mv: 'input-file.zip' and './input-file.zip' are the same file Creating study carrel named jazzGuitar-from-scholar Initializing database Unzipping Archive: input-file.zip creating: ./tmp/input/jazzGuitar-from-scholar/ inflating: ./tmp/input/jazzGuitar-from-scholar/work_qjjc6yhjvzevtjxnb7zmhhog2a.pdf inflating: ./tmp/input/jazzGuitar-from-scholar/work_sqtz6bndpff3za5medjcaubcny.pdf inflating: ./tmp/input/jazzGuitar-from-scholar/work_nmdql4t6lrftpakrspxqw4pg34.pdf inflating: ./tmp/input/jazzGuitar-from-scholar/work_4wowkjn36rfnrfnsjdqnwgxdeq.pdf inflating: ./tmp/input/jazzGuitar-from-scholar/work_nelbnukmyvcdtefv2mhbqaouga.pdf inflating: ./tmp/input/jazzGuitar-from-scholar/work_6r5fds5lfbdzfilb4szygi5gyq.pdf inflating: ./tmp/input/jazzGuitar-from-scholar/work_wi5cuuu54nejjhcn7pduan4cgq.pdf inflating: ./tmp/input/jazzGuitar-from-scholar/work_d3f7mu4mfvf27lv2p7esonhttq.pdf inflating: ./tmp/input/jazzGuitar-from-scholar/work_qauxvqzy35eszi54ysadvjqyjq.pdf inflating: ./tmp/input/jazzGuitar-from-scholar/work_45wy3fczjvc5fj53ll2knwbjv4.pdf inflating: ./tmp/input/jazzGuitar-from-scholar/work_4zym37jx4jfhzm2c5o7gcjfgju.pdf inflating: ./tmp/input/jazzGuitar-from-scholar/work_lj4morx7efgh3k6u7fksenrtt4.pdf inflating: ./tmp/input/jazzGuitar-from-scholar/work_2ip4tri33vfdbfxs5spwnrl2ji.pdf inflating: ./tmp/input/jazzGuitar-from-scholar/work_hva5pdphhrbydk3nvicjlouzga.pdf inflating: ./tmp/input/jazzGuitar-from-scholar/work_cagg2iehrvacpijnsx55uocaje.pdf inflating: ./tmp/input/jazzGuitar-from-scholar/work_dqbaol2l6nfrlmygths4vqk47m.pdf inflating: ./tmp/input/jazzGuitar-from-scholar/work_2wjesbfzfnh2ho7fa5l64wnk4e.pdf inflating: ./tmp/input/jazzGuitar-from-scholar/work_lrrbivovsbbrnpvkf2jtxxpvgi.pdf inflating: ./tmp/input/jazzGuitar-from-scholar/work_b7qrowue6naevdorm5cfvertoi.pdf inflating: ./tmp/input/jazzGuitar-from-scholar/work_hcnsckvh2bfjdp7sjhdkehu5na.pdf inflating: ./tmp/input/jazzGuitar-from-scholar/work_ehzscqefgndlzb4imawdl6krum.pdf inflating: ./tmp/input/jazzGuitar-from-scholar/work_ukxdgneatbhmzin4vjoqgafwhi.pdf inflating: ./tmp/input/jazzGuitar-from-scholar/work_l6yr6hunf5atnl3tqjan3dvy64.pdf inflating: ./tmp/input/jazzGuitar-from-scholar/work_jeaea5yzlnbyvnymnnngmzvjti.pdf inflating: ./tmp/input/jazzGuitar-from-scholar/work_xmwqoqkdhvhafjd3iibwtv4hbe.pdf inflating: ./tmp/input/jazzGuitar-from-scholar/work_kjij7pfoonfqzc3h2zbgjvbfpq.pdf inflating: ./tmp/input/jazzGuitar-from-scholar/work_7shefhbpyvf7pabtdlj52nvgaa.pdf inflating: ./tmp/input/jazzGuitar-from-scholar/work_v6xbsimt7ngf5a53ch3akhhzoy.pdf inflating: ./tmp/input/jazzGuitar-from-scholar/metadata.csv inflating: ./tmp/input/jazzGuitar-from-scholar/work_rua4bqbs7bagzh3e26qn2rmjea.pdf inflating: ./tmp/input/jazzGuitar-from-scholar/work_kfjoci7bjndhbjd2duhx3qx4n4.pdf inflating: ./tmp/input/jazzGuitar-from-scholar/work_naabgn6aujg3dd2lsn63lwchji.pdf inflating: ./tmp/input/jazzGuitar-from-scholar/work_5u3r7cajqbbivoevkhhea6ncgy.pdf inflating: ./tmp/input/jazzGuitar-from-scholar/work_lzcrk6hbjbhdtdgn6megkb77ay.pdf inflating: ./tmp/input/jazzGuitar-from-scholar/work_snruknwrzbaupasn7skiaqlh4i.pdf inflating: ./tmp/input/jazzGuitar-from-scholar/work_liud7tkplbabjku3d6qh7i4fnm.pdf inflating: ./tmp/input/jazzGuitar-from-scholar/work_oj3i6sisevakrbeq5alp5zzsha.pdf inflating: ./tmp/input/jazzGuitar-from-scholar/work_53x2t22auffgxhyvfxvcwrttgu.pdf inflating: ./tmp/input/jazzGuitar-from-scholar/work_7cgwg2vh6fdkdmgm2mqp5ykvji.pdf inflating: ./tmp/input/jazzGuitar-from-scholar/work_cxoqb4uja5ctrhdxq764cqjxuq.pdf inflating: ./tmp/input/jazzGuitar-from-scholar/work_qdwasdkqmfhp3iyf52e6gajumu.pdf inflating: ./tmp/input/jazzGuitar-from-scholar/work_7bbjlq5xyfaglhzelefr2g7ism.pdf inflating: ./tmp/input/jazzGuitar-from-scholar/work_jjcsitw7trfdtk4gsf6unluy2u.pdf caution: excluded filename not matched: *MACOSX* === updating bibliographic database Building study carrel named jazzGuitar-from-scholar Apr 05, 2021 9:13:55 PM org.apache.tika.config.InitializableProblemHandler$3 handleInitializableProblem WARNING: J2KImageReader not loaded. JPEG2000 files will not be processed. See https://pdfbox.apache.org/2.0/dependencies.html#jai-image-io for optional dependencies. Apr 05, 2021 9:13:55 PM org.apache.tika.config.InitializableProblemHandler$3 handleInitializableProblem WARNING: Tesseract OCR is installed and will be automatically applied to image files unless you've excluded the TesseractOCRParser from the default parser. Tesseract may dramatically slow down content extraction (TIKA-2359). As of Tika 1.15 (and prior versions), Tesseract is automatically called. In future versions of Tika, users may need to turn the TesseractOCRParser on via TikaConfig. Apr 05, 2021 9:13:55 PM org.apache.tika.config.InitializableProblemHandler$3 handleInitializableProblem WARNING: org.xerial's sqlite-jdbc is not loaded. Please provide the jar on your classpath to parse sqlite files. See tika-parsers/pom.xml for the correct version. INFO Starting Apache Tika 1.24.1 server INFO Setting the server's publish address to be http://localhost:9998/ INFO Logging initialized @3826ms to org.eclipse.jetty.util.log.Slf4jLog INFO jetty-9.4.27.v20200227; built: 2020-02-27T18:37:21.340Z; git: a304fd9f351f337e7c0e2a7c28878dd536149c6c; jvm 1.8.0_281-b09 INFO Started ServerConnector@3e74829{HTTP/1.1, (http/1.1)}{localhost:9998} INFO Started @3973ms WARN Empty contextPath INFO Started o.e.j.s.h.ContextHandler@31ff43be{/,null,AVAILABLE} INFO Started Apache Tika server at http://localhost:9998/ INFO rmeta/text (autodetecting type) INFO rmeta/text (autodetecting type) INFO rmeta/text (autodetecting type) INFO rmeta/text (autodetecting type) INFO rmeta/text (autodetecting type) INFO rmeta/text (autodetecting type) INFO rmeta/text (autodetecting type) INFO rmeta/text (autodetecting type) INFO rmeta/text (autodetecting type) INFO rmeta/text (autodetecting type) INFO rmeta/text (autodetecting type) INFO rmeta/text (autodetecting type) INFO rmeta/text (autodetecting type) INFO rmeta/text (autodetecting type) INFO rmeta/text (autodetecting type) INFO rmeta/text (autodetecting type) INFO rmeta/text (autodetecting type) INFO rmeta/text (autodetecting type) INFO rmeta/text (autodetecting type) INFO rmeta/text (autodetecting type) INFO rmeta/text (autodetecting type) INFO rmeta/text (autodetecting type) INFO rmeta/text (autodetecting type) INFO rmeta/text (autodetecting type) INFO rmeta/text (autodetecting type) INFO rmeta/text (autodetecting type) INFO rmeta/text (autodetecting type) INFO rmeta/text (autodetecting type) INFO rmeta/text (autodetecting type) INFO rmeta/text (autodetecting type) INFO rmeta/text (autodetecting type) INFO rmeta/text (autodetecting type) INFO rmeta/text (autodetecting type) INFO rmeta/text (autodetecting type) INFO rmeta/text (autodetecting type) INFO rmeta/text (autodetecting type) INFO rmeta/text (autodetecting type) INFO rmeta/text (autodetecting type) INFO rmeta/text (autodetecting type) INFO rmeta/text (autodetecting type) INFO rmeta/text (autodetecting type) INFO rmeta/text (autodetecting type) FILE: cache/work_nmdql4t6lrftpakrspxqw4pg34.pdf OUTPUT: txt/work_nmdql4t6lrftpakrspxqw4pg34.txt FILE: cache/work_hva5pdphhrbydk3nvicjlouzga.pdf OUTPUT: txt/work_hva5pdphhrbydk3nvicjlouzga.txt FILE: cache/work_lj4morx7efgh3k6u7fksenrtt4.pdf OUTPUT: txt/work_lj4morx7efgh3k6u7fksenrtt4.txt FILE: cache/work_2wjesbfzfnh2ho7fa5l64wnk4e.pdf OUTPUT: txt/work_2wjesbfzfnh2ho7fa5l64wnk4e.txt WARN Using fallback font 'LiberationSans' for 'TimesNewRomanPSMT' WARN Using fallback font 'LiberationSerif' for 'TimesNewRomanPSMT' WARN Using fallback font 'LiberationSerif-BoldItalic' for 'BookAntiqua,BoldItalic' WARN Using fallback font LiberationSans for base font Symbol WARN Using fallback font 'LiberationSerif-Italic' for 'TimesNewRomanPS-ItalicMT' WARN Using fallback font LiberationSans for base font ZapfDingbats WARN Using fallback font LiberationSans for Symbol WARN Using fallback font 'LiberationSans-Bold' for 'TimesNewRomanPS-BoldItalicMT' WARN No Unicode mapping for CID+75 (75) in font TimesNewRomanPSMT-Identity-H WARN No Unicode mapping for CID+76 (76) in font TimesNewRomanPSMT-Identity-H WARN No Unicode mapping for CID+86 (86) in font TimesNewRomanPSMT-Identity-H WARN No Unicode mapping for CID+3 (3) in font TimesNewRomanPSMT-Identity-H WARN No Unicode mapping for CID+82 (82) in font TimesNewRomanPSMT-Identity-H WARN No Unicode mapping for CID+90 (90) in font TimesNewRomanPSMT-Identity-H WARN No Unicode mapping for CID+81 (81) in font TimesNewRomanPSMT-Identity-H WARN No Unicode mapping for CID+72 (72) in font TimesNewRomanPSMT-Identity-H WARN No Unicode mapping for CID+77 (77) in font TimesNewRomanPSMT-Identity-H WARN No Unicode mapping for CID+92 (92) in font TimesNewRomanPSMT-Identity-H WARN No Unicode mapping for CID+80 (80) in font TimesNewRomanPSMT-Identity-H WARN No Unicode mapping for CID+87 (87) in font TimesNewRomanPSMT-Identity-H WARN No Unicode mapping for CID+70 (70) in font TimesNewRomanPSMT-Identity-H WARN No Unicode mapping for CID+69 (69) in font TimesNewRomanPSMT-Identity-H WARN No Unicode mapping for CID+88 (88) in font TimesNewRomanPSMT-Identity-H WARN No Unicode mapping for CID+74 (74) in font TimesNewRomanPSMT-Identity-H WARN No Unicode mapping for CID+191 (191) in font TimesNewRomanPSMT-Identity-H WARN No Unicode mapping for CID+85 (85) in font TimesNewRomanPSMT-Identity-H WARN Using fallback font 'LiberationSans-Bold' for 'TimesNewRomanPS-BoldMT' WARN No Unicode mapping for H11032 (2) in font BLPDHM+MathematicalPi-One WARN No Unicode mapping for CID+83 (83) in font TimesNewRomanPSMT-Identity-H WARN No Unicode mapping for CID+15 (15) in font TimesNewRomanPSMT-Identity-H WARN No Unicode mapping for CID+79 (79) in font TimesNewRomanPSMT-Identity-H WARN No Unicode mapping for CID+68 (68) in font TimesNewRomanPSMT-Identity-H WARN No Unicode mapping for CID+71 (71) in font TimesNewRomanPSMT-Identity-H WARN No Unicode mapping for CID+48 (48) in font TimesNewRomanPSMT-Identity-H WARN No Unicode mapping for C211 (2) in font MFCLPO+AdvPSSym WARN No Unicode mapping for toplig (2) in font BLPDIO+Times-PhoneticIPA WARN Using fallback font 'LiberationSerif-Bold' for 'TimesNewRomanPS-BoldMT' WARN Using fallback font 'LiberationSerif-Italic' for 'TimesNewRomanPS-ItalicMT' WARN Using fallback font 'LiberationSerif' for 'TimesNewRomanPSMT' WARN Using fallback font 'LiberationSerif-Bold' for 'BookAntiqua,Bold' WARN Using fallback font 'LiberationSans-BoldItalic' for 'ArialNarrow,BoldItalic' WARN No Unicode mapping for H12331 (2) in font BLPDLA+Universal-NewswithCommPi WARN Using fallback font 'LiberationSans' for 'TimesNewRomanPS-ItalicMT' WARN No Unicode mapping for CID+182 (182) in font TimesNewRomanPSMT-Identity-H WARN No Unicode mapping for CID+178 (178) in font TimesNewRomanPSMT-Identity-H WARN Using fallback font 'LiberationSerif' for 'TimesNewRomanPSMT' WARN Using fallback font 'LiberationSerif-Italic' for 'TimesNewRomanPS-ItalicMT' WARN Using fallback font 'LiberationSerif-Bold' for 'TimesNewRomanPS-BoldMT' WARN Using fallback font 'LiberationSerif-Italic' for 'BookAntiqua,Italic' FILE: cache/work_qdwasdkqmfhp3iyf52e6gajumu.pdf OUTPUT: txt/work_qdwasdkqmfhp3iyf52e6gajumu.txt WARN Using fallback font 'LiberationSerif' for 'TimesNewRomanPSMT' WARN Invalid ToUnicode CMap in font ZRSVUA+OpusChords WARN Invalid ToUnicode CMap in font MJTYCZ+Opus WARN Using fallback font 'LiberationSerif-Italic' for 'TimesNewRomanPS-ItalicMT' WARN Invalid ToUnicode CMap in font MJTYCZ+OpusSpecial WARN Using fallback font 'LiberationSerif' for 'TimesNewRomanPSMT' FILE: cache/work_7shefhbpyvf7pabtdlj52nvgaa.pdf OUTPUT: txt/work_7shefhbpyvf7pabtdlj52nvgaa.txt WARN No Unicode mapping for flat (91) in font IOQMSE+CMMI12 WARN Using fallback font 'LiberationSerif-Bold' for 'TimesNewRomanPS-BoldMT' WARN No Unicode mapping for H11032 (1) in font PKKPIF+Universal-GreekwithMathPi WARN No Unicode mapping for C0 (2) in font MFDFNF+AdvP4C4E74 WARN No Unicode mapping for C8 (3) in font MFDFNF+AdvP4C4E74 WARN No Unicode mapping for flat (91) in font PTVPSS+CMMI8 WARN Using fallback font 'LiberationSerif' for 'TimesNewRomanPSMT' WARN Using fallback font 'LiberationSerif-Bold' for 'TimesNewRomanPS-BoldMT' WARN Using fallback font 'LiberationSerif' for 'TimesNewRomanPSMT' WARN Using fallback font 'LiberationSerif-Bold' for 'TimesNewRomanPS-BoldMT' WARN Using fallback font 'LiberationSerif-Italic' for 'TimesNewRomanPS-ItalicMT' FILE: cache/work_4wowkjn36rfnrfnsjdqnwgxdeq.pdf OUTPUT: txt/work_4wowkjn36rfnrfnsjdqnwgxdeq.txt WARN No Unicode mapping for C24 (4) in font MFDFNF+AdvP4C4E74 WARN No Unicode mapping for x88 (136) in font F9 WARN Using fallback font 'LiberationSerif' for 'TimesNewRomanPSMT' FILE: cache/work_kfjoci7bjndhbjd2duhx3qx4n4.pdf OUTPUT: txt/work_kfjoci7bjndhbjd2duhx3qx4n4.txt WARN Using fallback font 'LiberationSerif-Bold' for 'TimesNewRomanMTExtraBold,Bold' WARN Using fallback font 'LiberationSerif-Italic' for 'TimesNewRomanPS-ItalicMT' WARN No Unicode mapping for H11021 (2) in font PKKPIF+Universal-GreekwithMathPi WARN No Unicode mapping for H11005 (3) in font PKKPIF+Universal-GreekwithMathPi WARN Using fallback font 'LiberationSerif' for 'TimesNewRomanPSMT' WARN No Unicode mapping for summationdisplay (88) in font BEVLEX+CMEX10 WARN Using fallback font 'LiberationSerif-Italic' for 'TimesNewRomanPS-ItalicMT' WARN Using fallback font 'LiberationSerif' for 'CenturySchoolbook' WARN Using fallback font 'LiberationSerif-Bold' for 'LetterGothicMT,Bold' WARN No Unicode mapping for H9262 (4) in font PKKPIF+Universal-GreekwithMathPi WARN No Unicode mapping for sharp (35) in font KAAAME+Sonata FILE: cache/work_cagg2iehrvacpijnsx55uocaje.pdf OUTPUT: txt/work_cagg2iehrvacpijnsx55uocaje.txt FILE: cache/work_oj3i6sisevakrbeq5alp5zzsha.pdf OUTPUT: txt/work_oj3i6sisevakrbeq5alp5zzsha.txt WARN Using fallback font 'LiberationSerif' for 'TimesNewRomanPSMT' WARN Using fallback font 'LiberationSerif-Italic' for 'TimesNewRomanPS-ItalicMT' WARN No Unicode mapping for CID+32 (32) in font BCDGEE+BaskOldFace WARN No Unicode mapping for H9257 (5) in font PKKPIF+Universal-GreekwithMathPi WARN Using fallback font 'LiberationSerif' for 'TimesNewRomanPSMT' WARN Using fallback font 'LiberationSerif-Italic' for 'TimesNewRomanPS-ItalicMT' WARN Using fallback font 'LiberationSerif-Bold' for 'TimesNewRomanPS-BoldMT' FILE: cache/work_xmwqoqkdhvhafjd3iibwtv4hbe.pdf OUTPUT: txt/work_xmwqoqkdhvhafjd3iibwtv4hbe.txt WARN Using fallback font 'LiberationSerif-Italic' for 'CenturySchoolbook,Italic' WARN Using fallback font 'LiberationSerif' for 'TimesNewRomanPSMT' WARN Using fallback font 'LiberationSerif' for 'TimesNewRomanPSMT' FILE: cache/work_rua4bqbs7bagzh3e26qn2rmjea.pdf OUTPUT: txt/work_rua4bqbs7bagzh3e26qn2rmjea.txt WARN Invalid ToUnicode CMap in font FPFKSB+Opus WARN Invalid ToUnicode CMap in font XADORR+Opus WARN Invalid ToUnicode CMap in font OHYDFA+Opus FILE: cache/work_7cgwg2vh6fdkdmgm2mqp5ykvji.pdf OUTPUT: txt/work_7cgwg2vh6fdkdmgm2mqp5ykvji.txt WARN Invalid ToUnicode CMap in font LXFYZD+Opus WARN Using fallback font LiberationSans for Symbol WARN Using fallback font 'LiberationSerif' for 'TimesNewRomanPSMT' WARN Using fallback font 'LiberationSerif-Bold' for 'TimesNewRomanPS-BoldMT' WARN Using fallback font 'LiberationSerif' for 'TimesNewRomanPSMT' WARN Using fallback font 'LiberationSerif-Bold' for 'TimesNewRomanPS-BoldMT' WARN Using fallback font 'LiberationSerif-BoldItalic' for 'TimesNewRomanPS-BoldItalicMT' WARN Using fallback font 'LiberationSerif' for 'TimesNewRomanPSMT' WARN Using fallback font 'LiberationSerif-Italic' for 'TimesNewRomanPS-ItalicMT' FILE: cache/work_jjcsitw7trfdtk4gsf6unluy2u.pdf OUTPUT: txt/work_jjcsitw7trfdtk4gsf6unluy2u.txt WARN Using fallback font 'LiberationSerif' for 'TimesNewRomanPSMT' WARN Using fallback font 'LiberationSerif-Italic' for 'TimesNewRomanPS-ItalicMT' WARN Using fallback font 'LiberationSerif-Bold' for 'TimesNewRomanPS-BoldMT' WARN Invalid ToUnicode CMap in font OQOAFK+Opus WARN No Unicode mapping for greaterorequalslant (62) in font APUZFZ+MSAM10 WARN No Unicode mapping for summationtext (80) in font IXNPPI+CMEX10 WARN Using fallback font 'LiberationSerif' for 'TimesNewRomanPSMT' WARN No Unicode mapping for lessorequalslant (54) in font APUZFZ+MSAM10 WARN No Unicode mapping for summationdisplay (88) in font IXNPPI+CMEX10 WARN No Unicode mapping for summationtext (80) in font CRPSRL+CMEX8 WARN No Unicode mapping for greatermuch (29) in font TOZPFB+CMSY10 FILE: cache/work_b7qrowue6naevdorm5cfvertoi.pdf OUTPUT: txt/work_b7qrowue6naevdorm5cfvertoi.txt WARN Invalid ToUnicode CMap in font TNPCCK+Opus WARN No Unicode mapping for H11002 (6) in font PKKPIF+Universal-GreekwithMathPi FILE: cache/work_cxoqb4uja5ctrhdxq764cqjxuq.pdf OUTPUT: txt/work_cxoqb4uja5ctrhdxq764cqjxuq.txt FILE: cache/work_45wy3fczjvc5fj53ll2knwbjv4.pdf OUTPUT: txt/work_45wy3fczjvc5fj53ll2knwbjv4.txt FILE: cache/work_hcnsckvh2bfjdp7sjhdkehu5na.pdf OUTPUT: txt/work_hcnsckvh2bfjdp7sjhdkehu5na.txt WARN Invalid ToUnicode CMap in font MOKWSB+Opus WARN Invalid ToUnicode CMap in font RUDHMS+Opus WARN No Unicode mapping for dcrossed (2) in font BLPDAD+Times-PhoneticAlternate WARN Invalid ToUnicode CMap in font BFKTKB+Opus WARN Invalid ToUnicode CMap in font ROJPPZ+Opus FILE: cache/work_jeaea5yzlnbyvnymnnngmzvjti.pdf OUTPUT: txt/work_jeaea5yzlnbyvnymnnngmzvjti.txt WARN Invalid ToUnicode CMap in font OGYCQN+Opus WARN Invalid ToUnicode CMap in font GVCJNQ+Opus WARN Invalid ToUnicode CMap in font PDEUBY+Opus WARN Invalid ToUnicode CMap in font OAETZQ+Opus WARN Invalid ToUnicode CMap in font DYHNVY+OpusChords WARN Invalid ToUnicode CMap in font TGSCUI+Opus WARN Invalid ToUnicode CMap in font MHOLSI+OpusSpecial WARN Invalid ToUnicode CMap in font RHSPOY+OpusChords WARN Invalid ToUnicode CMap in font WJIKTR+Opus WARN Invalid ToUnicode CMap in font JGMXNS+OpusSpecial FILE: cache/work_lzcrk6hbjbhdtdgn6megkb77ay.pdf OUTPUT: txt/work_lzcrk6hbjbhdtdgn6megkb77ay.txt WARN Invalid ToUnicode CMap in font JJLFGT+OpusChords WARN Invalid ToUnicode CMap in font IQSGEE+Opus WARN Invalid ToUnicode CMap in font PRUAFA+Opus WARN Invalid ToUnicode CMap in font IAUUOR+OpusSpecial FILE: cache/work_qauxvqzy35eszi54ysadvjqyjq.pdf OUTPUT: txt/work_qauxvqzy35eszi54ysadvjqyjq.txt FILE: cache/work_snruknwrzbaupasn7skiaqlh4i.pdf OUTPUT: txt/work_snruknwrzbaupasn7skiaqlh4i.txt WARN No Unicode mapping for H11003 (7) in font PKKPIF+Universal-GreekwithMathPi FILE: cache/work_nelbnukmyvcdtefv2mhbqaouga.pdf OUTPUT: txt/work_nelbnukmyvcdtefv2mhbqaouga.txt WARN Format 14 cmap table is not supported and will be ignored WARN No Unicode mapping for parenleftbigg (181) in font BEVLEX+CMEX10 WARN No Unicode mapping for parenrightbigg (182) in font BEVLEX+CMEX10 FILE: cache/work_53x2t22auffgxhyvfxvcwrttgu.pdf OUTPUT: txt/work_53x2t22auffgxhyvfxvcwrttgu.txt FILE: cache/work_dqbaol2l6nfrlmygths4vqk47m.pdf OUTPUT: txt/work_dqbaol2l6nfrlmygths4vqk47m.txt FILE: cache/work_5u3r7cajqbbivoevkhhea6ncgy.pdf OUTPUT: txt/work_5u3r7cajqbbivoevkhhea6ncgy.txt WARN No Unicode mapping for H18528 (1) in font PMLPAJ+Universal-NewswithCommPi WARN No Unicode mapping for latticetop (62) in font TOZPFB+CMSY10 FILE: cache/work_liud7tkplbabjku3d6qh7i4fnm.pdf OUTPUT: txt/work_liud7tkplbabjku3d6qh7i4fnm.txt WARN No Unicode mapping for braceleftbigg (26) in font WKPVHL+CMEX10 WARN No Unicode mapping for negationslash (54) in font TOZPFB+CMSY10 WARN Invalid ToUnicode CMap in font HFVLEU+OpusChords WARN No Unicode mapping for radicalbig (112) in font BEVLEX+CMEX10 WARN No Unicode mapping for summationtext (80) in font BEVLEX+CMEX10 WARN Invalid ToUnicode CMap in font PZKDEW+Opus FILE: cache/work_7bbjlq5xyfaglhzelefr2g7ism.pdf OUTPUT: txt/work_7bbjlq5xyfaglhzelefr2g7ism.txt WARN No Unicode mapping for lscript (96) in font VUABVQ+CMMI10 WARN No Unicode mapping for check (88) in font RXNEKG+MSAM10 WARN No Unicode mapping for radicaltp (118) in font BEVLEX+CMEX10 WARN No Unicode mapping for radicalvertex (117) in font BEVLEX+CMEX10 WARN No Unicode mapping for radicalbt (116) in font BEVLEX+CMEX10 WARN No Unicode mapping for H18546 (2) in font PMLPAJ+Universal-NewswithCommPi WARN Using fallback font LiberationSans for