Chapter 6 --- Grasping the Elusive Serenade --- p.139 / The History of the Serenade Revisited --- p.139 / Brahmśةs Role in Shaping the Serenade --- p.141 / Brahms's Invitation to Form --- p.143 / The Generic Web --- p.144 / Appendix Serenades in the Late Nineteenth Century --- p.147 / Bibliography --- p.154

No description available.

Cette thèse porte sur les irrégularités de distribution de suites à une ou plusieurs dimensions et sur leurs applications a l'intégration numérique. Elle comprend trois parties. La première partie est consacrée aux suites unidimensionnelles : estimations de la diaphonie de la suite de Van der Corput à partir de l'étude des sommes exponentielles et étude des suites (n). La deuxième partie porte sur quelques suites classiques en dimension plus grande que une (suites de Fame, suites de Halton). La troisième partie, consacrée aux applications à l'intégration contient de nombreux résultats numériques, permettant de comparer l'efficacité de suites.

No description available.

There is often difficulty in determining the most desirable medium to be used in the composition of music. After careful consideration, the writer chose the medium of piano to present the following musical composition. In the initial investigations, it appeared that the vocal idiom might provide a more suitable choice. However, piano teaching rather than work in the vocal field will probably consume a greater part of the writer's time in the future. The writing of a piano composition, then, appeared to be a justifiable decision.

Com a elaboração deste trabalho pretende-se demonstrar o ressurgimento da suíte em meados do século XIX e posterior aplicação no inicio do século XX, a partir da suíte para cravo do século XVIII. Procurou-se verificar a influência formal e estilística do gênero barroco nas escolas posteriores, além do papel fundamental da suíte revisitada, como peças referenciais no repertório pianístico. Contextualização histórica e sócio-cultural da forma e do estilo em questão, bem como, da importância desse gênero para o repertório romântico e suas influencias nas escolas posteriores. Comparação formal e estilística entre a suíte barroca e a suíte da segunda metade do século XIX e inicio do século XX e, ainda, análise com finalidade ilustrativa de obras do gênero. A suíte da segunda metade do século XIX e inicio do século XX teve papel fundamental no rompimento, por parte dos compositores das escolas nacionalistas, com os paradigmas da música alemã do período em questão. / With the development of this work is intended to demonstrate the resurgence of the suite in mid-nineteenth century and subsequent implementation at the beginning of the twentieth century, from the suite for harpsichord of the eighteenth century. Tried to verify the formal and stylistic influence of gender in baroque schools later, and the role of the suite revisited, as reference pieces in the pianist repertoire. Historical background and socio-cultural fashion and style in question, as well as the importance in this kind for the Romantic repertoire and their influences in schools later. Formal and stylistic comparison between the Baroque suite and the suite of the second half of the nineteenth and early twentieth century, and also illustrative analysis with works of the genre. The suite of the second half of the nineteenth and early twentieth century played a key role in the disruption, by the nationalist composers, with the paradigms in German music.

Recursive Inter-Network Architecture (RINA) networks have a shorter protocol stack than the current architecture (the Internet) and rely instead upon separation of mech- anism from policy and recursive deployment to achieve large scale networks. Due to this smaller protocol stack, fewer networking mechanisms, security or otherwise, should be needed to secure RINA networks. This thesis examines the security proto- cols included in the Internet Protocol Suite that are commonly deployed on existing networks and shows that because of the design principles of the current architecture, these protocols are forced to include many redundant non-security mechanisms and that as a consequence, RINA networks can deliver the same security services with substantially less complexity.

abstract: This research paper is a study of Sergei Taneyev’s Concert Suite for Violin and Orchestra, Op. 28 and includes Taneyev’s biography, a brief musical analysis which benefits the interpretation, and performance suggestions from the perspective of a concert violinist. The purpose of this paper is to enable performers to achieve a better understanding of this artwork and make informed musical choices. Sergei Ivanovich Taneyev (1856-1915) was a Russian composer. As a composition pupil of Tchaikovsky, and a teacher of Scriabin, Rachmaninoff, Lyapunov, and Glière, Taneyev is an important figure in Russian music. His compositions include operas, symphonies, chamber music, songs, and piano music. Taneyev’s style was influenced by Bach, Handel, Mozart, Glinka, Tchaikovsky, Wagner and various European composers. His cosmopolitan style, and wide-ranging compositional interests do not easily lend themselves generalization. This difficulty in categorizing his music along with his self-criticism and aversion to self-promotion, contribute to his lack of recognition when compared with his contemporaries. The Concert Suite for Violin and Orchestra, composed six years before his death, is his only work for Violin and Orchestra and was his last large composition. This work is cast in an unusual five-movement structure and embodies various brilliant violin techniques and rich Romantic-era harmonies. Taneyev’s interests in “old fashioned” style and folk music are evidenced by some of the movements titled “Prelude,” “Gavotte,” and “Theme and Variation” which contains a double fugue. He also utilizes folk dances such as the mazurka and tarantella. This performance guide provides practical interpretational advice based on an analysis of harmony, form and structural divisions, stylistic considerations and violin techniques. A brilliant and charming work, it has sadly been neglected. Through the study and performance of this piece, the author hopes to provide performers with useful information that enables more musicians to know and enjoy this valuable masterwork. / Dissertation/Thesis / Doctoral Dissertation Music 2019