Symbol WARN No Unicode mapping for radicalBig (113) in font BEVLEX+CMEX10 WARN No Unicode mapping for parenleftBigg (195) in font BEVLEX+CMEX10 WARN No Unicode mapping for parenrightBigg (33) in font BEVLEX+CMEX10 FILE: cache/work_l6yr6hunf5atnl3tqjan3dvy64.pdf OUTPUT: txt/work_l6yr6hunf5atnl3tqjan3dvy64.txt WARN Format 14 cmap table is not supported and will be ignored FILE: cache/work_lrrbivovsbbrnpvkf2jtxxpvgi.pdf OUTPUT: txt/work_lrrbivovsbbrnpvkf2jtxxpvgi.txt WARN Invalid ToUnicode CMap in font MIRNVF+Opus WARN Invalid ToUnicode CMap in font BSCOJV+OpusChords WARN Invalid ToUnicode CMap in font BIYLWY+Opus FILE: cache/work_2ip4tri33vfdbfxs5spwnrl2ji.pdf OUTPUT: txt/work_2ip4tri33vfdbfxs5spwnrl2ji.txt WARN Invalid ToUnicode CMap in font BSCOJV+OpusChords WARN Invalid ToUnicode CMap in font XZQOYH+Opus WARN Invalid ToUnicode CMap in font MMJXQE+Opus WARN No Unicode mapping for bardbl (107) in font TOZPFB+CMSY10 WARN Invalid ToUnicode CMap in font VIUVWI+Opus WARN Invalid ToUnicode CMap in font AHAEDI+Opus WARN No Unicode mapping for braceleftBigg (40) in font WKPVHL+CMEX10 WARN Invalid ToUnicode CMap in font MMJXQE+Opus WARN Invalid ToUnicode CMap in font MMJXQE+Opus WARN Invalid ToUnicode CMap in font MMJXQE+Opus WARN Invalid ToUnicode CMap in font MMJXQE+Opus FILE: cache/work_qjjc6yhjvzevtjxnb7zmhhog2a.pdf OUTPUT: txt/work_qjjc6yhjvzevtjxnb7zmhhog2a.txt WARN Invalid ToUnicode CMap in font MMJXQE+Opus FILE: cache/work_4zym37jx4jfhzm2c5o7gcjfgju.pdf OUTPUT: txt/work_4zym37jx4jfhzm2c5o7gcjfgju.txt WARN Invalid ToUnicode CMap in font MMJXQE+Opus WARN Invalid ToUnicode CMap in font ZRJDPI+Opus WARN Invalid ToUnicode CMap in font FVUCLN+OpusChords WARN Invalid ToUnicode CMap in font BIYLWY+Opus WARN Invalid ToUnicode CMap in font BYMICT+OpusChords WARN Invalid ToUnicode CMap in font OVPOMM+Opus WARN Invalid ToUnicode CMap in font HQDQTN+OpusChords WARN Invalid ToUnicode CMap in font XZQOYH+Opus WARN Invalid ToUnicode CMap in font VPKEOP+Opus WARN Invalid ToUnicode CMap in font DCIFDY+Opus WARN Invalid ToUnicode CMap in font GTRQMP+OpusSpecial WARN Invalid ToUnicode CMap in font MUFUZY+ArialMT WARN Invalid ToUnicode CMap in font RAOUWA+OpusChords FILE: cache/work_sqtz6bndpff3za5medjcaubcny.pdf OUTPUT: txt/work_sqtz6bndpff3za5medjcaubcny.txt WARN Invalid ToUnicode CMap in font PRSATT+OpusChords WARN Invalid ToUnicode CMap in font PRSATT+Opus WARN Invalid ToUnicode CMap in font PRSATT+Opus WARN Invalid ToUnicode CMap in font MUFUZY+ArialMT WARN Invalid ToUnicode CMap in font PRSATT+Opus WARN Invalid ToUnicode CMap in font PRSATT+Opus WARN Invalid ToUnicode CMap in font PRSATT+Opus WARN Invalid ToUnicode CMap in font CIINMH+Opus WARN Invalid ToUnicode CMap in font CIINMH+Opus WARN Invalid ToUnicode CMap in font CIINMH+Opus WARN Invalid ToUnicode CMap in font CIINMH+Opus WARN Invalid ToUnicode CMap in font CIINMH+Opus WARN Invalid ToUnicode CMap in font CIINMH+Opus WARN Invalid ToUnicode CMap in font CIINMH+Opus WARN Invalid ToUnicode CMap in font CIINMH+Opus WARN Invalid ToUnicode CMap in font CIINMH+OpusChords WARN No Unicode mapping for uniontext (83) in font WKPVHL+CMEX10 FILE: cache/work_v6xbsimt7ngf5a53ch3akhhzoy.pdf OUTPUT: txt/work_v6xbsimt7ngf5a53ch3akhhzoy.txt WARN Invalid ToUnicode CMap in font PRSATT+Opus WARN Invalid ToUnicode CMap in font CIINMH+OpusChords WARN Invalid ToUnicode CMap in font JPDVTO+Opus WARN Invalid ToUnicode CMap in font PRSATT+Opus WARN Invalid ToUnicode CMap in font JPDVTO+OpusSpecial WARN Invalid ToUnicode CMap in font JPDVTO+Opus WARN Invalid ToUnicode CMap in font VYLFNH+Opus WARN Invalid ToUnicode CMap in font AFBLZG+OpusSpecial WARN Invalid ToUnicode CMap in font WEXJWY+Opus WARN Invalid ToUnicode CMap in font WEXJWY+Opus FILE: cache/work_ehzscqefgndlzb4imawdl6krum.pdf OUTPUT: txt/work_ehzscqefgndlzb4imawdl6krum.txt WARN Invalid ToUnicode CMap in font YLZYEC+Opus WARN Invalid ToUnicode CMap in font VKMOZM+OpusSpecial FILE: cache/work_kjij7pfoonfqzc3h2zbgjvbfpq.pdf OUTPUT: txt/work_kjij7pfoonfqzc3h2zbgjvbfpq.txt WARN Invalid ToUnicode CMap in font RGHDGK+Opus WARN Invalid ToUnicode CMap in font RGHDGK+Opus WARN Invalid ToUnicode CMap in font QQBJSZ+Opus WARN Invalid ToUnicode CMap in font PALLCA+OpusSpecial WARN Invalid ToUnicode CMap in font ACFFRX+Opus WARN Invalid ToUnicode CMap in font RWXKOF+Opus WARN Invalid ToUnicode CMap in font NRYNRY+Opus FILE: cache/work_naabgn6aujg3dd2lsn63lwchji.pdf OUTPUT: txt/work_naabgn6aujg3dd2lsn63lwchji.txt WARN Invalid ToUnicode CMap in font WXFXLG+OpusSpecial WARN Invalid ToUnicode CMap in font QINGRP+Opus WARN Invalid ToUnicode CMap in font RMWIBP+OpusSpecial WARN Invalid ToUnicode CMap in font VLZHYQ+Opus WARN Invalid ToUnicode CMap in font JGYUTO+Opus WARN Invalid ToUnicode CMap in font ICHKZX+OpusSpecial FILE: cache/work_d3f7mu4mfvf27lv2p7esonhttq.pdf OUTPUT: txt/work_d3f7mu4mfvf27lv2p7esonhttq.txt WARN Invalid ToUnicode CMap in font FSOFTK+Opus WARN Invalid ToUnicode CMap in font DDEHGE+Opus WARN Invalid ToUnicode CMap in font DPKOZT+Opus WARN Invalid ToUnicode CMap in font PPBCEE+Opus WARN Invalid ToUnicode CMap in font SXYMRH+Opus WARN Invalid ToUnicode CMap in font COAWSN+OpusSpecial WARN Invalid ToUnicode CMap in font CMDLAZ+Opus WARN Invalid ToUnicode CMap in font LNZHIH+OpusSpecial WARN Invalid ToUnicode CMap in font TSAJDM+Opus WARN Invalid ToUnicode CMap in font EESWAX+Opus WARN Invalid ToUnicode CMap in font KGQNJI+Opus FILE: cache/work_wi5cuuu54nejjhcn7pduan4cgq.pdf OUTPUT: txt/work_wi5cuuu54nejjhcn7pduan4cgq.txt FILE: cache/work_6r5fds5lfbdzfilb4szygi5gyq.pdf OUTPUT: txt/work_6r5fds5lfbdzfilb4szygi5gyq.txt FILE: cache/work_ukxdgneatbhmzin4vjoqgafwhi.pdf OUTPUT: txt/work_ukxdgneatbhmzin4vjoqgafwhi.txt INFO Detecting media type for Filename: b'work_lj4morx7efgh3k6u7fksenrtt4.pdf' INFO Detecting media type for Filename: b'work_nmdql4t6lrftpakrspxqw4pg34.pdf' INFO Detecting media type for Filename: b'work_nelbnukmyvcdtefv2mhbqaouga.pdf' INFO Detecting media type for Filename: b'work_qjjc6yhjvzevtjxnb7zmhhog2a.pdf' INFO Detecting media type for Filename: b'work_4zym37jx4jfhzm2c5o7gcjfgju.pdf' INFO Detecting media type for Filename: b'work_qauxvqzy35eszi54ysadvjqyjq.pdf' INFO Detecting media type for Filename: b'work_45wy3fczjvc5fj53ll2knwbjv4.pdf' INFO rmeta/text (autodetecting type) INFO rmeta/text (autodetecting type) INFO rmeta/text (autodetecting type) INFO rmeta/text (autodetecting type) INFO rmeta/text (autodetecting type) INFO rmeta/text (autodetecting type) INFO Detecting media type for Filename: b'work_6r5fds5lfbdzfilb4szygi5gyq.pdf' INFO Detecting media type for Filename: b'work_4wowkjn36rfnrfnsjdqnwgxdeq.pdf' INFO rmeta/text (autodetecting type) INFO Detecting media type for Filename: b'work_sqtz6bndpff3za5medjcaubcny.pdf' INFO Detecting media type for Filename: b'work_wi5cuuu54nejjhcn7pduan4cgq.pdf' INFO rmeta/text (autodetecting type) WARN Using fallback font 'LiberationSerif-Bold' for 'TimesNewRomanPS-BoldMT' WARN Using fallback font 'LiberationSerif-Italic' for 'TimesNewRomanPS-ItalicMT' WARN Using fallback font 'LiberationSerif' for 'TimesNewRomanPSMT' INFO rmeta/text (autodetecting type) WARN Using fallback font 'LiberationSerif' for 'TimesNewRomanPSMT' WARN Using fallback font 'LiberationSerif-Italic' for 'TimesNewRomanPS-ItalicMT' WARN Using fallback font 'LiberationSerif' for 'TimesNewRomanPSMT' INFO rmeta/text (autodetecting type) WARN Using fallback font 'LiberationSerif-Italic' for 'TimesNewRomanPS-ItalicMT' WARN Using fallback font 'LiberationSans' for 'TimesNewRomanPSMT' WARN Using fallback font 'LiberationSans-Bold' for 'TimesNewRomanPS-BoldItalicMT' INFO Detecting media type for Filename: b'work_d3f7mu4mfvf27lv2p7esonhttq.pdf' WARN Using fallback font 'LiberationSans-Bold' for 'TimesNewRomanPS-BoldMT' INFO rmeta/text (autodetecting type) WARN Using fallback font 'LiberationSerif' for 'TimesNewRomanPSMT' WARN Using fallback font 'LiberationSerif-Bold' for 'TimesNewRomanPS-BoldMT' WARN Using fallback font 'LiberationSans' for 'TimesNewRomanPS-ItalicMT' WARN Using fallback font 'LiberationSerif' for 'TimesNewRomanPSMT' WARN Using fallback font 'LiberationSerif-Bold' for 'TimesNewRomanPS-BoldMT' WARN Using fallback font 'LiberationSerif' for 'TimesNewRomanPSMT' WARN Using fallback font 'LiberationSerif-Bold' for 'TimesNewRomanPS-BoldMT' WARN Using fallback font 'LiberationSerif-Italic' for 'TimesNewRomanPS-ItalicMT' WARN Using fallback font 'LiberationSerif' for 'TimesNewRomanPSMT' WARN Using fallback font 'LiberationSerif-Italic' for 'TimesNewRomanPS-ItalicMT' WARN Using fallback font 'LiberationSerif' for 'TimesNewRomanPSMT' WARN Using fallback font 'LiberationSerif-Italic' for 'TimesNewRomanPS-ItalicMT' WARN Using fallback font 'LiberationSerif' for 'TimesNewRomanPSMT' WARN Using fallback font 'LiberationSerif-Italic' for 'TimesNewRomanPS-ItalicMT' WARN Using fallback font 'LiberationSerif' for 'TimesNewRomanPSMT' WARN Using fallback font 'LiberationSerif-Italic' for 'TimesNewRomanPS-ItalicMT' WARN Using fallback font 'LiberationSerif-Bold' for 'TimesNewRomanPS-BoldMT' WARN Using fallback font 'LiberationSerif' for 'TimesNewRomanPSMT' INFO rmeta/text (autodetecting type) WARN Using fallback font 'LiberationSerif' for 'TimesNewRomanPSMT' WARN Using fallback font 'LiberationSerif' for 'TimesNewRomanPSMT' WARN Using fallback font 'LiberationSerif-Bold' for 'TimesNewRomanPS-BoldMT' WARN Using fallback font 'LiberationSerif' for 'TimesNewRomanPSMT' WARN Using fallback font 'LiberationSerif-Bold' for 'TimesNewRomanPS-BoldMT' WARN Using fallback font 'LiberationSerif-BoldItalic' for 'TimesNewRomanPS-BoldItalicMT' WARN Using fallback font 'LiberationSerif' for 'TimesNewRomanPSMT' WARN Using fallback font 'LiberationSerif-Italic' for 'TimesNewRomanPS-ItalicMT' WARN Using fallback font 'LiberationSerif' for 'TimesNewRomanPSMT' WARN Using fallback font 'LiberationSerif-Italic' for 'TimesNewRomanPS-ItalicMT' WARN Using fallback font 'LiberationSerif-Bold' for 'TimesNewRomanPS-BoldMT' WARN Using fallback font 'LiberationSerif' for 'TimesNewRomanPSMT' WARN Invalid ToUnicode CMap in font ZRSVUA+OpusChords WARN Invalid ToUnicode CMap in font MJTYCZ+Opus WARN Invalid ToUnicode CMap in font MJTYCZ+OpusSpecial WARN Format 14 cmap table is not supported and will be ignored WARN Format 14 cmap table is not supported and will be ignored WARN Invalid ToUnicode CMap in font FPFKSB+Opus WARN Invalid ToUnicode CMap in font XADORR+Opus WARN Invalid ToUnicode CMap in font OHYDFA+Opus WARN Invalid ToUnicode CMap in font LXFYZD+Opus WARN Invalid ToUnicode CMap in font OQOAFK+Opus WARN Invalid ToUnicode CMap in font TNPCCK+Opus WARN Invalid ToUnicode CMap in font MOKWSB+Opus WARN Invalid ToUnicode CMap in font RUDHMS+Opus WARN Invalid ToUnicode CMap in font BFKTKB+Opus WARN Invalid ToUnicode CMap in font ROJPPZ+Opus WARN Invalid ToUnicode CMap in font OGYCQN+Opus WARN Invalid ToUnicode CMap in font GVCJNQ+Opus WARN Invalid ToUnicode CMap in font PDEUBY+Opus WARN Invalid ToUnicode CMap in font OAETZQ+Opus WARN Invalid ToUnicode CMap in font DYHNVY+OpusChords WARN Invalid ToUnicode CMap in font TGSCUI+Opus WARN Invalid ToUnicode CMap in font MHOLSI+OpusSpecial WARN Invalid ToUnicode CMap in font RHSPOY+OpusChords WARN Invalid ToUnicode CMap in font WJIKTR+Opus WARN Invalid ToUnicode CMap in font JGMXNS+OpusSpecial WARN Invalid ToUnicode CMap in font JJLFGT+OpusChords WARN Invalid ToUnicode CMap in font IQSGEE+Opus WARN Invalid ToUnicode CMap in font PRUAFA+Opus WARN Invalid ToUnicode CMap in font IAUUOR+OpusSpecial WARN Invalid ToUnicode CMap in font HFVLEU+OpusChords WARN Invalid ToUnicode CMap in font PZKDEW+Opus WARN Invalid ToUnicode CMap in font MIRNVF+Opus WARN Invalid ToUnicode CMap in font BSCOJV+OpusChords WARN Invalid ToUnicode CMap in font BIYLWY+Opus WARN Invalid ToUnicode CMap in font BSCOJV+OpusChords WARN Invalid ToUnicode CMap in font XZQOYH+Opus WARN Invalid ToUnicode CMap in font MMJXQE+Opus WARN Invalid ToUnicode CMap in font VIUVWI+Opus WARN Invalid ToUnicode CMap in font AHAEDI+Opus WARN Invalid ToUnicode CMap in font MMJXQE+Opus WARN Invalid ToUnicode CMap in font MMJXQE+Opus WARN Invalid ToUnicode CMap in font MMJXQE+Opus WARN Invalid ToUnicode CMap in font MMJXQE+Opus WARN Invalid ToUnicode CMap in font MMJXQE+Opus WARN Invalid ToUnicode CMap in font MMJXQE+Opus WARN Invalid ToUnicode CMap in font ZRJDPI+Opus WARN Invalid ToUnicode CMap in font FVUCLN+OpusChords WARN Invalid ToUnicode CMap in font BIYLWY+Opus WARN Invalid ToUnicode CMap in font BYMICT+OpusChords WARN Invalid ToUnicode CMap in font OVPOMM+Opus WARN Invalid ToUnicode CMap in font HQDQTN+OpusChords WARN Invalid ToUnicode CMap in font XZQOYH+Opus WARN Invalid ToUnicode CMap in font VPKEOP+Opus WARN Invalid ToUnicode CMap in font DCIFDY+Opus WARN Invalid ToUnicode CMap in font GTRQMP+OpusSpecial WARN Invalid ToUnicode CMap in font RAOUWA+OpusChords === file2bib.sh === Traceback (most recent call last): File "/ocean/projects/cis210016p/shared/anaconda/lib/python3.8/site-packages/pandas/core/indexes/base.py", line 2895, in get_loc return self._engine.get_loc(casted_key) File "pandas/_libs/index.pyx", line 70, in pandas._libs.index.IndexEngine.get_loc File "pandas/_libs/index.pyx", line 101, in pandas._libs.index.IndexEngine.get_loc File "pandas/_libs/hashtable_class_helper.pxi", line 1675, in pandas._libs.hashtable.PyObjectHashTable.get_item File "pandas/_libs/hashtable_class_helper.pxi", line 1683, in pandas._libs.hashtable.PyObjectHashTable.get_item KeyError: 'work_nmdql4t6lrftpakrspxqw4pg34' The above exception was the direct cause of the following exception: Traceback (most recent call last): File "/ocean/projects/cis210016p/shared/reader-compute/reader-classic/bin/file2bib.py", line 66, in if ( bibliographics.loc[ escape ,'author'] ) : author = bibliographics.loc[ escape,'author'] File "/ocean/projects/cis210016p/shared/anaconda/lib/python3.8/site-packages/pandas/core/indexing.py", line 873, in __getitem__ return self._getitem_tuple(key) File "/ocean/projects/cis210016p/shared/anaconda/lib/python3.8/site-packages/pandas/core/indexing.py", line 1044, in _getitem_tuple return self._getitem_lowerdim(tup) File "/ocean/projects/cis210016p/shared/anaconda/lib/python3.8/site-packages/pandas/core/indexing.py", line 786, in _getitem_lowerdim section = self._getitem_axis(key, axis=i) File "/ocean/projects/cis210016p/shared/anaconda/lib/python3.8/site-packages/pandas/core/indexing.py", line 1110, in _getitem_axis return self._get_label(key, axis=axis) File "/ocean/projects/cis210016p/shared/anaconda/lib/python3.8/site-packages/pandas/core/indexing.py", line 1059, in _get_label return self.obj.xs(label, axis=axis) File "/ocean/projects/cis210016p/shared/anaconda/lib/python3.8/site-packages/pandas/core/generic.py", line 3491, in xs loc = self.index.get_loc(key) File "/ocean/projects/cis210016p/shared/anaconda/lib/python3.8/site-packages/pandas/core/indexes/base.py", line 2897, in get_loc raise KeyError(key) from err KeyError: 'work_nmdql4t6lrftpakrspxqw4pg34' WARN Invalid ToUnicode CMap in font PRSATT+OpusChords WARN Invalid ToUnicode CMap in font PRSATT+Opus WARN Invalid ToUnicode CMap in font PRSATT+Opus WARN Invalid ToUnicode CMap in font PRSATT+Opus WARN Invalid ToUnicode CMap in font PRSATT+Opus WARN Invalid ToUnicode CMap in font PRSATT+Opus WARN Invalid ToUnicode CMap in font CIINMH+Opus WARN Invalid ToUnicode CMap in font CIINMH+Opus WARN Invalid ToUnicode CMap in font CIINMH+Opus WARN Invalid ToUnicode CMap in font CIINMH+Opus WARN Invalid ToUnicode CMap in font CIINMH+Opus WARN Invalid ToUnicode CMap in font CIINMH+Opus WARN Invalid ToUnicode CMap in font CIINMH+Opus WARN Invalid ToUnicode CMap in font CIINMH+Opus WARN Invalid ToUnicode CMap in font CIINMH+OpusChords WARN Invalid ToUnicode CMap in font PRSATT+Opus WARN Invalid ToUnicode CMap in font CIINMH+OpusChords WARN Invalid ToUnicode CMap in font JPDVTO+Opus WARN Invalid ToUnicode CMap in font PRSATT+Opus WARN Invalid ToUnicode CMap in font JPDVTO+OpusSpecial WARN Invalid ToUnicode CMap in font JPDVTO+Opus WARN Invalid ToUnicode CMap in font VYLFNH+Opus WARN Invalid ToUnicode CMap in font AFBLZG+OpusSpecial WARN Invalid ToUnicode CMap in font WEXJWY+Opus WARN Invalid ToUnicode CMap in font WEXJWY+Opus WARN Invalid ToUnicode CMap in font YLZYEC+Opus WARN Invalid ToUnicode CMap in font VKMOZM+OpusSpecial WARN Invalid ToUnicode CMap in font RGHDGK+Opus WARN Invalid ToUnicode CMap in font RGHDGK+Opus WARN Invalid ToUnicode CMap in font QQBJSZ+Opus WARN Invalid ToUnicode CMap in font PALLCA+OpusSpecial WARN Invalid ToUnicode CMap in font ACFFRX+Opus WARN Invalid ToUnicode CMap in font RWXKOF+Opus WARN Invalid ToUnicode CMap in font NRYNRY+Opus WARN Invalid ToUnicode CMap in font WXFXLG+OpusSpecial WARN Invalid ToUnicode CMap in font QINGRP+Opus WARN Invalid ToUnicode CMap in font RMWIBP+OpusSpecial WARN Invalid ToUnicode CMap in font VLZHYQ+Opus WARN Invalid ToUnicode CMap in font JGYUTO+Opus WARN Invalid ToUnicode CMap in font ICHKZX+OpusSpecial WARN Invalid ToUnicode CMap in font FSOFTK+Opus WARN Invalid ToUnicode CMap in font DDEHGE+Opus WARN Invalid ToUnicode CMap in font DPKOZT+Opus WARN Invalid ToUnicode CMap in font PPBCEE+Opus WARN Invalid ToUnicode CMap in font SXYMRH+Opus WARN Invalid ToUnicode CMap in font COAWSN+OpusSpecial WARN Invalid ToUnicode CMap in font CMDLAZ+Opus WARN Invalid ToUnicode CMap in font LNZHIH+OpusSpecial WARN Invalid ToUnicode CMap in font TSAJDM+Opus WARN Invalid ToUnicode CMap in font EESWAX+Opus WARN Invalid ToUnicode CMap in font KGQNJI+Opus INFO Detecting media type for Filename: b'work_2ip4tri33vfdbfxs5spwnrl2ji.pdf' INFO rmeta/text (autodetecting type) WARN No Unicode mapping for x88 (136) in font F9 WARN No Unicode mapping for summationdisplay (88) in font BEVLEX+CMEX10 WARN No Unicode mapping for parenleftbigg (181) in font BEVLEX+CMEX10 WARN No Unicode mapping for parenrightbigg (182) in font BEVLEX+CMEX10 WARN No Unicode mapping for radicalbig (112) in font BEVLEX+CMEX10 WARN No Unicode mapping for summationtext (80) in font BEVLEX+CMEX10 WARN No Unicode mapping for radicaltp (118) in font BEVLEX+CMEX10 WARN No Unicode mapping for radicalvertex (117) in font BEVLEX+CMEX10 WARN No Unicode mapping for radicalbt (116) in font BEVLEX+CMEX10 WARN Using fallback font LiberationSans for Symbol WARN No Unicode mapping for radicalBig (113) in font BEVLEX+CMEX10 WARN No Unicode mapping for parenleftBigg (195) in font BEVLEX+CMEX10 WARN No Unicode mapping for parenrightBigg (33) in font BEVLEX+CMEX10 work_qdwasdkqmfhp3iyf52e6gajumu txt/../pos/work_qdwasdkqmfhp3iyf52e6gajumu.pos work_qdwasdkqmfhp3iyf52e6gajumu txt/../wrd/work_qdwasdkqmfhp3iyf52e6gajumu.wrd === file2bib.sh === id: work_lj4morx7efgh3k6u7fksenrtt4 author: Michael J. Prerau title: Tracking the Sleep Onset Process: An Empirical Model of Behavioral and Physiological Dynamics date: 2014 pages: extension: .pdf txt: ./txt/work_lj4morx7efgh3k6u7fksenrtt4.txt cache: ./cache/work_lj4morx7efgh3k6u7fksenrtt4.pdf Content-Encoding ISO-8859-1 Content-Type text/html; charset=ISO-8859-1 X-Parsed-By ['org.apache.tika.parser.DefaultParser', 'org.apache.tika.parser.html.HtmlParser'] X-TIKA:content_handler ToTextContentHandler X-TIKA:embedded_depth 0 X-TIKA:parse_time_millis 4 dc:title Michael J. Prerau, Ph.D. description The professional website of Michael J. Prerau keywords Mike, Prerau, Michael, PhD, Neuroscience resourceName b'work_lj4morx7efgh3k6u7fksenrtt4.pdf' title Michael J. 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Apps title: Chemical signals in terrestrial vertebrates: search for design features date: 2015 pages: extension: .pdf txt: ./txt/work_2wjesbfzfnh2ho7fa5l64wnk4e.txt cache: ./cache/work_2wjesbfzfnh2ho7fa5l64wnk4e.pdf Content-Encoding UTF-8 Content-Language en Content-Type text/html; charset=UTF-8 X-Parsed-By ['org.apache.tika.parser.DefaultParser', 'org.apache.tika.parser.html.HtmlParser'] X-TIKA:content_handler ToTextContentHandler X-TIKA:embedded_depth 0 X-TIKA:parse_time_millis 66 application-name   citation_author ['P. Apps', 'P. Weldon', 'M. 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Stable compounds with aromatic rings in their structures are more common in signals of social dominance, including territoriality. Aldehydes are emitted from the sender's body rather than from scent marks. Lipocalin pheromones and carriers have a limited range of MWs, possibly to reduce the metabolic costs of their biosynthesis. Design constraints that might channel signal chemistry into patterns have been relaxed by amniote behavior and biochemistry. Amniote olfaction has such a high sensitivity, wide range and narrow resolution that signal detection imposes no practical constraints on the structures of signalling molecules. Diverse metabolic pathways in amniotes and their microbial commensals produce a wide variety of compounds as chemical signals and as matrix compounds that free signal components from the constraints of stability, vapor pressure, species-specificity etc. that would otherwise constrain what types of compound operate optimally under different conditions. msapplication-TileColor #FFFFFF msapplication-TileImage https://dab4rbh62k56j.cloudfront.net/151517c6e734fd0b/img/mstile-144x144.png msapplication-square150x150logo https://dab4rbh62k56j.cloudfront.net/151517c6e734fd0b/img/mstile-150x150.png msapplication-square310x310logo https://dab4rbh62k56j.cloudfront.net/151517c6e734fd0b/img/mstile-310x310.png msapplication-square70x70logo https://dab4rbh62k56j.cloudfront.net/151517c6e734fd0b/img/mstile-70x70.png msapplication-wide310x150logo https://dab4rbh62k56j.cloudfront.net/151517c6e734fd0b/img/mstile-310x150.png og:description We compiled a data set of the compounds that terrestrial vertebrates (amniotes) use to send chemical signals, and searched for relationships between signal compound properties and signal function. Overall, relationships were scarce and formed only small-scale patterns. Terrestrial vertebrate signalling compounds are invariably components of complex mixtures of compounds with diverse molecular weights and functionalities. Signal compounds with high molecular weights (MWs) and low vapour pressures, or that are bound to carrier proteins, are detected during direct contact with the source of the signal. Stable compounds with aromatic rings in their structures are more common in signals of social dominance, including territoriality. Aldehydes are emitted from the sender's body rather than from scent marks. Lipocalin pheromones and carriers have a limited range of MWs, possibly to reduce the metabolic costs of their biosynthesis. Design constraints that might channel signal chemistry into patterns have been relaxed by amniote behavior and biochemistry. 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daniele date 2013-03-11T16:50:18Z dc:creator daniele dc:format application/pdf; version=1.6 dc:title Archeomatica_n4_2012.indd dcterms:created 2013-03-11T16:50:04Z dcterms:modified 2013-03-11T16:50:18Z meta:author daniele meta:creation-date 2013-03-11T16:50:04Z meta:save-date 2013-03-11T16:50:18Z modified 2013-03-11T16:50:18Z pdf:PDFVersion 1.6 pdf:charsPerPage ['4309', '5722', '6842', '3432'] pdf:docinfo:created 2013-03-11T16:50:04Z pdf:docinfo:creator daniele pdf:docinfo:creator_tool Adobe InDesign CS3 (5.0.4) pdf:docinfo:modified 2013-03-11T16:50:18Z pdf:docinfo:producer Acrobat Distiller 8.2.5 (Macintosh) pdf:docinfo:title Archeomatica_n4_2012.indd pdf:encrypted false pdf:hasMarkedContent false pdf:hasXFA false pdf:hasXMP true pdf:unmappedUnicodeCharsPerPage ['0', '0', '0', '0'] producer Acrobat Distiller 8.2.5 (Macintosh) resourceName b'work_oj3i6sisevakrbeq5alp5zzsha.pdf' title Archeomatica_n4_2012.indd xmp:CreatorTool Adobe InDesign CS3 (5.0.4) xmpMM:DocumentID uuid:6ae107e2-8e85-ca4f-b0b2-d7ffe585f047 xmpTPg:NPages 4 work_xmwqoqkdhvhafjd3iibwtv4hbe txt/../ent/work_xmwqoqkdhvhafjd3iibwtv4hbe.ent === file2bib.sh === id: work_liud7tkplbabjku3d6qh7i4fnm author: Alan Bradshaw title: "Exiled Music Herself, Pushed to the Edge of Existence": The Experience Of Musicians Who Perform Background Music date: 2005 pages: 21 extension: .pdf txt: ./txt/work_liud7tkplbabjku3d6qh7i4fnm.txt cache: ./cache/work_liud7tkplbabjku3d6qh7i4fnm.pdf Content-Type application/pdf X-Parsed-By ['org.apache.tika.parser.DefaultParser', 'org.apache.tika.parser.pdf.PDFParser'] X-TIKA:content_handler ToTextContentHandler X-TIKA:embedded_depth 0 X-TIKA:parse_time_millis 95 access_permission:assemble_document true access_permission:can_modify true access_permission:can_print true access_permission:can_print_degraded true access_permission:extract_content true access_permission:extract_for_accessibility true access_permission:fill_in_form true access_permission:modify_annotations true dc:format application/pdf; version=1.3 pdf:PDFVersion 1.3 pdf:charsPerPage ['2430', '3377', '3623', '3464', '3700', '3429', '2376', '3357', '3289', '2791', '3442', '3421', '3275', '3353', '3471', '3297', '3576', '3319', '2796', '3555', '414'] pdf:docinfo:producer Mac OS X 10.4.4 Quartz PDFContext pdf:encrypted false pdf:hasMarkedContent false pdf:hasXFA false pdf:hasXMP false pdf:unmappedUnicodeCharsPerPage ['0', '0', '0', '0', '0', '0', '0', '0', '0', '0', '0', '0', '0', '0', '0', '0', '0', '0', '0', '0', '0'] producer Mac OS X 10.4.4 Quartz PDFContext resourceName b'work_liud7tkplbabjku3d6qh7i4fnm.pdf' xmpTPg:NPages 21 work_sqtz6bndpff3za5medjcaubcny txt/../pos/work_sqtz6bndpff3za5medjcaubcny.pos INFO Detecting media type for Filename: b'work_qdwasdkqmfhp3iyf52e6gajumu.pdf' INFO rmeta/text (autodetecting type) WARN No Unicode mapping for CID+75 (75) in font TimesNewRomanPSMT-Identity-H WARN No Unicode mapping for CID+76 (76) in font TimesNewRomanPSMT-Identity-H WARN No Unicode mapping for CID+86 (86) in font TimesNewRomanPSMT-Identity-H WARN No Unicode mapping for CID+3 (3) in font TimesNewRomanPSMT-Identity-H WARN No Unicode mapping for CID+82 (82) in font TimesNewRomanPSMT-Identity-H WARN No Unicode mapping for CID+90 (90) in font TimesNewRomanPSMT-Identity-H WARN No Unicode mapping for CID+81 (81) in font TimesNewRomanPSMT-Identity-H WARN No Unicode mapping for CID+72 (72) in font TimesNewRomanPSMT-Identity-H WARN No Unicode mapping for CID+77 (77) in font TimesNewRomanPSMT-Identity-H WARN No Unicode mapping for CID+92 (92) in font TimesNewRomanPSMT-Identity-H WARN No Unicode mapping for CID+80 (80) in font TimesNewRomanPSMT-Identity-H WARN No Unicode mapping for CID+87 (87) in font TimesNewRomanPSMT-Identity-H WARN No Unicode mapping for CID+70 (70) in font TimesNewRomanPSMT-Identity-H WARN No Unicode mapping for CID+69 (69) in font TimesNewRomanPSMT-Identity-H WARN No Unicode mapping for CID+88 (88) in font TimesNewRomanPSMT-Identity-H WARN No Unicode mapping for CID+74 (74) in font TimesNewRomanPSMT-Identity-H WARN No Unicode mapping for CID+191 (191) in font TimesNewRomanPSMT-Identity-H WARN No Unicode mapping for CID+85 (85) in font TimesNewRomanPSMT-Identity-H WARN No Unicode mapping for CID+83 (83) in font TimesNewRomanPSMT-Identity-H WARN No Unicode mapping for CID+15 (15) in font TimesNewRomanPSMT-Identity-H WARN No Unicode mapping for CID+79 (79) in font TimesNewRomanPSMT-Identity-H WARN No Unicode mapping for CID+68 (68) in font TimesNewRomanPSMT-Identity-H WARN No Unicode mapping for CID+71 (71) in font TimesNewRomanPSMT-Identity-H WARN No Unicode mapping for CID+48 (48) in font TimesNewRomanPSMT-Identity-H WARN No Unicode mapping for CID+182 (182) in font TimesNewRomanPSMT-Identity-H WARN No Unicode mapping for CID+178 (178) in font TimesNewRomanPSMT-Identity-H === file2bib.sh === Traceback (most recent call last): File "/ocean/projects/cis210016p/shared/anaconda/lib/python3.8/site-packages/pandas/core/indexes/base.py", line 2895, in get_loc return self._engine.get_loc(casted_key) File "pandas/_libs/index.pyx", line 70, in pandas._libs.index.IndexEngine.get_loc File "pandas/_libs/index.pyx", line 101, in pandas._libs.index.IndexEngine.get_loc File "pandas/_libs/hashtable_class_helper.pxi", line 1675, in pandas._libs.hashtable.PyObjectHashTable.get_item File "pandas/_libs/hashtable_class_helper.pxi", line 1683, in pandas._libs.hashtable.PyObjectHashTable.get_item KeyError: 'work_qdwasdkqmfhp3iyf52e6gajumu' The above exception was the direct cause of the following exception: Traceback (most recent call last): File "/ocean/projects/cis210016p/shared/reader-compute/reader-classic/bin/file2bib.py", line 66, in if ( bibliographics.loc[ escape ,'author'] ) : author = bibliographics.loc[ escape,'author'] File "/ocean/projects/cis210016p/shared/anaconda/lib/python3.8/site-packages/pandas/core/indexing.py", line 873, in __getitem__ return self._getitem_tuple(key) File "/ocean/projects/cis210016p/shared/anaconda/lib/python3.8/site-packages/pandas/core/indexing.py", line 1044, in _getitem_tuple return self._getitem_lowerdim(tup) File "/ocean/projects/cis210016p/shared/anaconda/lib/python3.8/site-packages/pandas/core/indexing.py", line 786, in _getitem_lowerdim section = self._getitem_axis(key, axis=i) File "/ocean/projects/cis210016p/shared/anaconda/lib/python3.8/site-packages/pandas/core/indexing.py", line 1110, in _getitem_axis return self._get_label(key, axis=axis) File "/ocean/projects/cis210016p/shared/anaconda/lib/python3.8/site-packages/pandas/core/indexing.py", line 1059, in _get_label return self.obj.xs(label, axis=axis) File "/ocean/projects/cis210016p/shared/anaconda/lib/python3.8/site-packages/pandas/core/generic.py", line 3491, in xs loc = self.index.get_loc(key) File "/ocean/projects/cis210016p/shared/anaconda/lib/python3.8/site-packages/pandas/core/indexes/base.py", line 2897, in get_loc raise KeyError(key) from err KeyError: 'work_qdwasdkqmfhp3iyf52e6gajumu' INFO Detecting media type for Filename: b'work_7bbjlq5xyfaglhzelefr2g7ism.pdf' INFO rmeta/text (autodetecting type) INFO Detecting media type for Filename: b'work_jjcsitw7trfdtk4gsf6unluy2u.pdf' INFO rmeta/text (autodetecting type) === file2bib.sh === id: work_7cgwg2vh6fdkdmgm2mqp5ykvji author: Graham Caldersmith title: Designing a guitar family date: 1995 pages: 15 extension: .pdf txt: ./txt/work_7cgwg2vh6fdkdmgm2mqp5ykvji.txt cache: ./cache/work_7cgwg2vh6fdkdmgm2mqp5ykvji.pdf Content-Type application/pdf Creation-Date 2003-04-11T14:39:28Z Last-Modified 2003-04-24T17:29:41Z Last-Save-Date 2003-04-24T17:29:41Z X-Parsed-By ['org.apache.tika.parser.DefaultParser', 'org.apache.tika.parser.pdf.PDFParser'] X-TIKA:content_handler ToTextContentHandler X-TIKA:embedded_depth 0 X-TIKA:parse_time_millis 58 access_permission:assemble_document true access_permission:can_modify true access_permission:can_print true access_permission:can_print_degraded true 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Reducing jazzGuitar-from-scholar === reduce.pl bib === id = work_liud7tkplbabjku3d6qh7i4fnm author = Alan Bradshaw title = "Exiled Music Herself, Pushed to the Edge of Existence": The Experience Of Musicians Who Perform Background Music date = 2005 pages = 21 extension = .pdf mime = application/pdf words = 11048 sentences = 698 flesch = 65 summary = the experiences of musicians who perform background music. on how they negotiate the romantic experience of music when the audience isn't interested. Keywords: Background Music; Musicians; Romanticism; Listening; Adorno; Muzak musicians who have worked playing live background music in bars, cafes or corporate addresses the history of listening to music and investigates the experiences of musicians As stated, the purpose of this paper is to explore the experiences of professional musicians who perform background music, or have done so in the past. been divided into three over-lapping themes: musical integrity, pragmatics of background music performance and finally "people didn't listen". For this musician, musical integrity is closely associated with a lack of financial success. the musicians are not performing music but instead are banging their instruments. experience of music lives on and does so in the spirit of the musicians who strive against cache = ./cache/work_liud7tkplbabjku3d6qh7i4fnm.pdf txt = ./txt/work_liud7tkplbabjku3d6qh7i4fnm.txt === reduce.pl bib === id = work_v6xbsimt7ngf5a53ch3akhhzoy author = Patricia Joan Southworth title = Beyond band : perspectives on the high school jam session date = 2008 pages = 239 extension = .pdf mime = application/pdf words = 61477 sentences = 4720 flesch = 69 summary = participation in the jam session, a student-directed extracurricular music activity. The general research question was: Does participation in a band room jam session Qualitative data collected via journaling, interviews, observation, and participantobserver tasks indicated that jammers were perceiving and manipulating music elements in band room jam sessions I experienced or observed were activities sponsored by the school or the jam session was unique among school music activities in that it was student initiated, band classes were able to use their ear-playing skills to produce music. O'Neill studied student musicians from one state school and one specialist music which examines informal music participation (jamming), was specific to one unique school musicians at one school, the Sullivan Campus of SAHS; a group of non-jamming music achievement (an enhanced music skill) of single jammer subjects profiled in my case study. This research examines the high school jam session from both musical and cache = ./cache/work_v6xbsimt7ngf5a53ch3akhhzoy.pdf txt = ./txt/work_v6xbsimt7ngf5a53ch3akhhzoy.txt === reduce.pl bib === id = work_2wjesbfzfnh2ho7fa5l64wnk4e author = Peter J. Apps title = Chemical signals in terrestrial vertebrates: search for design features date = 2015 pages = extension = .pdf mime = text/html words = 1038 sentences = 206 flesch = 60 summary = [PDF] Chemical signals in terrestrial vertebrates: search for design features. Corpus ID: 25511963Chemical signals in terrestrial vertebrates: search for design features. title={Chemical signals in terrestrial vertebrates: search for design features.}, We compiled a data set of the compounds that terrestrial vertebrates (amniotes) use to send chemical signals, and searched for relationships between signal compound properties and signal function. Terrestrial vertebrate signalling compounds are invariably components of complex mixtures of compounds with diverse molecular weights and functionalities. Figures, Tables, and Topics from this paper View 2 excerpts, cites background and methods View 3 excerpts, cites background Constraints on the Design of Chemical Communication Systems in Terrestrial Vertebrates Chemical Signals in Vertebrates 4: Ecology, Evolution, and Comparative Biology Pheromones and Animal Behavior: Chemical Signals And Signatures View 1 excerpt, references background Semantic Scholar is a free, AI-powered research tool for scientific literature, based at the Allen Institute for AI. cache = ./cache/work_2wjesbfzfnh2ho7fa5l64wnk4e.pdf txt = ./txt/work_2wjesbfzfnh2ho7fa5l64wnk4e.txt === reduce.pl bib === id = work_b7qrowue6naevdorm5cfvertoi author = Gregory P. Scandalis title = Physical modeling of musical instruments on handheld mobile devices date = 2013 pages = 83 extension = .pdf mime = application/pdf words = 5436 sentences = 1073 flesch = 62 summary = • A brief history of physically modeled musical controlled, physically modeled, virtual musical • Pick model for different guitars/pickups (commuted synthesis, Scandalis) • Performed using a 6-channel MIDI guitar controller. • Waveguide Guitar Model, Different Pickups (MP3) • Waveguide Guitar Model, Wah-wah (MP3) http://www.moforte.com/wp-content/uploads/2013/04/Bass.mp3 http://www.moforte.com/wp-content/uploads/2013/04/Bass.mp3 http://www.moforte.com/wp-content/uploads/2013/04/Bass.mp3 the wavetable chip on a sound card, as a software based XGlite/DLS audio solution (SynthCore-OEM) (SigmaTel, ADI) • In-app purchases available for charts, instruments, effects and feature The DSP Guitar Model • Guitar/effects model runs on with the performance model (likely a C++ • MoForte Guitar makes it possible for everyone to experience • MoForte Guitar makes it possible for everyone to experience screen interaction and the guitar model. Will moForte do Physical Models additional effects both for the model guitar and – The user can play the guitar and share that performance with friends. • Note that moForte Guitar is not a game. cache = ./cache/work_b7qrowue6naevdorm5cfvertoi.pdf txt = ./txt/work_b7qrowue6naevdorm5cfvertoi.txt === reduce.pl bib === id = work_ukxdgneatbhmzin4vjoqgafwhi author = Andrea Vocaturo title = Exploring a Modified Fifths Tuning as a Vehicle for Composition for Jazz Guitar date = 2018 pages = 260 extension = .pdf mime = application/pdf words = 44849 sentences = 2567 flesch = 55 summary = Figure 7: Major chord built on MFT's structural triadic shape in a higher position Figure 92: D major scale on MFT played with four notes per string allowing to exploit modified fifths tuning (MFT) has allowed me to create unique sonorities, textures, and harmonic Figure 1: Comparison between the pitches of open strings in MFT and standard guitar tuning Figure 1: Comparison between the pitches of open strings in MFT and standard guitar tuning Figure 5: Harmonic structure with tonal extensions and melodic material created from a basic minor triadic shape Figure 7: Major chord built on MFT's structural triadic shape in a higher position of the fretboard and challenging of a major chord with its root on the fifth string in standard guitar tuning (Figure 19). Figure 19: Messiaen's harmonic structure matches a common major chord shape in standard tuning features harmonic landscapes and specific musical ideas based on the note C (opening chord, cache = ./cache/work_ukxdgneatbhmzin4vjoqgafwhi.pdf txt = ./txt/work_ukxdgneatbhmzin4vjoqgafwhi.txt === reduce.pl bib === id = work_4wowkjn36rfnrfnsjdqnwgxdeq author = Stephane Vaiedelich title = Some aspects of the research in the Laboratory of the Musée de la Musique, Paris Cité de la musique date = 2019 pages = 5 extension = .pdf mime = application/pdf words = 3160 sentences = 188 flesch = 47 summary = combines applied research dedicated to the study and conservation of musical instruments while also providing services linked to the collection. falls within the scope of the study of the material and cultural object represented by the musical instrument and the for the study and conservation of musical instruments, both in terms of preventive and curative Fig. 1 Permanent collection, 18th century space, Musée de la musique. Beyond these tasks related to the conservation of this cultural heritage, the laboratory also conducts several research instruments, the main problematic lies in the mechanical constraint that the strings apply on the structure. Experience The Musée de la Musique has a research and restoration laboratory that combines applied research dedicated to the study and conservation of research projects that are directly relevant to the field of conservation, knowledge and restoration of musical instruments. cache = ./cache/work_4wowkjn36rfnrfnsjdqnwgxdeq.pdf txt = ./txt/work_4wowkjn36rfnrfnsjdqnwgxdeq.txt === reduce.pl bib === id = work_snruknwrzbaupasn7skiaqlh4i author = Catherine Russell title = Archiveology: Walter Benjamin and Archival Film Practices date = 2020 pages = 22 extension = .pdf mime = application/pdf words = 8650 sentences = 693 flesch = 64 summary = Walter Benjamin and Archival Film Practices the image bank of film and media histories. this mode of film practice was preoccupied with 'the end of history' and the Seventeen years later, as archival film practices have become more prevalent function implicit in archival film practices. Prelinger's archive of ephemeral film was already pointing to the way that audiovisual kitsch provided a rich resource for rethinking and remaking American When applied to film practice, it refers to the use of the image Film and media artists are transforming cinema into an archival way that archival film practices work against the archive itself by fragmenting, transforming film into new media by using digit al techniques, thereby seems as if the proliferation of archival film practices finally makes Benjamin's Archiveology is a mode of film practice that draws on archival material to Andersen evokes a key principle of archival film practices. Archiveology: Walter Benjamin and Archival Film Practices cache = ./cache/work_snruknwrzbaupasn7skiaqlh4i.pdf txt = ./txt/work_snruknwrzbaupasn7skiaqlh4i.txt === reduce.pl bib === id = work_nelbnukmyvcdtefv2mhbqaouga author = David J. Hellerstein title = "The City of the Hospital": On Teaching Medical Students to Write date = 2015 pages = 21 extension = .pdf mime = application/pdf words = 11978 sentences = 901 flesch = 77 summary = Abstract BThe City of the Hospital^ is a creative nonfiction writing workshop for medical Narrative Medicine curriculum at the Columbia University College of Physicians and Surgeons, this six-week intensive workshop includes close readings of literary works and in-class conducts clinical trials—to face a room full of skeptical second year medical students, few if "Mindfulness Meditation^–and my creative nonfiction writing class, BThe City of the Hospital: The Medical Student as Writer.^ But they can't opt out: Narrative Medicine is a required The following week I ask them to write about their experiences with medical technology. Then, they write about their years of premedical life, so often extended these days, and they tell of the students see BThe City of the Hospital^ and the other courses as well as life-changing writing course that was part of her first year as a medical student reinvigorated Elizabeth's cache = ./cache/work_nelbnukmyvcdtefv2mhbqaouga.pdf txt = ./txt/work_nelbnukmyvcdtefv2mhbqaouga.txt === reduce.pl bib === id = work_7cgwg2vh6fdkdmgm2mqp5ykvji author = Graham Caldersmith title = Designing a guitar family date = 1995 pages = 15 extension = .pdf mime = application/pdf words = 4320 sentences = 358 flesch = 68 summary = natural modes of the guitar up or down with string frequencies does not baritone and bass guitars to maximise low frequency radiation eficiency response records of standard and guitar family variants illustrate the physical behaviour of the difierent designs. Keywords: Guitar family, natural modes, radiation efficiency, acoustic lower principle modes of a fan-braced classical guitar, designated l,O; (a) Standard classical guitar frequency response and (b) bracing geometry of the at the resonance frequencies of the natural modes of this guitar. indicates that the low range sound produced by a classical guitar is essentially due to two plate modes: the coupled 0,O top and 0,O back modes to the string frequencies (or compass) as for the standard guitar. (2) Baritone: a six-string instrument tuned a musical fifth seven semitones) below the standard, so the compass is A (55 Hz) to A (220 Hz). Principal mode frequencies and ratios of standard and guitar family instruments. cache = ./cache/work_7cgwg2vh6fdkdmgm2mqp5ykvji.pdf txt = ./txt/work_7cgwg2vh6fdkdmgm2mqp5ykvji.txt === reduce.pl bib === id = work_7shefhbpyvf7pabtdlj52nvgaa author = D. Egan title = Authentic Ecological Restoration date = 2006 pages = 2 extension = .pdf mime = application/pdf words = 1971 sentences = 109 flesch = 58 summary = The Presence of the Past in Ecological Restoration: about the practice and activities we call ecological restoration. authenticity or genuineness) and its relation to ecological restoration, renaturing, or whatever reactivity you want to name. Authentic Ecological Restoration When I first began my studies in ecological restoration at the restoration—a project that was loyal to the ecology of the wetmesic prairie ecosystem that Greene made every effort to replicate and restore. approach serves as an ideal that every ecological restoration project should aspire to—a strong attention to detail, a use of existing sites and/or historical reference information to determine the past; that I am failing to see the potential of ecological restoration and the future. that, in terms of ecological restoration, the past is important, that it does makes a difference, and that a study of past conditions serves as one of the most important foundations of an ecological restoration project. about ecological restoration. cache = ./cache/work_7shefhbpyvf7pabtdlj52nvgaa.pdf txt = ./txt/work_7shefhbpyvf7pabtdlj52nvgaa.txt === reduce.pl bib === id = work_jjcsitw7trfdtk4gsf6unluy2u author = Stéphane Vaiedelich title = Perception of old musical instruments date = 2017 pages = 13 extension = .pdf mime = application/pdf words = 6039 sentences = 400 flesch = 61 summary = Perception of old musical instruments Perception of old musical instruments Perception of old musical instruments Perception of old musical instruments the links between sight and hearing in our perception of a musical instrument and to illustrate The perception of an old musical instrument is complex. Before it even sounds, a musical instrument is seen, as a material object. Recent studies [7,8] have shown that, when blind-folded, players prefer in average new instruments and cannot tell better than chance level whether a violin is old or new. 20th century, have shown that new violins are in general more efficient as musical tools for soloists the case of a musical instrument, this perception is at least double, auditory and visual. red varnish appears in 78% of the notices of French origin violins from the 19th century and 91% In fact, an old musical instrument may not always be cache = ./cache/work_jjcsitw7trfdtk4gsf6unluy2u.pdf txt = ./txt/work_jjcsitw7trfdtk4gsf6unluy2u.txt === reduce.pl bib === id = work_hva5pdphhrbydk3nvicjlouzga author = Gary L. Davis title = Gary L. Davis, MD: A Conversation with the Editor date = 2003 pages = extension = .pdf mime = application/xml words = 144 sentences = 25 flesch = 71 summary = sys_1000 wp-p1m-38.ebi.ac.uk wp-p1m-38.ebi.ac.uk exception exception Params is empty Params is empty Params is empty if (typeof jQuery === "undefined") document.write('[script type="text/javascript" src="/corehtml/pmc/jig/1.14.8/js/jig.min.js"][/script]'.replace(/\[/g,String.fromCharCode(60)).replace(/\]/g,String.fromCharCode(62))); // // // window.name="mainwindow"; .pmc-wm {background:transparent repeat-y top left;background-image:url(/corehtml/pmc/pmcgifs/wm-nobrand.png);background-size: auto, contain} .print-view{display:block} Page not available Reason: The web page address (URL) that you used may be incorrect. Message ID: 218359327 (wp-p1m-38.ebi.ac.uk) Time: 2021/04/06 02:12:38 If you need further help, please send an email to PMC. Include the information from the box above in your message. Otherwise, click on one of the following links to continue using PMC: Search the complete PMC archive. Browse the contents of a specific journal in PMC. Find a specific article by its citation (journal, date, volume, first page, author or article title). http://europepmc.org/abstract/MED/ cache = ./cache/work_hva5pdphhrbydk3nvicjlouzga.pdf txt = ./txt/work_hva5pdphhrbydk3nvicjlouzga.txt === reduce.pl bib === === reduce.pl bib === id = work_kjij7pfoonfqzc3h2zbgjvbfpq author = Yongqin Xian title = Learning from limited labeled data - Zero-Shot and Few-Shot Learning date = 2020 pages = 197 extension = .pdf mime = application/pdf words = 80597 sentences = 8390 flesch = 72 summary = (DNN) on a large dataset that contains zero-shot test classes also violates the zeroshot learning idea as image feature extraction is a part of the training procedure. We introduce novel (generalized) zero-label and few-label semantic image segmentation tasks in a realistic settings inspired by zero-shot learning for image classification. performance on novel classes in the generalized zero-shot learning setting due our proposed framework is more flexible and can be applied to solve inductive zeroshot learning where there is no image from unseen classes, transductive zero-shot the extreme zero-shot learning case, there is no training images for novel classes. and generalized zero-shot learning setting with various class embeddings (e.g. Mikolov et al., 2013b; Pennington et al., 2014; Miller, 1995) on three challenging unseen class label, i.e. Yts ⊂ Y and in generalized zero-shot learning setting, the In zero-shot learning, class embeddings are as important as image features. cache = ./cache/work_kjij7pfoonfqzc3h2zbgjvbfpq.pdf txt = ./txt/work_kjij7pfoonfqzc3h2zbgjvbfpq.txt === reduce.pl bib === id = work_dqbaol2l6nfrlmygths4vqk47m author = Karen R. Little title = Books Recently Published date = 2010 pages = 23 extension = .pdf mime = application/pdf words = 11671 sentences = 3463 flesch = 90 summary = Published by Music Library Association One man's music: the life and music and the world during his New York Music in American life Popular music history New York: Cambridge University Press, New perspectives in music history and criticism The modernist legacy: essays on new music. Brad and Michele Moore roots music series Brad and Michele Moore roots music series New classical music: composing Australia. Ashgate popular and folk music series Ashgate popular and folk music series Salas, Jo. Do my story, sing my song: music New York: Oxford University Press, 2009. New York: Oxford University Press, 2009. New York: Oxford University Press, 2009. American made music series I hate new music: the York: Oxford University Press, 2009. York: Oxford University Press, 2009. Oxford; New York: Oxford University Press, Oxford; New York: Oxford University Press, Oxford; New York: Oxford University Press, Oxford; New York: Oxford University Press, New York: Three Rivers Press, cache = ./cache/work_dqbaol2l6nfrlmygths4vqk47m.pdf txt = ./txt/work_dqbaol2l6nfrlmygths4vqk47m.txt === reduce.pl bib === id = work_ehzscqefgndlzb4imawdl6krum author = France Fledderus title = "I write what I hear" : subtitle genre in selected songs by Jane Siberry date = 2002 pages = 319 extension = .pdf mime = application/pdf words = 82667 sentences = 7635 flesch = 77 summary = texts constitute cultural discourses.8 As he claims, musical genres (such as country pop, cool the generic variety in her music, particularly in her albums from the 1990s, Siberry's songs resist music, Siberry's approach to genre is that of a rock auteur. as far removed from the folk-revival genre as electro-pop, the tongue-in-cheek tone in this song Folk revival is a genre of folk music in which Siberry recorded her first self-titled album 1 1 Siberry borrows from the folk-revival genre in her negotiation of music, lyrics, and pop/rock genre seeks to dehumanize music through the use of synthetic machines, like the Indeed, Siberry's approach to the electro-pop genre as a rock auteur takes precedence over In each of the songs discussed so far, Siberry's approach to playing with musical musical parameters of the folk-revival genre, Siberry seems to be embracing the meanings of cache = ./cache/work_ehzscqefgndlzb4imawdl6krum.pdf txt = ./txt/work_ehzscqefgndlzb4imawdl6krum.txt === reduce.pl bib === id = work_cagg2iehrvacpijnsx55uocaje author = John Mandel title = The Statistical Analysis of Experimental Data date = 1965 pages = 33 extension = .pdf mime = application/pdf words = 4124 sentences = 327 flesch = 48 summary = DOWNLOAD http://bit.ly/1jFAEzz http://www.abebooks.com/servlet/SearchResults?sts=t&tn=The+Statistical+Analysis+of+Experimental+Data&x=51&y=16 Statistical Techniques for Data Analysis, Second Edition , John K. http://www.abebooks.com/servlet/SearchResults?sts=t&tn=The+Statistical+Analysis+of+Experimental+Data&x=51&y=16 Experimental Statistics , Mary Gibbons Natrella, Feb 28, 2005, Mathematics, 560 pages. Statistical Analysis of Experimental Data 410 pages Hearing on the Semiannual Report of the Stories in the Old Style , Al Sim, Jan 1, 2006, Fiction, 255 pages. http://kickass.to/The-Statistical-Analysis-of-Experimental-Data-t4367620.html http://kickass.to/The-Statistical-Analysis-of-Experimental-Data-t4367620.html http://www.amazon.com/s/?url=search-alias=stripbooks&field-keywords=The+Statistical+Analysis+of+Experimental+Data https://openlibrary.org/works/OL7097419M/The-Statistical-Analysis-of-Experimental-Data Ireland, 283 pages The Statistical Analysis of Experimental Data 0486646661, 9780486646664 Committee on Indian Affairs, 1992, Social Science, 96 pages John Mandel Courier Dover http://en.wikipedia.org/wiki/The_Statistical_Analysis_of_Experimental_Data http://en.wikipedia.org/wiki/The_Statistical_Analysis_of_Experimental_Data http://avaxsearch.com/?q=The+Statistical+Analysis+of+Experimental+Data http://avaxsearch.com/?q=The+Statistical+Analysis+of+Experimental+Data https://itunes.apple.com/us/book/The-Statistical-Analysis-of-Experimental-Data/id472209403 https://itunes.apple.com/us/book/The-Statistical-Analysis-of-Experimental-Data/id472209403 The Statistical Analysis of Experimental Data John Mandel 410 pages The Statistical Analysis of Experimental Data John Mandel 410 pages 14, 2009, Poetry, 236 pages download The Statistical Analysis of Experimental Data 1984 download The Statistical Analysis of Experimental Data 1984 Courier Dover Publications, 1984 download The Statistical Analysis of Experimental Data download The Statistical Analysis of Experimental Data http://www.barnesandnoble.com/s/?store=book&keyword=The+Statistical+Analysis+of+Experimental+Data http://www.barnesandnoble.com/s/?store=book&keyword=The+Statistical+Analysis+of+Experimental+Data http://www.barnesandnoble.com/s/?store=book&keyword=The+Statistical+Analysis+of+Experimental+Data http://higuvuqyhe.files.wordpress.com/2014/07/the-statistical-analysis-of-experimental-data.pdf cache = ./cache/work_cagg2iehrvacpijnsx55uocaje.pdf txt = ./txt/work_cagg2iehrvacpijnsx55uocaje.txt === reduce.pl bib === id = work_qjjc6yhjvzevtjxnb7zmhhog2a author = Marcus Daniel title = Jazz Education in India: A Case Study date = 2020 pages = 107 extension = .pdf mime = application/pdf words = 31320 sentences = 2965 flesch = 80 summary = Microsoft Word Jazz Education in India-A Case Study.docx Indian who learns and performs jazz in India to be able to get an understanding of the JAZZ EDUCATION IN INDIA: A CASE STUDY Essentially a jazz musician, he studied, played and recorded Indian music student life of the participant, but also what being a jazz musician in India means for Kirtana Krishna, grew up in Bangalore, India, and her father used to play jazz advantageous for jazz musicians to study to be school music teachers or college For Kirtana, singing and playing jazz means everything. Marcus: Ok, that's sad, yeah, was all of your jazz learning done in India Kirtana: You know, I wasn't actively looking for a, jazz musicians to jam with, Marcus: Uh, do you see a future for yourself as a jazz musician in India Kirtana: that are doing, you know, jazz harmony cache = ./cache/work_qjjc6yhjvzevtjxnb7zmhhog2a.pdf txt = ./txt/work_qjjc6yhjvzevtjxnb7zmhhog2a.txt === reduce.pl bib === id = work_wi5cuuu54nejjhcn7pduan4cgq author = Nanako Sato title = Juxtaposition date = 2011 pages = 268 extension = .pdf mime = application/pdf words = 63999 sentences = 22022 flesch = 114 summary = band setting, consisting of a saxophone section (two altos, two tenors and baritone); a section (guitar, piano, double bass and drum set). The instrumentation of this piece is alto and tenor saxophones, piano, double œb œ œb œ œ œ œb œb œ œ œœœbbb œœœ œœœb œœœbbb œœœb œœœ œœœb œœœb œœœ œœœ##n ™™™ œœj œœœœœ œœnb œœb œ œœb œœn œ œœœœ#n œœœœn œœœœ Note: Trumpet section need a cup mute and a harmon mute to perform this piece. œœœœ ™™™™ œœœœj ˙̇̇̇ ˙̇ ˙̇ ‰ œœœ ™™™ œœœ ‰ œœœ œ ™ œJ œ œ ˙ ™ œ ˙ ™ œœœœ œJ ‰ Œ œœœœœ œœ œ œ ˙ œœœ w ‰ œœœœ ™™™™ ˙̇̇̇n œœœœn œœœœ œœœœb œœœœ œœœœ ™™™™ œœœœj ˙̇̇̇ ˙̇ ˙̇ ‰ œœœ ™™™ œœœ ‰ œœœ ˙̇̇̇ ™™™™ ˙̇̇ ™™™ œœœœb œœœœ Œ Œ œœœœ œ œœœ ˙̇̇ œ œ œ œ œ cache = ./cache/work_wi5cuuu54nejjhcn7pduan4cgq.pdf txt = ./txt/work_wi5cuuu54nejjhcn7pduan4cgq.txt === reduce.pl bib === id = work_xmwqoqkdhvhafjd3iibwtv4hbe author = David Sager title = Richard M. Sudhalter. Lost Chords: White Musicians and Their Contributions to Jazz, 1915-1945. New York: Oxford University Press, 1999. xxii, 890 pp date = 2020 pages = 9 extension = .pdf mime = application/pdf words = 3954 sentences = 222 flesch = 66 summary = Lost Chords: White Musicians and Their Contributions to Jazz, 1915-1945 is In nearly 900 pages, Sudhalter details and gives an essence of approximately thirty musicians and several sub-genres of early jazz. A recurring annoyance for me in Lost Chords is the frequent comparison of black and white musicians, apparently designed to shed light on For instance, Sudhalter points out white arranger Elmer Schoebel's thoughtful Sudhalter reminds us that in the context of an early 1920s dance band, trumpeters regardless of race were "melodic embellishers, rather than improvisers. of "the black band gives us the 'hot' stuff and the white bands will record In a footnote, Sudhalter makes the case that Bix Beiderbecke's devotion to the repertoire of the Original Dixieland Jazz Band, as shown by his that black jazz musicians almost exclusively recorded original material in trumpet player-white, at least-making records at the time" (362). cache = ./cache/work_xmwqoqkdhvhafjd3iibwtv4hbe.pdf txt = ./txt/work_xmwqoqkdhvhafjd3iibwtv4hbe.txt === reduce.pl bib === id = work_6r5fds5lfbdzfilb4szygi5gyq author = Diana Maree Tolmie title = My Life as a Musician: Designing a Vocational Preparation Strand to Create Industry-Prepared Musicians date = 2018 pages = 492 extension = .pdf mime = application/pdf words = 168939 sentences = 13754 flesch = 59 summary = review of the music industry, musician identity, career theory and educational practice Table 6.55 Survey Q58: Musicians' Strategy for Future Non-Music Skill Table 6.57 Survey Q55: Orchestral Musicians' Non-Music Skill Set ......................... Designed to prepare Bachelor of Music degree students for diverse career realities, the industry trends, the sustainable skills required by graduating student musicians, dance and music students whose desired career aspirations for high-level performance at the crux of career development, music education, employability and industry health. portfolio career musicians' core skills required for industry sustainability, their current career success and the requirements of student musicians, opinions of current and future All the fourth-year students worked in diverse areas of the music industry, course that is designed to prepare musicians and music students for the realities of the musicians on potential employment opportunities in the music industry and the skills course experience feedback, musicians' career needs, music industry course design, arts cache = ./cache/work_6r5fds5lfbdzfilb4szygi5gyq.pdf txt = ./txt/work_6r5fds5lfbdzfilb4szygi5gyq.txt === reduce.pl bib === id = work_d3f7mu4mfvf27lv2p7esonhttq author = John W. Maxwell title = Tracing the Dynabook : a study of technocultural transformations date = 2006 pages = 312 extension = .pdf mime = application/pdf words = 137807 sentences = 14764 flesch = 77 summary = evidenced by the general confusion the topic evinces—is an idea I am completely comfortable with; that A l a n Kay's vision of personal computing is analogous to A l d u s ' pocket-sized cultural one, wherein what personal and educational computing means to us is vastly different from the vision Kay and his colleagues began to elaborate i n the early 1970s. This review breaks down into six primary themes w h i c h I believe reasonably represent the core of Kay's vision of personal and educational computing. vision and its various research projects; this surrounding literature includes the documentation for the Smalltalk language (aimed at software developers rather than children or computing environment, Smalltalk would share much w i t h Logo: it would be straighttforChapter 4: Alan Kay's Educational Vision 119 cache = ./cache/work_d3f7mu4mfvf27lv2p7esonhttq.pdf txt = ./txt/work_d3f7mu4mfvf27lv2p7esonhttq.txt === reduce.pl bib === id = work_hcnsckvh2bfjdp7sjhdkehu5na author = Derek T. Smith title = Development and Validation of a Rating Scale for Wind Jazz Improvisation Performance date = 2009 pages = 20 extension = .pdf mime = application/pdf words = 9286 sentences = 942 flesch = 54 summary = The 14-item Wind Jazz Improvisation Evaluation Scale (WJIES) If reliable and valid instrumental jazz improvisation measures presently exist, is it truly necessary to construct additional rating Numerous music performance measures have been developed using the facetfactorial approach to scale construction outlined by Butt and Fiske (1968). descriptive items of the WJIES categorized under both performance skills and creative development were read to the evaluator in order to provide a definitive Wind Jazz Improvisation Evaluation Scale as a Two-Factor Structure jazz improvisation performance skills and creative development and the factors' Rating Scale for Wind Jazz Improvisation Performance," completed at the University of Development and Validation of a Rating Scale for Wind Jazz Improvisation Performance [pp. Development and Validation of a Rating Scale for Wind Jazz Improvisation Performance [pp. Development and Validation of a Rating Scale for Wind Jazz Improvisation Performance [pp. Development and Validation of a Rating Scale for Wind Jazz Improvisation Performance [pp. cache = ./cache/work_hcnsckvh2bfjdp7sjhdkehu5na.pdf txt = ./txt/work_hcnsckvh2bfjdp7sjhdkehu5na.txt === reduce.pl bib === id = work_cxoqb4uja5ctrhdxq764cqjxuq author = HANS WEISETHAUNET title = Is there such a thing as the 'blue note'? date = 2001 pages = 18 extension = .pdf mime = application/pdf words = 10677 sentences = 677 flesch = 72 summary = will be that most musicological analyses of these styles are still based on an oversimplified idea of harmony: the applied Western major/minor theory concept with blues, rock, and some jazz styles, in emic terms and performance practice, in fact The blues structure, like ragtime, was an admixture of African influence (the call-andresponse pattern) and European harmonically derived functional form. The aesthetics behind this practice – being crucial to the 'meaning' of blues performance – is that of 'putting things to the notes' as described by B.B. King in his book, experience of playing blues music, however, some simple conclusions might nevertheless be drawn as far as 'harmony' is concerned. of the minor third over the major chord!7 Seeing the idea of the 'blue note' in such Often the performer will play two or three notes simultaneously – also in solo guitar playing – and the effect of 'blue harmony' seems to cache = ./cache/work_cxoqb4uja5ctrhdxq764cqjxuq.pdf txt = ./txt/work_cxoqb4uja5ctrhdxq764cqjxuq.txt === reduce.pl bib === id = work_lrrbivovsbbrnpvkf2jtxxpvgi author = Marc Gidal title = Contemporary "Latin American" Composers of Art Music in the United States: Cosmopolitans Navigating Multiculturalism and Universalism date = 2010 pages = 40 extension = .pdf mime = application/pdf words = 18221 sentences = 1396 flesch = 57 summary = Contemporary "Latin American" Composers of Art Music in the United States: Cosmopolitans Navigating Multiculturalism and Universalism keywords: Latin American Composers, United States, multiculturalism, universalism, The discourse of "Latin American" in the contemporary art-music scene in the United States, I will argue, functions within tensions between competing ideologies of what I am universalism manifest in art-music circles by examining how Latin American composers working in the United States encounter and navigate these Orrego-Salas established the Latin American Music Center of Indiana University in 1961.7 In the past two decades organized eff orts to present art music by Latin American composers include Tania León's festival Sonidos Any study of cosmopolitanism, multiculturalism, Latin American identity, and art-music culture—and especially all four topics combined— rhythms, melodies, or entire performance practices—is nothing new, neither for classical music nor for Latin American composers. cache = ./cache/work_lrrbivovsbbrnpvkf2jtxxpvgi.pdf txt = ./txt/work_lrrbivovsbbrnpvkf2jtxxpvgi.txt === reduce.pl bib === id = work_5u3r7cajqbbivoevkhhea6ncgy author = Vsevolod Eremenko title = Automatic Harmony Analysis Of Jazz Audio Recordings date = 2018 pages = 70 extension = .pdf mime = application/pdf words = 15403 sentences = 1709 flesch = 57 summary = This thesis aims to develop a style specific approach to Automatic Chord Estimation and computer-aided harmony analysis for jazz audio recordings. The presented work makes a step toward expanding current Music Information Retrieval (MIR) approaches for Audio Chord Estimation task, which are currently Keywords: Jazz; Harmony; Datasets; Automatic Chord Estimation; Chroma; Compositional Data Analysis The other basis for the work is Audio Chord Estimation (ACE) task in Music Information Retrieval (MIR) field [2]. In Chapter 5 we discuss how to evaluate the performance of Automatic Chord Transcription on jazz recordings. rendering, music information retrieval (MIR) and musicology communities have created several datasets of audio recordings annotated with chord progressions. collections are used for training and evaluating various MIR algorithms (e.g., Automatic Chord Estimation) and for corpus-based research. According to numerous instructional books, and to theoretical work done by Martin [7], there are only five main chord classes in jazz: major (maj), minor (min), cache = ./cache/work_5u3r7cajqbbivoevkhhea6ncgy.pdf txt = ./txt/work_5u3r7cajqbbivoevkhhea6ncgy.txt === reduce.pl bib === id = work_oj3i6sisevakrbeq5alp5zzsha author = Stéphane Vaiedelich title = SOME ASPECTS OF THE RESEARCH IN THE LABORATORY OF THE MUSÉE DE LA MUSIQUE, PARIS CITÉ DE LA MUSIQUE date = 2013 pages = 4 extension = .pdf mime = application/pdf words = 3163 sentences = 181 flesch = 47 summary = combines applied research dedicated to the study and conservation of musical instruments while also providing services linked to the collection. falls within the scope of the study of the material and cultural object represented by the musical instrument and the for the study and conservation of musical instruments, both in terms of preventive and curative Fig. 1 Permanent collection, 18th century space, Musée de la musique. Beyond these tasks related to the conservation of this cultural heritage, the laboratory also conducts several research progress at the museum, this research has shown that the varnish of fi ve of Stradivarius's instruments all have two similar Experience The Musée de la Musique has a research and restoration laboratory that combines applied research dedicated to the study and conservation of research projects that are directly relevant to the fi eld of conservation, knowledge and restoration of musical instruments. cache = ./cache/work_oj3i6sisevakrbeq5alp5zzsha.pdf txt = ./txt/work_oj3i6sisevakrbeq5alp5zzsha.txt === reduce.pl bib === id = work_lzcrk6hbjbhdtdgn6megkb77ay author = Robert Mores title = Are replicas of Nicolás del Valle's pear-shaped guitar from 1850 acoustically matching the original? Son las guitarras en forma de pera de Nicolás del Valle replicas acústicas a las originales de 1850? date = 2021 pages = 16 extension = .pdf mime = application/pdf words = 6056 sentences = 515 flesch = 72 summary = ARE REPLICAS OF NICOLÁS DEL VALLE'S PEAR-SHAPED GUITAR FROM 1850 ACOUSTICALLY MATCHING THE ORIGINAL? Mores, Robert, "Are replicas of Nicolás del Valle's pear-shaped guitar from 1850 manufactured three replicas of a pear-shaped guitar from Nicolás del Valle, built in 1850. strength of the original del Valle guitar only as an indicator for the general target stiffness measurements were done on the replicas, but also on the original guitar from del Valle. ARE REPLICAS OF NICOLÁS DEL VALLE'S PEAR-SHAPED GUITAR FROM 1850 ACOUSTICALLY ARE REPLICAS OF NICOLÁS DEL VALLE'S PEAR-SHAPED GUITAR FROM 1850 ACOUSTICALLY ARE REPLICAS OF NICOLÁS DEL VALLE'S PEAR-SHAPED GUITAR FROM 1850 ACOUSTICALLY ARE REPLICAS OF NICOLÁS DEL VALLE'S PEAR-SHAPED GUITAR FROM 1850 ACOUSTICALLY ARE REPLICAS OF NICOLÁS DEL VALLE'S PEAR-SHAPED GUITAR FROM 1850 ACOUSTICALLY ARE REPLICAS OF NICOLÁS DEL VALLE'S PEAR-SHAPED GUITAR FROM 1850 ACOUSTICALLY ARE REPLICAS OF NICOLÁS DEL VALLE'S PEAR-SHAPED GUITAR FROM 1850 ACOUSTICALLY cache = ./cache/work_lzcrk6hbjbhdtdgn6megkb77ay.pdf txt = ./txt/work_lzcrk6hbjbhdtdgn6megkb77ay.txt === reduce.pl bib === id = work_qauxvqzy35eszi54ysadvjqyjq author = Elvira Brattico title = Musical scale properties are automatically processed in the human auditory cortex date = 2006 pages = 13 extension = .pdf mime = application/pdf words = 9934 sentences = 796 flesch = 63 summary = Electrophysiological brain responses to musical scale violations have only been obtained under active paradigms in that pitch deviations from the relational aspects of equaltempered musical scales should also elicit early negativities We reasoned that the presence of an attention-independent difference in the brain responses between the incongruous and congruous pitches would support the hypothesis incongruities would support the prediction that pitch relations are automatically encoded according to the musical As Fig. 2 illustrates, in both the passive and active experiments, the congruous pitch elicited a fronto-centrally distributed sharp negative deflection, the N1, peaking on average Fig. 2 – Grand-average ERPs to the congruous pitch in the passive and active experiments. Fig. 4 – Grand-average ERPs to the congruous pitch, out-of-key pitch, and out-of-tune pitch in the active experiment. nonmusicians to musical scale incongruities within a singlevoice melody under both the passive and active experiments. auditory cortex as based on the pitch relations of the musical cache = ./cache/work_qauxvqzy35eszi54ysadvjqyjq.pdf txt = ./txt/work_qauxvqzy35eszi54ysadvjqyjq.txt === reduce.pl bib === id = work_rua4bqbs7bagzh3e26qn2rmjea author = Бернат Ф. title = Перекладення Класичних Творів Для Оркестру «100 Гітар»: Від Аналізу До Інтерпретації date = 2018 pages = 8 extension = .pdf mime = application/pdf words = 5039 sentences = 407 flesch = 71 summary = working in this direction is the New York City Guitar Orchestra [5]. The material is performed exclusively on electric guitars. sound of a guitar orchestra, to combine classical music with modern means, technical and musical instruments, visual techniques, to give classical music a The scores are attributed according to the parts, resulting in the orchestra of guitarists gaining a symphonic sound. noted that the performance of Beethoven's Symphony No. 5 for the guitar orchestra in the arrangeintroduction of a completely new text into the author's original material, an abundance of syncopated From the very beginning, the material for guitars is signifi cantly different from the original. bar 10 in the part of electric guitar 1 and acoustic fi rst electric and acoustic guitars from bar 10. Further, the melody continues to sound in the original tessitura, and only the fi rst electric guitar retains performed in parts in electric guitars 1 and 2, and the cache = ./cache/work_rua4bqbs7bagzh3e26qn2rmjea.pdf txt = ./txt/work_rua4bqbs7bagzh3e26qn2rmjea.txt === reduce.pl bib === id = work_lj4morx7efgh3k6u7fksenrtt4 author = Michael J. Prerau title = Tracking the Sleep Onset Process: An Empirical Model of Behavioral and Physiological Dynamics date = 2014 pages = extension = .pdf mime = text/html words = 4 sentences = 1 flesch = 97 summary = cache = ./cache/work_lj4morx7efgh3k6u7fksenrtt4.pdf txt = ./txt/work_lj4morx7efgh3k6u7fksenrtt4.txt === reduce.pl bib === id = work_kfjoci7bjndhbjd2duhx3qx4n4 author = Victor von Brunn title = Obituaries date = 2001 pages = 4 extension = .pdf mime = application/pdf words = 3596 sentences = 162 flesch = 52 summary = his duties in the South African Weather Bureau and also African National Antarctic Expedition and was immediately region south of SANAE to study the geology, glaciology, Two years after his return from the Antarctic, la Grange He also began writing a book on the South African first recipient of the South African Antarctic medal, in was instrumental in founding the South African Antarctic desk on the top floor of the Scott Polar Research Institute, Glaciological Society and, in 1971, added 'International' During the 40 years Richardson served the International Clive Holland, Arctic historian and former archivist at the Scott Polar Research Institute, died 15 September 2000, at Once he read his first Arctic expedition account, he later Four years later, Holland published his Manuscripts in the Scott Polar Research Institute, each expedition to the Arctic, a vast bibliography of works project, he received a two-year grant to extend this work to cache = ./cache/work_kfjoci7bjndhbjd2duhx3qx4n4.pdf txt = ./txt/work_kfjoci7bjndhbjd2duhx3qx4n4.txt === reduce.pl bib === id = work_7bbjlq5xyfaglhzelefr2g7ism author = Ian D. Dunkle title = The Competition Account of Achievement‐Value date = 2019 pages = 29 extension = .pdf mime = application/pdf words = 14195 sentences = 908 flesch = 58 summary = I show that DV, on my interpretation, better handles cases of needless difficulty (Section 5), lucky achievements (Section 6), and effortless artistic creations (Section 7) than does Does the effortful interpretation of DCV allow, problematically, for needlessly introduced difficulties to contribute to the value of achievements? Misguided but lucky effort: According to DV, stumbling upon a buried treasure by pure luck after following a dowsing rod through a desert counts as a highly valuable achievement for the Misguided but lucky effort: According to DV, stumbling upon a buried treasure by pure luck after following a dowsing rod through a desert counts as a highly valuable achievement for the Misguided but lucky effort: According to DV, stumbling upon a buried treasure by pure luck after following a dowsing rod through a desert counts as a highly valuable achievement for the not contribute achievement-value on Bradford's effortful interpretation. cache = ./cache/work_7bbjlq5xyfaglhzelefr2g7ism.pdf txt = ./txt/work_7bbjlq5xyfaglhzelefr2g7ism.txt === reduce.pl bib === id = work_naabgn6aujg3dd2lsn63lwchji author = (:Unkn) Unknown title = The Girl Gang: Women Writers of the New York City Beat Community date = 2020 pages = 322 extension = .pdf mime = application/pdf words = 99155 sentences = 6224 flesch = 64 summary = The Girl Gang: Women Writers of the New York City Beat Community seeks to engaging the lives and work of five women Beat writers: Diane di Prima, Joyce Johnson, Writers of the New York City Beat Community addresses this limited attention to and the bohemians within the New York City Beat community, but within this same social space, of the women writers of the New York City Beat community as well. how each writer's particular experience within the New York City Beat community as a Integrating a study of the women writers from the New York City Beat community into writer in the New York City Beat community and her larger body of work. cohesive narrative of women writers of the New York City Beat literary community. male homosocial New York City Beat community shaped their work in important ways. The Girl Gang: Women Writers of the New York City Beat Community ultimately cache = ./cache/work_naabgn6aujg3dd2lsn63lwchji.pdf txt = ./txt/work_naabgn6aujg3dd2lsn63lwchji.txt === reduce.pl bib === id = work_jeaea5yzlnbyvnymnnngmzvjti author = Eva Ceulemans title = Detecting intra- and inter-categorical structure in semantic concepts using HICLAS date = 2010 pages = 9 extension = .pdf mime = application/pdf words = 8832 sentences = 713 flesch = 60 summary = cognitive capacity of detecting feature co-occurence in large data bases of features characterizing exemplars, succeeds rather well in predicting interand intra-categorical structure. The intra-categorical structure is reflected extensionally in the extent to which a particular exemplar of a category is typical of the Since semantic concepts are, as mentioned above, usually hierarchically structured, intra-categorical structure (i.e., which features apply to which exemplars) and inter-categorical structure semantic concepts from the correlational structure of psychologically salient features in the entities in the world (Storms & De cognitive implications of the use of data analytic tools such as HICLAS to study interand intra-categorical structure. R, HICLAS approximates the data by a binary I exemplars by J features model matrix M, such that the following loss function is to the corresponding exemplar and feature bundles, form a rectangle of 0s in the data matrix. whether HICLAS retrieves this intra-categorical structure, the Jaccard goodness-of-fit indices of the animals within a category were cache = ./cache/work_jeaea5yzlnbyvnymnnngmzvjti.pdf txt = ./txt/work_jeaea5yzlnbyvnymnnngmzvjti.txt === reduce.pl bib === id = work_sqtz6bndpff3za5medjcaubcny author = Michael Toth title = Explorations in intuition : breaking boundaries and reclaiming voice through A/r/tographic process date = 2007 pages = 174 extension = .pdf mime = application/pdf words = 183135 sentences = 47084 flesch = 117 summary = From music, poetic and narrative renderings, I learned valuable insights The notion of hero surfaced while regrets brought new Indeed, I sensed that coupling narrative with music could create a powerful For example, I didn't start teaching until I was 36 years old. not considered the non-musical issues, such as class control, dealing with parents, The band music curriculum in North American public schools has been experience, concert band repertoire does not connect with young performers. Concert band music, for the most part does not reflect the culture of today. Few people, if any, in today's society listen to concert band music. listening to concert band music. 2. STUDENTS WILL HAVE A SONG PREPARED (IN WRITING) FOR EACH CLASS. 7. ONCE CLASS HAS STARTED/STUDENTS WILL ONLY PLAY AND FOCUS ON THIS YEAR'S times like these, the artist/hero says exactly what needs to be said at a level that cache = ./cache/work_sqtz6bndpff3za5medjcaubcny.pdf txt = ./txt/work_sqtz6bndpff3za5medjcaubcny.txt === reduce.pl bib === id = work_4zym37jx4jfhzm2c5o7gcjfgju author = Felicia Nafeeza Persaud title = In Search of Computer Music Analysis: Music Information Retrieval, Optimization, and Machine Learning from 2000-2016 date = 2018 pages = 102 extension = .pdf mime = application/pdf words = 26466 sentences = 2000 flesch = 61 summary = In Search of Computer Music Analysis: Music Information Retrieval, Optimization, and Machine Learning In Search of Computer Music Analysis: Music Information Retrieval, Optimization, and Machine Learning including, Music Information Retrieval (MIR), Optimization, and Machine Learning. This thesis aims to critically examine specific tools in Music Information Retrieval among the three areas: Music Information Retrieval (MIR), Machine Learning, and Music Analysis like Optimization and Machine Learning. Downie in his article "Music Information Retrieval." Though this is an issue in MIR specifically, Darrell Conklin concentrates on research in Machine Learning and Music at the Conklin and Whitten describe Machine Learning, applied to music research, as follows: 2. The creation of "a general-purpose machine learning tool for music" (Conklin and aspects of Music Information Retrieval (MIR), Optimization, and Machine Learning. representation of music and the most useful audio tools for interval analysis. analysis of full works of music using complex ideas is not common in Machine Learning. cache = ./cache/work_4zym37jx4jfhzm2c5o7gcjfgju.pdf txt = ./txt/work_4zym37jx4jfhzm2c5o7gcjfgju.txt === reduce.pl bib === === reduce.pl bib === id = work_45wy3fczjvc5fj53ll2knwbjv4 author = Andrew Scott title = "I See the Fretboard in Diagrams": An Examination of the Improvisatory Style of Herbert Lawrence "Sonny" Greenwich date = 2003 pages = 18 extension = .pdf mime = application/pdf words = 6933 sentences = 586 flesch = 68 summary = "I See the Fretboard in Diagrams": An Examination of the Improvisatory Style of Herbert Lawrence "Sonny" Greenwich important Canadian jazz musicians," Herbert Lawrence "Sonny" Greenwich Records Inc. for authorizing the use of the musical examples contained within this article, and to Sonny "changes" of a composition, as Lawrence Gushee points out, Hawkins's improvisations (most notably his 1939 recording of "Body and Soul") find him arpeggiating "vertically" through various triads and four-part chords that are either related I suggest that Greenwich's fretboard diagrams act as a surrogate music theory These diagrams inform Greenwich's improvisations, suggesting a framework of pitches that he can delineate, surround or The musical phrase that Greenwich plays "over" the "A-minor 7 add 9" What Greenwich "hears" over an F major tonality as guitar diagram adherence to any chord/scale system of improvisation informs Greenwich's music. "Where is Love," guitar improvisation as played by Sonny Greenwich (2001) diagrams offer Greenwich a flexible musical strategy. cache = ./cache/work_45wy3fczjvc5fj53ll2knwbjv4.pdf txt = ./txt/work_45wy3fczjvc5fj53ll2knwbjv4.txt === reduce.pl bib === id = work_53x2t22auffgxhyvfxvcwrttgu author = Robert Heinze title = 'Men Between': The Role of Zambian Broadcasters in Decolonisation date = 2014 pages = 32 extension = .pdf mime = application/pdf words = 11532 sentences = 644 flesch = 52 summary = Harry Franklin and Kenneth Bradley, pressurised the colonial government to introduce a fullfledged station after radio had been used in the Second World War to broadcast news from the African broadcasters who played a role in Zambia's decolonisation had started under Kittermaster. 13 M.V. Sichalwe, The Development of Radio Broadcasting in Northern Rhodesia (MA Thesis, University of Zambia, Many African broadcasters sympathised with nationalist politics, and the music programmes Nationalist politics separated the African broadcasters from their liberal superiors, but other knit team' of black and white broadcasters at CABS shared ideas about African culture, about earlier, one must ask how much CABS and FBC broadcasters were influenced by colonial and BBC African Studies and took the opportunity to work at the BBC, producing broadcasts for what was journalists between BBC liberalism and UNIP's nationalism, for the censorship in colonial radio In music and entertainment programmes, African broadcasters, colonial propaganda, but also influencing African broadcasters' attitudes towards nationalism, cache = ./cache/work_53x2t22auffgxhyvfxvcwrttgu.pdf txt = ./txt/work_53x2t22auffgxhyvfxvcwrttgu.txt === reduce.pl bib === id = work_l6yr6hunf5atnl3tqjan3dvy64 author = Warren Brodsky title = The mental representation of music notation: Notational audiation date = 2008 pages = 19 extension = .pdf mime = application/pdf words = 17506 sentences = 1185 flesch = 59 summary = earlier studies, the authors claimed that this process engages music imagery contingent on subvocal silent suggests that the mental representation of music notation cues manual motor imagery. audiation; he further referred to notational audiation as the specific skill of "hearing" the music one is reading before physically They found that pianists were successful at matching silently read music notation to a subsequently presented auditory Yet the study did little to demonstrate that task performance was based on evoked music imagery rather than on structural harmonic analyses or on guesswork based on visual surface available to the "mind's ear." In the experiments, after the participants silently read the notation of an EM, they heard a tune and in Table 5, comparison analysis for audio data revealed no significant differences between the silent-reading conditions, but there The results show that highly trained musicians who were proficient in task performance during nondistracted music reading proficient in task performance during all music-reading conditions cache = ./cache/work_l6yr6hunf5atnl3tqjan3dvy64.pdf txt = ./txt/work_l6yr6hunf5atnl3tqjan3dvy64.txt === reduce.pl bib === id = work_2ip4tri33vfdbfxs5spwnrl2ji author = Sebastian Streich title = Automatic Characterization of Music Complexity a multi-faceted approach date = 2005 pages = 82 extension = .pdf mime = application/pdf words = 24939 sentences = 2077 flesch = 62 summary = After giving some background information about the motivation for this research, we will discuss examples of practical applications, such as collection visualization, playlist generation, and music recommendation. the pure digital audio data and the semantic concepts describing the content offers much more natural ways of searching in music collections than it is currently models capturing aspects of music complexity were already proposed in the literature, but that their application to the task we have in mind is problematic or at different facets of music complexity can be approached from the computational It is the goal of this research work to provide operational models for the automated computation of music complexity as it is perceived1 by human listeners. We pointed out in section 3.2 that according to Berlyne's theory of arousal potential [Ber71] the level of perceived complexity of a piece of music can be associated Following the review of computing different complexity facets of musical audio, cache = ./cache/work_2ip4tri33vfdbfxs5spwnrl2ji.pdf txt = ./txt/work_2ip4tri33vfdbfxs5spwnrl2ji.txt Building ./etc/reader.txt work_6r5fds5lfbdzfilb4szygi5gyq work_ehzscqefgndlzb4imawdl6krum work_v6xbsimt7ngf5a53ch3akhhzoy work_kjij7pfoonfqzc3h2zbgjvbfpq work_naabgn6aujg3dd2lsn63lwchji work_ehzscqefgndlzb4imawdl6krum number of items: 40 sum of words: 1,219,260 average size in words: 30,481 average readability score: 67 nouns: œ; i; o; t; r; l; music; h; c; e; a; p; d; n; v; Œ; w; g; s; time; jazz; work; students; musicians; career; classes; m; p.; %; research; b; class; learning; performance; shot; chapter; study; industry; guitar; way; œn; y; years; skills; musician; employment; model; education; u; œb verbs: is; was; be; are; have; were; has; 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quite; on; all; especially; yet pronouns: i; it; their; we; my; her; they; you; his; he; she; its; our; me; them; your; itself; us; him; themselves; one; herself; myself; himself; yourself; ’s; oneself; ours; ourselves; ''s; mp; mine; œb; λ; yours; s; fp; α; ¥; em; e; ’em; œœ; ya; thy; theirs; in-; hers; fea-; di proper nouns: e; t; s; h; n; r; o; u; m; d; i; œ; f; w; y; c; a; l; ‰; g; b; œj; ˙; p; ¿; al; k; Œ; music; .; new; j; v; york; kay; university; isbn; siberry; et; press; œœ; beat; bb; ™; Ó; j.; x; nanako; sato; johnson keywords: music; university; new; jazz; york; press; instrument; chapter; guitar; work; student; storms; states; research; pmc; note; musée; musique; musician; learning; king; john; figure; education; data; computer; city; chord; appendix; analysis; american; zhang; zero; zambia; young; year; write; woman; wjies; web; walser; violin; valle; usa; url; united; unip; tuning; tolmie; tmehc one topic; one dimension: music file(s): ./cache/work_6r5fds5lfbdzfilb4szygi5gyq.pdf titles(s): My Life as a Musician: Designing a Vocational Preparation Strand to Create Industry-Prepared Musicians three topics; one dimension: music; œj; shot file(s): ./cache/work_6r5fds5lfbdzfilb4szygi5gyq.pdf, ./cache/work_ukxdgneatbhmzin4vjoqgafwhi.pdf, ./cache/work_kjij7pfoonfqzc3h2zbgjvbfpq.pdf titles(s): My Life as a Musician: Designing a Vocational Preparation Strand to Create Industry-Prepared Musicians | Exploring a Modified Fifths Tuning as a Vehicle for Composition for Jazz Guitar | Learning from limited labeled data - Zero-Shot and Few-Shot Learning five topics; three dimensions: music new beat; œj œœ œb; music students career; shot classes et; jazz music kirtana file(s): ./cache/work_naabgn6aujg3dd2lsn63lwchji.pdf, ./cache/work_ukxdgneatbhmzin4vjoqgafwhi.pdf, ./cache/work_6r5fds5lfbdzfilb4szygi5gyq.pdf, ./cache/work_kjij7pfoonfqzc3h2zbgjvbfpq.pdf, ./cache/work_lrrbivovsbbrnpvkf2jtxxpvgi.pdf titles(s): The Girl Gang: Women Writers of the New York City Beat Community | Exploring a Modified Fifths Tuning as a Vehicle for Composition for Jazz Guitar | My Life as a Musician: Designing a Vocational Preparation Strand to Create Industry-Prepared Musicians | Learning from limited labeled data - Zero-Shot and Few-Shot Learning | Contemporary "Latin American" Composers of Art Music in the United States: Cosmopolitans Navigating Multiculturalism and Universalism Type: zip2carrel title: jazzGuitar-from-scholar date: 2021-04-05 time: 21:13 username: emorgan patron: Eric Morgan email: emorgan@nd.edu input: input-file.zip ==== make-pages.sh htm files ==== make-pages.sh complex files ==== make-pages.sh named enities ==== making bibliographics id: work_naabgn6aujg3dd2lsn63lwchji author: (:Unkn) Unknown title: The Girl Gang: Women Writers of the New York City Beat Community date: 2020 words: 99155 sentences: 6224 pages: 322 flesch: 64 cache: ./cache/work_naabgn6aujg3dd2lsn63lwchji.pdf txt: ./txt/work_naabgn6aujg3dd2lsn63lwchji.txt summary: The Girl Gang: Women Writers of the New York City Beat Community seeks to engaging the lives and work of five women Beat writers: Diane di Prima, Joyce Johnson, Writers of the New York City Beat Community addresses this limited attention to and the bohemians within the New York City Beat community, but within this same social space, of the women writers of the New York City Beat community as well. how each writer''s particular experience within the New York City Beat community as a Integrating a study of the women writers from the New York City Beat community into writer in the New York City Beat community and her larger body of work. cohesive narrative of women writers of the New York City Beat literary community. male homosocial New York City Beat community shaped their work in important ways. The Girl Gang: Women Writers of the New York City Beat Community ultimately id: work_liud7tkplbabjku3d6qh7i4fnm author: Alan Bradshaw title: "Exiled Music Herself, Pushed to the Edge of Existence": The Experience Of Musicians Who Perform Background Music date: 2005 words: 11048 sentences: 698 pages: 21 flesch: 65 cache: ./cache/work_liud7tkplbabjku3d6qh7i4fnm.pdf txt: ./txt/work_liud7tkplbabjku3d6qh7i4fnm.txt summary: the experiences of musicians who perform background music. on how they negotiate the romantic experience of music when the audience isn''t interested. Keywords: Background Music; Musicians; Romanticism; Listening; Adorno; Muzak musicians who have worked playing live background music in bars, cafes or corporate addresses the history of listening to music and investigates the experiences of musicians As stated, the purpose of this paper is to explore the experiences of professional musicians who perform background music, or have done so in the past. been divided into three over-lapping themes: musical integrity, pragmatics of background music performance and finally "people didn''t listen". For this musician, musical integrity is closely associated with a lack of financial success. the musicians are not performing music but instead are banging their instruments. experience of music lives on and does so in the spirit of the musicians who strive against id: work_ukxdgneatbhmzin4vjoqgafwhi author: Andrea Vocaturo title: Exploring a Modified Fifths Tuning as a Vehicle for Composition for Jazz Guitar date: 2018 words: 44849 sentences: 2567 pages: 260 flesch: 55 cache: ./cache/work_ukxdgneatbhmzin4vjoqgafwhi.pdf txt: ./txt/work_ukxdgneatbhmzin4vjoqgafwhi.txt summary: Figure 7: Major chord built on MFT''s structural triadic shape in a higher position Figure 92: D major scale on MFT played with four notes per string allowing to exploit modified fifths tuning (MFT) has allowed me to create unique sonorities, textures, and harmonic Figure 1: Comparison between the pitches of open strings in MFT and standard guitar tuning Figure 1: Comparison between the pitches of open strings in MFT and standard guitar tuning Figure 5: Harmonic structure with tonal extensions and melodic material created from a basic minor triadic shape Figure 7: Major chord built on MFT''s structural triadic shape in a higher position of the fretboard and challenging of a major chord with its root on the fifth string in standard guitar tuning (Figure 19). Figure 19: Messiaen''s harmonic structure matches a common major chord shape in standard tuning features harmonic landscapes and specific musical ideas based on the note C (opening chord, id: work_45wy3fczjvc5fj53ll2knwbjv4 author: Andrew Scott title: "I See the Fretboard in Diagrams": An Examination of the Improvisatory Style of Herbert Lawrence "Sonny" Greenwich date: 2003 words: 6933 sentences: 586 pages: 18 flesch: 68 cache: ./cache/work_45wy3fczjvc5fj53ll2knwbjv4.pdf txt: ./txt/work_45wy3fczjvc5fj53ll2knwbjv4.txt summary: "I See the Fretboard in Diagrams": An Examination of the Improvisatory Style of Herbert Lawrence "Sonny" Greenwich important Canadian jazz musicians," Herbert Lawrence "Sonny" Greenwich Records Inc. for authorizing the use of the musical examples contained within this article, and to Sonny "changes" of a composition, as Lawrence Gushee points out, Hawkins''s improvisations (most notably his 1939 recording of "Body and Soul") find him arpeggiating "vertically" through various triads and four-part chords that are either related I suggest that Greenwich''s fretboard diagrams act as a surrogate music theory These diagrams inform Greenwich''s improvisations, suggesting a framework of pitches that he can delineate, surround or The musical phrase that Greenwich plays "over" the "A-minor 7 add 9" What Greenwich "hears" over an F major tonality as guitar diagram adherence to any chord/scale system of improvisation informs Greenwich''s music. "Where is Love," guitar improvisation as played by Sonny Greenwich (2001) diagrams offer Greenwich a flexible musical strategy. id: work_snruknwrzbaupasn7skiaqlh4i author: Catherine Russell title: Archiveology: Walter Benjamin and Archival Film Practices date: 2020 words: 8650 sentences: 693 pages: 22 flesch: 64 cache: ./cache/work_snruknwrzbaupasn7skiaqlh4i.pdf txt: ./txt/work_snruknwrzbaupasn7skiaqlh4i.txt summary: Walter Benjamin and Archival Film Practices the image bank of film and media histories. this mode of film practice was preoccupied with ''the end of history'' and the Seventeen years later, as archival film practices have become more prevalent function implicit in archival film practices. Prelinger''s archive of ephemeral film was already pointing to the way that audiovisual kitsch provided a rich resource for rethinking and remaking American When applied to film practice, it refers to the use of the image Film and media artists are transforming cinema into an archival way that archival film practices work against the archive itself by fragmenting, transforming film into new media by using digit al techniques, thereby seems as if the proliferation of archival film practices finally makes Benjamin''s Archiveology is a mode of film practice that draws on archival material to Andersen evokes a key principle of archival film practices. Archiveology: Walter Benjamin and Archival Film Practices id: work_7shefhbpyvf7pabtdlj52nvgaa author: D. Egan title: Authentic Ecological Restoration date: 2006 words: 1971 sentences: 109 pages: 2 flesch: 58 cache: ./cache/work_7shefhbpyvf7pabtdlj52nvgaa.pdf txt: ./txt/work_7shefhbpyvf7pabtdlj52nvgaa.txt summary: The Presence of the Past in Ecological Restoration: about the practice and activities we call ecological restoration. authenticity or genuineness) and its relation to ecological restoration, renaturing, or whatever reactivity you want to name. Authentic Ecological Restoration When I first began my studies in ecological restoration at the restoration—a project that was loyal to the ecology of the wetmesic prairie ecosystem that Greene made every effort to replicate and restore. approach serves as an ideal that every ecological restoration project should aspire to—a strong attention to detail, a use of existing sites and/or historical reference information to determine the past; that I am failing to see the potential of ecological restoration and the future. that, in terms of ecological restoration, the past is important, that it does makes a difference, and that a study of past conditions serves as one of the most important foundations of an ecological restoration project. about ecological restoration. id: work_nelbnukmyvcdtefv2mhbqaouga author: David J. Hellerstein title: "The City of the Hospital": On Teaching Medical Students to Write date: 2015 words: 11978 sentences: 901 pages: 21 flesch: 77 cache: ./cache/work_nelbnukmyvcdtefv2mhbqaouga.pdf txt: ./txt/work_nelbnukmyvcdtefv2mhbqaouga.txt summary: Abstract BThe City of the Hospital^ is a creative nonfiction writing workshop for medical Narrative Medicine curriculum at the Columbia University College of Physicians and Surgeons, this six-week intensive workshop includes close readings of literary works and in-class conducts clinical trials—to face a room full of skeptical second year medical students, few if "Mindfulness Meditation^–and my creative nonfiction writing class, BThe City of the Hospital: The Medical Student as Writer.^ But they can''t opt out: Narrative Medicine is a required The following week I ask them to write about their experiences with medical technology. Then, they write about their years of premedical life, so often extended these days, and they tell of the students see BThe City of the Hospital^ and the other courses as well as life-changing writing course that was part of her first year as a medical student reinvigorated Elizabeth''s id: work_xmwqoqkdhvhafjd3iibwtv4hbe author: David Sager title: Richard M. Sudhalter. Lost Chords: White Musicians and Their Contributions to Jazz, 1915-1945. New York: Oxford University Press, 1999. xxii, 890 pp date: 2020 words: 3954 sentences: 222 pages: 9 flesch: 66 cache: ./cache/work_xmwqoqkdhvhafjd3iibwtv4hbe.pdf txt: ./txt/work_xmwqoqkdhvhafjd3iibwtv4hbe.txt summary: Lost Chords: White Musicians and Their Contributions to Jazz, 1915-1945 is In nearly 900 pages, Sudhalter details and gives an essence of approximately thirty musicians and several sub-genres of early jazz. A recurring annoyance for me in Lost Chords is the frequent comparison of black and white musicians, apparently designed to shed light on For instance, Sudhalter points out white arranger Elmer Schoebel''s thoughtful Sudhalter reminds us that in the context of an early 1920s dance band, trumpeters regardless of race were "melodic embellishers, rather than improvisers. of "the black band gives us the ''hot'' stuff and the white bands will record In a footnote, Sudhalter makes the case that Bix Beiderbecke''s devotion to the repertoire of the Original Dixieland Jazz Band, as shown by his that black jazz musicians almost exclusively recorded original material in trumpet player-white, at least-making records at the time" (362). id: work_hcnsckvh2bfjdp7sjhdkehu5na author: Derek T. Smith title: Development and Validation of a Rating Scale for Wind Jazz Improvisation Performance date: 2009 words: 9286 sentences: 942 pages: 20 flesch: 54 cache: ./cache/work_hcnsckvh2bfjdp7sjhdkehu5na.pdf txt: ./txt/work_hcnsckvh2bfjdp7sjhdkehu5na.txt summary: The 14-item Wind Jazz Improvisation Evaluation Scale (WJIES) If reliable and valid instrumental jazz improvisation measures presently exist, is it truly necessary to construct additional rating Numerous music performance measures have been developed using the facetfactorial approach to scale construction outlined by Butt and Fiske (1968). descriptive items of the WJIES categorized under both performance skills and creative development were read to the evaluator in order to provide a definitive Wind Jazz Improvisation Evaluation Scale as a Two-Factor Structure jazz improvisation performance skills and creative development and the factors'' Rating Scale for Wind Jazz Improvisation Performance," completed at the University of Development and Validation of a Rating Scale for Wind Jazz Improvisation Performance [pp. Development and Validation of a Rating Scale for Wind Jazz Improvisation Performance [pp. Development and Validation of a Rating Scale for Wind Jazz Improvisation Performance [pp. Development and Validation of a Rating Scale for Wind Jazz Improvisation Performance [pp. id: work_6r5fds5lfbdzfilb4szygi5gyq author: Diana Maree Tolmie title: My Life as a Musician: Designing a Vocational Preparation Strand to Create Industry-Prepared Musicians date: 2018 words: 168939 sentences: 13754 pages: 492 flesch: 59 cache: ./cache/work_6r5fds5lfbdzfilb4szygi5gyq.pdf txt: ./txt/work_6r5fds5lfbdzfilb4szygi5gyq.txt summary: review of the music industry, musician identity, career theory and educational practice Table 6.55 Survey Q58: Musicians'' Strategy for Future Non-Music Skill Table 6.57 Survey Q55: Orchestral Musicians'' Non-Music Skill Set ......................... Designed to prepare Bachelor of Music degree students for diverse career realities, the industry trends, the sustainable skills required by graduating student musicians, dance and music students whose desired career aspirations for high-level performance at the crux of career development, music education, employability and industry health. portfolio career musicians'' core skills required for industry sustainability, their current career success and the requirements of student musicians, opinions of current and future All the fourth-year students worked in diverse areas of the music industry, course that is designed to prepare musicians and music students for the realities of the musicians on potential employment opportunities in the music industry and the skills course experience feedback, musicians'' career needs, music industry course design, arts id: work_qauxvqzy35eszi54ysadvjqyjq author: Elvira Brattico title: Musical scale properties are automatically processed in the human auditory cortex date: 2006 words: 9934 sentences: 796 pages: 13 flesch: 63 cache: ./cache/work_qauxvqzy35eszi54ysadvjqyjq.pdf txt: ./txt/work_qauxvqzy35eszi54ysadvjqyjq.txt summary: Electrophysiological brain responses to musical scale violations have only been obtained under active paradigms in that pitch deviations from the relational aspects of equaltempered musical scales should also elicit early negativities We reasoned that the presence of an attention-independent difference in the brain responses between the incongruous and congruous pitches would support the hypothesis incongruities would support the prediction that pitch relations are automatically encoded according to the musical As Fig. 2 illustrates, in both the passive and active experiments, the congruous pitch elicited a fronto-centrally distributed sharp negative deflection, the N1, peaking on average Fig. 2 – Grand-average ERPs to the congruous pitch in the passive and active experiments. Fig. 4 – Grand-average ERPs to the congruous pitch, out-of-key pitch, and out-of-tune pitch in the active experiment. nonmusicians to musical scale incongruities within a singlevoice melody under both the passive and active experiments. auditory cortex as based on the pitch relations of the musical id: work_jeaea5yzlnbyvnymnnngmzvjti author: Eva Ceulemans title: Detecting intra- and inter-categorical structure in semantic concepts using HICLAS date: 2010 words: 8832 sentences: 713 pages: 9 flesch: 60 cache: ./cache/work_jeaea5yzlnbyvnymnnngmzvjti.pdf txt: ./txt/work_jeaea5yzlnbyvnymnnngmzvjti.txt summary: cognitive capacity of detecting feature co-occurence in large data bases of features characterizing exemplars, succeeds rather well in predicting interand intra-categorical structure. The intra-categorical structure is reflected extensionally in the extent to which a particular exemplar of a category is typical of the Since semantic concepts are, as mentioned above, usually hierarchically structured, intra-categorical structure (i.e., which features apply to which exemplars) and inter-categorical structure semantic concepts from the correlational structure of psychologically salient features in the entities in the world (Storms & De cognitive implications of the use of data analytic tools such as HICLAS to study interand intra-categorical structure. R, HICLAS approximates the data by a binary I exemplars by J features model matrix M, such that the following loss function is to the corresponding exemplar and feature bundles, form a rectangle of 0s in the data matrix. whether HICLAS retrieves this intra-categorical structure, the Jaccard goodness-of-fit indices of the animals within a category were id: work_4zym37jx4jfhzm2c5o7gcjfgju author: Felicia Nafeeza Persaud title: In Search of Computer Music Analysis: Music Information Retrieval, Optimization, and Machine Learning from 2000-2016 date: 2018 words: 26466 sentences: 2000 pages: 102 flesch: 61 cache: ./cache/work_4zym37jx4jfhzm2c5o7gcjfgju.pdf txt: ./txt/work_4zym37jx4jfhzm2c5o7gcjfgju.txt summary: In Search of Computer Music Analysis: Music Information Retrieval, Optimization, and Machine Learning In Search of Computer Music Analysis: Music Information Retrieval, Optimization, and Machine Learning including, Music Information Retrieval (MIR), Optimization, and Machine Learning. This thesis aims to critically examine specific tools in Music Information Retrieval among the three areas: Music Information Retrieval (MIR), Machine Learning, and Music Analysis like Optimization and Machine Learning. Downie in his article "Music Information Retrieval." Though this is an issue in MIR specifically, Darrell Conklin concentrates on research in Machine Learning and Music at the Conklin and Whitten describe Machine Learning, applied to music research, as follows: 2. The creation of "a general-purpose machine learning tool for music" (Conklin and aspects of Music Information Retrieval (MIR), Optimization, and Machine Learning. representation of music and the most useful audio tools for interval analysis. analysis of full works of music using complex ideas is not common in Machine Learning. id: work_ehzscqefgndlzb4imawdl6krum author: France Fledderus title: "I write what I hear" : subtitle genre in selected songs by Jane Siberry date: 2002 words: 82667 sentences: 7635 pages: 319 flesch: 77 cache: ./cache/work_ehzscqefgndlzb4imawdl6krum.pdf txt: ./txt/work_ehzscqefgndlzb4imawdl6krum.txt summary: texts constitute cultural discourses.8 As he claims, musical genres (such as country pop, cool the generic variety in her music, particularly in her albums from the 1990s, Siberry''s songs resist music, Siberry''s approach to genre is that of a rock auteur. as far removed from the folk-revival genre as electro-pop, the tongue-in-cheek tone in this song Folk revival is a genre of folk music in which Siberry recorded her first self-titled album 1 1 Siberry borrows from the folk-revival genre in her negotiation of music, lyrics, and pop/rock genre seeks to dehumanize music through the use of synthetic machines, like the Indeed, Siberry''s approach to the electro-pop genre as a rock auteur takes precedence over In each of the songs discussed so far, Siberry''s approach to playing with musical musical parameters of the folk-revival genre, Siberry seems to be embracing the meanings of id: work_hva5pdphhrbydk3nvicjlouzga author: Gary L. Davis title: Gary L. Davis, MD: A Conversation with the Editor date: 2003 words: 144 sentences: 25 pages: flesch: 71 cache: ./cache/work_hva5pdphhrbydk3nvicjlouzga.pdf txt: ./txt/work_hva5pdphhrbydk3nvicjlouzga.txt summary: sys_1000 wp-p1m-38.ebi.ac.uk wp-p1m-38.ebi.ac.uk exception exception Params is empty Params is empty Params is empty if (typeof jQuery === "undefined") document.write(''[script type="text/javascript" src="/corehtml/pmc/jig/1.14.8/js/jig.min.js"][/script]''.replace(/\[/g,String.fromCharCode(60)).replace(/\]/g,String.fromCharCode(62))); // // // window.name="mainwindow"; .pmc-wm {background:transparent repeat-y top left;background-image:url(/corehtml/pmc/pmcgifs/wm-nobrand.png);background-size: auto, contain} .print-view{display:block} Page not available Reason: The web page address (URL) that you used may be incorrect. Message ID: 218359327 (wp-p1m-38.ebi.ac.uk) Time: 2021/04/06 02:12:38 If you need further help, please send an email to PMC. Include the information from the box above in your message. Otherwise, click on one of the following links to continue using PMC: Search the complete PMC archive. Browse the contents of a specific journal in PMC. Find a specific article by its citation (journal, date, volume, first page, author or article title). http://europepmc.org/abstract/MED/ id: work_7cgwg2vh6fdkdmgm2mqp5ykvji author: Graham Caldersmith title: Designing a guitar family date: 1995 words: 4320 sentences: 358 pages: 15 flesch: 68 cache: ./cache/work_7cgwg2vh6fdkdmgm2mqp5ykvji.pdf txt: ./txt/work_7cgwg2vh6fdkdmgm2mqp5ykvji.txt summary: natural modes of the guitar up or down with string frequencies does not baritone and bass guitars to maximise low frequency radiation eficiency response records of standard and guitar family variants illustrate the physical behaviour of the difierent designs. Keywords: Guitar family, natural modes, radiation efficiency, acoustic lower principle modes of a fan-braced classical guitar, designated l,O; (a) Standard classical guitar frequency response and (b) bracing geometry of the at the resonance frequencies of the natural modes of this guitar. indicates that the low range sound produced by a classical guitar is essentially due to two plate modes: the coupled 0,O top and 0,O back modes to the string frequencies (or compass) as for the standard guitar. (2) Baritone: a six-string instrument tuned a musical fifth seven semitones) below the standard, so the compass is A (55 Hz) to A (220 Hz). Principal mode frequencies and ratios of standard and guitar family instruments. id: work_b7qrowue6naevdorm5cfvertoi author: Gregory P. Scandalis title: Physical modeling of musical instruments on handheld mobile devices date: 2013 words: 5436 sentences: 1073 pages: 83 flesch: 62 cache: ./cache/work_b7qrowue6naevdorm5cfvertoi.pdf txt: ./txt/work_b7qrowue6naevdorm5cfvertoi.txt summary: • A brief history of physically modeled musical controlled, physically modeled, virtual musical • Pick model for different guitars/pickups (commuted synthesis, Scandalis) • Performed using a 6-channel MIDI guitar controller. • Waveguide Guitar Model, Different Pickups (MP3) • Waveguide Guitar Model, Wah-wah (MP3) http://www.moforte.com/wp-content/uploads/2013/04/Bass.mp3 http://www.moforte.com/wp-content/uploads/2013/04/Bass.mp3 http://www.moforte.com/wp-content/uploads/2013/04/Bass.mp3 the wavetable chip on a sound card, as a software based XGlite/DLS audio solution (SynthCore-OEM) (SigmaTel, ADI) • In-app purchases available for charts, instruments, effects and feature The DSP Guitar Model • Guitar/effects model runs on with the performance model (likely a C++ • MoForte Guitar makes it possible for everyone to experience • MoForte Guitar makes it possible for everyone to experience screen interaction and the guitar model. Will moForte do Physical Models additional effects both for the model guitar and – The user can play the guitar and share that performance with friends. • Note that moForte Guitar is not a game. id: work_cxoqb4uja5ctrhdxq764cqjxuq author: HANS WEISETHAUNET title: Is there such a thing as the ''blue note''? date: 2001 words: 10677 sentences: 677 pages: 18 flesch: 72 cache: ./cache/work_cxoqb4uja5ctrhdxq764cqjxuq.pdf txt: ./txt/work_cxoqb4uja5ctrhdxq764cqjxuq.txt summary: will be that most musicological analyses of these styles are still based on an oversimplified idea of harmony: the applied Western major/minor theory concept with blues, rock, and some jazz styles, in emic terms and performance practice, in fact The blues structure, like ragtime, was an admixture of African influence (the call-andresponse pattern) and European harmonically derived functional form. The aesthetics behind this practice – being crucial to the ''meaning'' of blues performance – is that of ''putting things to the notes'' as described by B.B. King in his book, experience of playing blues music, however, some simple conclusions might nevertheless be drawn as far as ''harmony'' is concerned. of the minor third over the major chord!7 Seeing the idea of the ''blue note'' in such Often the performer will play two or three notes simultaneously – also in solo guitar playing – and the effect of ''blue harmony'' seems to id: work_7bbjlq5xyfaglhzelefr2g7ism author: Ian D. Dunkle title: The Competition Account of Achievement‐Value date: 2019 words: 14195 sentences: 908 pages: 29 flesch: 58 cache: ./cache/work_7bbjlq5xyfaglhzelefr2g7ism.pdf txt: ./txt/work_7bbjlq5xyfaglhzelefr2g7ism.txt summary: I show that DV, on my interpretation, better handles cases of needless difficulty (Section 5), lucky achievements (Section 6), and effortless artistic creations (Section 7) than does Does the effortful interpretation of DCV allow, problematically, for needlessly introduced difficulties to contribute to the value of achievements? Misguided but lucky effort: According to DV, stumbling upon a buried treasure by pure luck after following a dowsing rod through a desert counts as a highly valuable achievement for the Misguided but lucky effort: According to DV, stumbling upon a buried treasure by pure luck after following a dowsing rod through a desert counts as a highly valuable achievement for the Misguided but lucky effort: According to DV, stumbling upon a buried treasure by pure luck after following a dowsing rod through a desert counts as a highly valuable achievement for the not contribute achievement-value on Bradford''s effortful interpretation. id: work_cagg2iehrvacpijnsx55uocaje author: John Mandel title: The Statistical Analysis of Experimental Data date: 1965 words: 4124 sentences: 327 pages: 33 flesch: 48 cache: ./cache/work_cagg2iehrvacpijnsx55uocaje.pdf txt: ./txt/work_cagg2iehrvacpijnsx55uocaje.txt summary: DOWNLOAD http://bit.ly/1jFAEzz http://www.abebooks.com/servlet/SearchResults?sts=t&tn=The+Statistical+Analysis+of+Experimental+Data&x=51&y=16 Statistical Techniques for Data Analysis, Second Edition , John K. http://www.abebooks.com/servlet/SearchResults?sts=t&tn=The+Statistical+Analysis+of+Experimental+Data&x=51&y=16 Experimental Statistics , Mary Gibbons Natrella, Feb 28, 2005, Mathematics, 560 pages. Statistical Analysis of Experimental Data 410 pages Hearing on the Semiannual Report of the Stories in the Old Style , Al Sim, Jan 1, 2006, Fiction, 255 pages. http://kickass.to/The-Statistical-Analysis-of-Experimental-Data-t4367620.html http://kickass.to/The-Statistical-Analysis-of-Experimental-Data-t4367620.html http://www.amazon.com/s/?url=search-alias=stripbooks&field-keywords=The+Statistical+Analysis+of+Experimental+Data https://openlibrary.org/works/OL7097419M/The-Statistical-Analysis-of-Experimental-Data Ireland, 283 pages The Statistical Analysis of Experimental Data 0486646661, 9780486646664 Committee on Indian Affairs, 1992, Social Science, 96 pages John Mandel Courier Dover http://en.wikipedia.org/wiki/The_Statistical_Analysis_of_Experimental_Data http://en.wikipedia.org/wiki/The_Statistical_Analysis_of_Experimental_Data http://avaxsearch.com/?q=The+Statistical+Analysis+of+Experimental+Data http://avaxsearch.com/?q=The+Statistical+Analysis+of+Experimental+Data https://itunes.apple.com/us/book/The-Statistical-Analysis-of-Experimental-Data/id472209403 https://itunes.apple.com/us/book/The-Statistical-Analysis-of-Experimental-Data/id472209403 The Statistical Analysis of Experimental Data John Mandel 410 pages The Statistical Analysis of Experimental Data John Mandel 410 pages 14, 2009, Poetry, 236 pages download The Statistical Analysis of Experimental Data 1984 download The Statistical Analysis of Experimental Data 1984 Courier Dover Publications, 1984 download The Statistical Analysis of Experimental Data download The Statistical Analysis of Experimental Data http://www.barnesandnoble.com/s/?store=book&keyword=The+Statistical+Analysis+of+Experimental+Data http://www.barnesandnoble.com/s/?store=book&keyword=The+Statistical+Analysis+of+Experimental+Data http://www.barnesandnoble.com/s/?store=book&keyword=The+Statistical+Analysis+of+Experimental+Data http://higuvuqyhe.files.wordpress.com/2014/07/the-statistical-analysis-of-experimental-data.pdf id: work_d3f7mu4mfvf27lv2p7esonhttq author: John W. Maxwell title: Tracing the Dynabook : a study of technocultural transformations date: 2006 words: 137807 sentences: 14764 pages: 312 flesch: 77 cache: ./cache/work_d3f7mu4mfvf27lv2p7esonhttq.pdf txt: ./txt/work_d3f7mu4mfvf27lv2p7esonhttq.txt summary: evidenced by the general confusion the topic evinces—is an idea I am completely comfortable with; that A l a n Kay''s vision of personal computing is analogous to A l d u s '' pocket-sized cultural one, wherein what personal and educational computing means to us is vastly different from the vision Kay and his colleagues began to elaborate i n the early 1970s. This review breaks down into six primary themes w h i c h I believe reasonably represent the core of Kay''s vision of personal and educational computing. vision and its various research projects; this surrounding literature includes the documentation for the Smalltalk language (aimed at software developers rather than children or computing environment, Smalltalk would share much w i t h Logo: it would be straighttforChapter 4: Alan Kay''s Educational Vision 119 id: work_dqbaol2l6nfrlmygths4vqk47m author: Karen R. Little title: Books Recently Published date: 2010 words: 11671 sentences: 3463 pages: 23 flesch: 90 cache: ./cache/work_dqbaol2l6nfrlmygths4vqk47m.pdf txt: ./txt/work_dqbaol2l6nfrlmygths4vqk47m.txt summary: Published by Music Library Association One man''s music: the life and music and the world during his New York Music in American life Popular music history New York: Cambridge University Press, New perspectives in music history and criticism The modernist legacy: essays on new music. Brad and Michele Moore roots music series Brad and Michele Moore roots music series New classical music: composing Australia. Ashgate popular and folk music series Ashgate popular and folk music series Salas, Jo. Do my story, sing my song: music New York: Oxford University Press, 2009. New York: Oxford University Press, 2009. New York: Oxford University Press, 2009. American made music series I hate new music: the York: Oxford University Press, 2009. York: Oxford University Press, 2009. Oxford; New York: Oxford University Press, Oxford; New York: Oxford University Press, Oxford; New York: Oxford University Press, Oxford; New York: Oxford University Press, New York: Three Rivers Press, id: work_lrrbivovsbbrnpvkf2jtxxpvgi author: Marc Gidal title: Contemporary "Latin American" Composers of Art Music in the United States: Cosmopolitans Navigating Multiculturalism and Universalism date: 2010 words: 18221 sentences: 1396 pages: 40 flesch: 57 cache: ./cache/work_lrrbivovsbbrnpvkf2jtxxpvgi.pdf txt: ./txt/work_lrrbivovsbbrnpvkf2jtxxpvgi.txt summary: Contemporary "Latin American" Composers of Art Music in the United States: Cosmopolitans Navigating Multiculturalism and Universalism keywords: Latin American Composers, United States, multiculturalism, universalism, The discourse of "Latin American" in the contemporary art-music scene in the United States, I will argue, functions within tensions between competing ideologies of what I am universalism manifest in art-music circles by examining how Latin American composers working in the United States encounter and navigate these Orrego-Salas established the Latin American Music Center of Indiana University in 1961.7 In the past two decades organized eff orts to present art music by Latin American composers include Tania León''s festival Sonidos Any study of cosmopolitanism, multiculturalism, Latin American identity, and art-music culture—and especially all four topics combined— rhythms, melodies, or entire performance practices—is nothing new, neither for classical music nor for Latin American composers. id: work_qjjc6yhjvzevtjxnb7zmhhog2a author: Marcus Daniel title: Jazz Education in India: A Case Study date: 2020 words: 31320 sentences: 2965 pages: 107 flesch: 80 cache: ./cache/work_qjjc6yhjvzevtjxnb7zmhhog2a.pdf txt: ./txt/work_qjjc6yhjvzevtjxnb7zmhhog2a.txt summary: Microsoft Word Jazz Education in India-A Case Study.docx Indian who learns and performs jazz in India to be able to get an understanding of the JAZZ EDUCATION IN INDIA: A CASE STUDY Essentially a jazz musician, he studied, played and recorded Indian music student life of the participant, but also what being a jazz musician in India means for Kirtana Krishna, grew up in Bangalore, India, and her father used to play jazz advantageous for jazz musicians to study to be school music teachers or college For Kirtana, singing and playing jazz means everything. Marcus: Ok, that''s sad, yeah, was all of your jazz learning done in India Kirtana: You know, I wasn''t actively looking for a, jazz musicians to jam with, Marcus: Uh, do you see a future for yourself as a jazz musician in India Kirtana: that are doing, you know, jazz harmony id: work_lj4morx7efgh3k6u7fksenrtt4 author: Michael J. Prerau title: Tracking the Sleep Onset Process: An Empirical Model of Behavioral and Physiological Dynamics date: 2014 words: 4 sentences: 1 pages: flesch: 97 cache: ./cache/work_lj4morx7efgh3k6u7fksenrtt4.pdf txt: ./txt/work_lj4morx7efgh3k6u7fksenrtt4.txt summary: id: work_sqtz6bndpff3za5medjcaubcny author: Michael Toth title: Explorations in intuition : breaking boundaries and reclaiming voice through A/r/tographic process date: 2007 words: 183135 sentences: 47084 pages: 174 flesch: 117 cache: ./cache/work_sqtz6bndpff3za5medjcaubcny.pdf txt: ./txt/work_sqtz6bndpff3za5medjcaubcny.txt summary: From music, poetic and narrative renderings, I learned valuable insights The notion of hero surfaced while regrets brought new Indeed, I sensed that coupling narrative with music could create a powerful For example, I didn''t start teaching until I was 36 years old. not considered the non-musical issues, such as class control, dealing with parents, The band music curriculum in North American public schools has been experience, concert band repertoire does not connect with young performers. Concert band music, for the most part does not reflect the culture of today. Few people, if any, in today''s society listen to concert band music. listening to concert band music. 2. STUDENTS WILL HAVE A SONG PREPARED (IN WRITING) FOR EACH CLASS. 7. ONCE CLASS HAS STARTED/STUDENTS WILL ONLY PLAY AND FOCUS ON THIS YEAR''S times like these, the artist/hero says exactly what needs to be said at a level that id: work_wi5cuuu54nejjhcn7pduan4cgq author: Nanako Sato title: Juxtaposition date: 2011 words: 63999 sentences: 22022 pages: 268 flesch: 114 cache: ./cache/work_wi5cuuu54nejjhcn7pduan4cgq.pdf txt: ./txt/work_wi5cuuu54nejjhcn7pduan4cgq.txt summary: band setting, consisting of a saxophone section (two altos, two tenors and baritone); a section (guitar, piano, double bass and drum set). The instrumentation of this piece is alto and tenor saxophones, piano, double œb œ œb œ œ œ œb œb œ œ œœœbbb œœœ œœœb œœœbbb œœœb œœœ œœœb œœœb œœœ œœœ##n ™™™ œœj œœœœœ œœnb œœb œ œœb œœn œ œœœœ#n œœœœn œœœœ Note: Trumpet section need a cup mute and a harmon mute to perform this piece. œœœœ ™™™™ œœœœj ˙̇̇̇ ˙̇ ˙̇ ‰ œœœ ™™™ œœœ ‰ œœœ œ ™ œJ œ œ ˙ ™ œ ˙ ™ œœœœ œJ ‰ Œ œœœœœ œœ œ œ ˙ œœœ w ‰ œœœœ ™™™™ ˙̇̇̇n œœœœn œœœœ œœœœb œœœœ œœœœ ™™™™ œœœœj ˙̇̇̇ ˙̇ ˙̇ ‰ œœœ ™™™ œœœ ‰ œœœ ˙̇̇̇ ™™™™ ˙̇̇ ™™™ œœœœb œœœœ Œ Œ œœœœ œ œœœ ˙̇̇ œ œ œ œ œ id: work_v6xbsimt7ngf5a53ch3akhhzoy author: Patricia Joan Southworth title: Beyond band : perspectives on the high school jam session date: 2008 words: 61477 sentences: 4720 pages: 239 flesch: 69 cache: ./cache/work_v6xbsimt7ngf5a53ch3akhhzoy.pdf txt: ./txt/work_v6xbsimt7ngf5a53ch3akhhzoy.txt summary: participation in the jam session, a student-directed extracurricular music activity. The general research question was: Does participation in a band room jam session Qualitative data collected via journaling, interviews, observation, and participantobserver tasks indicated that jammers were perceiving and manipulating music elements in band room jam sessions I experienced or observed were activities sponsored by the school or the jam session was unique among school music activities in that it was student initiated, band classes were able to use their ear-playing skills to produce music. O''Neill studied student musicians from one state school and one specialist music which examines informal music participation (jamming), was specific to one unique school musicians at one school, the Sullivan Campus of SAHS; a group of non-jamming music achievement (an enhanced music skill) of single jammer subjects profiled in my case study. This research examines the high school jam session from both musical and id: work_2wjesbfzfnh2ho7fa5l64wnk4e author: Peter J. Apps title: Chemical signals in terrestrial vertebrates: search for design features date: 2015 words: 1038 sentences: 206 pages: flesch: 60 cache: ./cache/work_2wjesbfzfnh2ho7fa5l64wnk4e.pdf txt: ./txt/work_2wjesbfzfnh2ho7fa5l64wnk4e.txt summary: [PDF] Chemical signals in terrestrial vertebrates: search for design features. Corpus ID: 25511963Chemical signals in terrestrial vertebrates: search for design features. title={Chemical signals in terrestrial vertebrates: search for design features.}, We compiled a data set of the compounds that terrestrial vertebrates (amniotes) use to send chemical signals, and searched for relationships between signal compound properties and signal function. Terrestrial vertebrate signalling compounds are invariably components of complex mixtures of compounds with diverse molecular weights and functionalities. Figures, Tables, and Topics from this paper View 2 excerpts, cites background and methods View 3 excerpts, cites background Constraints on the Design of Chemical Communication Systems in Terrestrial Vertebrates Chemical Signals in Vertebrates 4: Ecology, Evolution, and Comparative Biology Pheromones and Animal Behavior: Chemical Signals And Signatures View 1 excerpt, references background Semantic Scholar is a free, AI-powered research tool for scientific literature, based at the Allen Institute for AI. id: work_53x2t22auffgxhyvfxvcwrttgu author: Robert Heinze title: ''Men Between'': The Role of Zambian Broadcasters in Decolonisation date: 2014 words: 11532 sentences: 644 pages: 32 flesch: 52 cache: ./cache/work_53x2t22auffgxhyvfxvcwrttgu.pdf txt: ./txt/work_53x2t22auffgxhyvfxvcwrttgu.txt summary: Harry Franklin and Kenneth Bradley, pressurised the colonial government to introduce a fullfledged station after radio had been used in the Second World War to broadcast news from the African broadcasters who played a role in Zambia''s decolonisation had started under Kittermaster. 13 M.V. Sichalwe, The Development of Radio Broadcasting in Northern Rhodesia (MA Thesis, University of Zambia, Many African broadcasters sympathised with nationalist politics, and the music programmes Nationalist politics separated the African broadcasters from their liberal superiors, but other knit team'' of black and white broadcasters at CABS shared ideas about African culture, about earlier, one must ask how much CABS and FBC broadcasters were influenced by colonial and BBC African Studies and took the opportunity to work at the BBC, producing broadcasts for what was journalists between BBC liberalism and UNIP''s nationalism, for the censorship in colonial radio In music and entertainment programmes, African broadcasters, colonial propaganda, but also influencing African broadcasters'' attitudes towards nationalism, id: work_lzcrk6hbjbhdtdgn6megkb77ay author: Robert Mores title: Are replicas of Nicolás del Valle''s pear-shaped guitar from 1850 acoustically matching the original? Son las guitarras en forma de pera de Nicolás del Valle replicas acústicas a las originales de 1850? date: 2021 words: 6056 sentences: 515 pages: 16 flesch: 72 cache: ./cache/work_lzcrk6hbjbhdtdgn6megkb77ay.pdf txt: ./txt/work_lzcrk6hbjbhdtdgn6megkb77ay.txt summary: ARE REPLICAS OF NICOLÁS DEL VALLE''S PEAR-SHAPED GUITAR FROM 1850 ACOUSTICALLY MATCHING THE ORIGINAL? Mores, Robert, "Are replicas of Nicolás del Valle''s pear-shaped guitar from 1850 manufactured three replicas of a pear-shaped guitar from Nicolás del Valle, built in 1850. strength of the original del Valle guitar only as an indicator for the general target stiffness measurements were done on the replicas, but also on the original guitar from del Valle. ARE REPLICAS OF NICOLÁS DEL VALLE''S PEAR-SHAPED GUITAR FROM 1850 ACOUSTICALLY ARE REPLICAS OF NICOLÁS DEL VALLE''S PEAR-SHAPED GUITAR FROM 1850 ACOUSTICALLY ARE REPLICAS OF NICOLÁS DEL VALLE''S PEAR-SHAPED GUITAR FROM 1850 ACOUSTICALLY ARE REPLICAS OF NICOLÁS DEL VALLE''S PEAR-SHAPED GUITAR FROM 1850 ACOUSTICALLY ARE REPLICAS OF NICOLÁS DEL VALLE''S PEAR-SHAPED GUITAR FROM 1850 ACOUSTICALLY ARE REPLICAS OF NICOLÁS DEL VALLE''S PEAR-SHAPED GUITAR FROM 1850 ACOUSTICALLY ARE REPLICAS OF NICOLÁS DEL VALLE''S PEAR-SHAPED GUITAR FROM 1850 ACOUSTICALLY id: work_2ip4tri33vfdbfxs5spwnrl2ji author: Sebastian Streich title: Automatic Characterization of Music Complexity a multi-faceted approach date: 2005 words: 24939 sentences: 2077 pages: 82 flesch: 62 cache: ./cache/work_2ip4tri33vfdbfxs5spwnrl2ji.pdf txt: ./txt/work_2ip4tri33vfdbfxs5spwnrl2ji.txt summary: After giving some background information about the motivation for this research, we will discuss examples of practical applications, such as collection visualization, playlist generation, and music recommendation. the pure digital audio data and the semantic concepts describing the content offers much more natural ways of searching in music collections than it is currently models capturing aspects of music complexity were already proposed in the literature, but that their application to the task we have in mind is problematic or at different facets of music complexity can be approached from the computational It is the goal of this research work to provide operational models for the automated computation of music complexity as it is perceived1 by human listeners. We pointed out in section 3.2 that according to Berlyne''s theory of arousal potential [Ber71] the level of perceived complexity of a piece of music can be associated Following the review of computing different complexity facets of musical audio, id: work_4wowkjn36rfnrfnsjdqnwgxdeq author: Stephane Vaiedelich title: Some aspects of the research in the Laboratory of the Musée de la Musique, Paris Cité de la musique date: 2019 words: 3160 sentences: 188 pages: 5 flesch: 47 cache: ./cache/work_4wowkjn36rfnrfnsjdqnwgxdeq.pdf txt: ./txt/work_4wowkjn36rfnrfnsjdqnwgxdeq.txt summary: combines applied research dedicated to the study and conservation of musical instruments while also providing services linked to the collection. falls within the scope of the study of the material and cultural object represented by the musical instrument and the for the study and conservation of musical instruments, both in terms of preventive and curative Fig. 1 Permanent collection, 18th century space, Musée de la musique. Beyond these tasks related to the conservation of this cultural heritage, the laboratory also conducts several research instruments, the main problematic lies in the mechanical constraint that the strings apply on the structure. Experience The Musée de la Musique has a research and restoration laboratory that combines applied research dedicated to the study and conservation of research projects that are directly relevant to the field of conservation, knowledge and restoration of musical instruments. id: work_jjcsitw7trfdtk4gsf6unluy2u author: Stéphane Vaiedelich title: Perception of old musical instruments date: 2017 words: 6039 sentences: 400 pages: 13 flesch: 61 cache: ./cache/work_jjcsitw7trfdtk4gsf6unluy2u.pdf txt: ./txt/work_jjcsitw7trfdtk4gsf6unluy2u.txt summary: Perception of old musical instruments Perception of old musical instruments Perception of old musical instruments Perception of old musical instruments the links between sight and hearing in our perception of a musical instrument and to illustrate The perception of an old musical instrument is complex. Before it even sounds, a musical instrument is seen, as a material object. Recent studies [7,8] have shown that, when blind-folded, players prefer in average new instruments and cannot tell better than chance level whether a violin is old or new. 20th century, have shown that new violins are in general more efficient as musical tools for soloists the case of a musical instrument, this perception is at least double, auditory and visual. red varnish appears in 78% of the notices of French origin violins from the 19th century and 91% In fact, an old musical instrument may not always be id: work_oj3i6sisevakrbeq5alp5zzsha author: Stéphane Vaiedelich title: SOME ASPECTS OF THE RESEARCH IN THE LABORATORY OF THE MUSÉE DE LA MUSIQUE, PARIS CITÉ DE LA MUSIQUE date: 2013 words: 3163 sentences: 181 pages: 4 flesch: 47 cache: ./cache/work_oj3i6sisevakrbeq5alp5zzsha.pdf txt: ./txt/work_oj3i6sisevakrbeq5alp5zzsha.txt summary: combines applied research dedicated to the study and conservation of musical instruments while also providing services linked to the collection. falls within the scope of the study of the material and cultural object represented by the musical instrument and the for the study and conservation of musical instruments, both in terms of preventive and curative Fig. 1 Permanent collection, 18th century space, Musée de la musique. Beyond these tasks related to the conservation of this cultural heritage, the laboratory also conducts several research progress at the museum, this research has shown that the varnish of fi ve of Stradivarius''s instruments all have two similar Experience The Musée de la Musique has a research and restoration laboratory that combines applied research dedicated to the study and conservation of research projects that are directly relevant to the fi eld of conservation, knowledge and restoration of musical instruments. id: work_kfjoci7bjndhbjd2duhx3qx4n4 author: Victor von Brunn title: Obituaries date: 2001 words: 3596 sentences: 162 pages: 4 flesch: 52 cache: ./cache/work_kfjoci7bjndhbjd2duhx3qx4n4.pdf txt: ./txt/work_kfjoci7bjndhbjd2duhx3qx4n4.txt summary: his duties in the South African Weather Bureau and also African National Antarctic Expedition and was immediately region south of SANAE to study the geology, glaciology, Two years after his return from the Antarctic, la Grange He also began writing a book on the South African first recipient of the South African Antarctic medal, in was instrumental in founding the South African Antarctic desk on the top floor of the Scott Polar Research Institute, Glaciological Society and, in 1971, added ''International'' During the 40 years Richardson served the International Clive Holland, Arctic historian and former archivist at the Scott Polar Research Institute, died 15 September 2000, at Once he read his first Arctic expedition account, he later Four years later, Holland published his Manuscripts in the Scott Polar Research Institute, each expedition to the Arctic, a vast bibliography of works project, he received a two-year grant to extend this work to id: work_5u3r7cajqbbivoevkhhea6ncgy author: Vsevolod Eremenko title: Automatic Harmony Analysis Of Jazz Audio Recordings date: 2018 words: 15403 sentences: 1709 pages: 70 flesch: 57 cache: ./cache/work_5u3r7cajqbbivoevkhhea6ncgy.pdf txt: ./txt/work_5u3r7cajqbbivoevkhhea6ncgy.txt summary: This thesis aims to develop a style specific approach to Automatic Chord Estimation and computer-aided harmony analysis for jazz audio recordings. The presented work makes a step toward expanding current Music Information Retrieval (MIR) approaches for Audio Chord Estimation task, which are currently Keywords: Jazz; Harmony; Datasets; Automatic Chord Estimation; Chroma; Compositional Data Analysis The other basis for the work is Audio Chord Estimation (ACE) task in Music Information Retrieval (MIR) field [2]. In Chapter 5 we discuss how to evaluate the performance of Automatic Chord Transcription on jazz recordings. rendering, music information retrieval (MIR) and musicology communities have created several datasets of audio recordings annotated with chord progressions. collections are used for training and evaluating various MIR algorithms (e.g., Automatic Chord Estimation) and for corpus-based research. According to numerous instructional books, and to theoretical work done by Martin [7], there are only five main chord classes in jazz: major (maj), minor (min), id: work_l6yr6hunf5atnl3tqjan3dvy64 author: Warren Brodsky title: The mental representation of music notation: Notational audiation date: 2008 words: 17506 sentences: 1185 pages: 19 flesch: 59 cache: ./cache/work_l6yr6hunf5atnl3tqjan3dvy64.pdf txt: ./txt/work_l6yr6hunf5atnl3tqjan3dvy64.txt summary: earlier studies, the authors claimed that this process engages music imagery contingent on subvocal silent suggests that the mental representation of music notation cues manual motor imagery. audiation; he further referred to notational audiation as the specific skill of "hearing" the music one is reading before physically They found that pianists were successful at matching silently read music notation to a subsequently presented auditory Yet the study did little to demonstrate that task performance was based on evoked music imagery rather than on structural harmonic analyses or on guesswork based on visual surface available to the "mind''s ear." In the experiments, after the participants silently read the notation of an EM, they heard a tune and in Table 5, comparison analysis for audio data revealed no significant differences between the silent-reading conditions, but there The results show that highly trained musicians who were proficient in task performance during nondistracted music reading proficient in task performance during all music-reading conditions id: work_kjij7pfoonfqzc3h2zbgjvbfpq author: Yongqin Xian title: Learning from limited labeled data - Zero-Shot and Few-Shot Learning date: 2020 words: 80597 sentences: 8390 pages: 197 flesch: 72 cache: ./cache/work_kjij7pfoonfqzc3h2zbgjvbfpq.pdf txt: ./txt/work_kjij7pfoonfqzc3h2zbgjvbfpq.txt summary: (DNN) on a large dataset that contains zero-shot test classes also violates the zeroshot learning idea as image feature extraction is a part of the training procedure. We introduce novel (generalized) zero-label and few-label semantic image segmentation tasks in a realistic settings inspired by zero-shot learning for image classification. performance on novel classes in the generalized zero-shot learning setting due our proposed framework is more flexible and can be applied to solve inductive zeroshot learning where there is no image from unseen classes, transductive zero-shot the extreme zero-shot learning case, there is no training images for novel classes. and generalized zero-shot learning setting with various class embeddings (e.g. Mikolov et al., 2013b; Pennington et al., 2014; Miller, 1995) on three challenging unseen class label, i.e. Yts ⊂ Y and in generalized zero-shot learning setting, the In zero-shot learning, class embeddings are as important as image features. id: work_rua4bqbs7bagzh3e26qn2rmjea author: Бернат Ф. title: Перекладення Класичних Творів Для Оркестру «100 Гітар»: Від Аналізу До Інтерпретації date: 2018 words: 5039 sentences: 407 pages: 8 flesch: 71 cache: ./cache/work_rua4bqbs7bagzh3e26qn2rmjea.pdf txt: ./txt/work_rua4bqbs7bagzh3e26qn2rmjea.txt summary: working in this direction is the New York City Guitar Orchestra [5]. The material is performed exclusively on electric guitars. sound of a guitar orchestra, to combine classical music with modern means, technical and musical instruments, visual techniques, to give classical music a The scores are attributed according to the parts, resulting in the orchestra of guitarists gaining a symphonic sound. noted that the performance of Beethoven''s Symphony No. 5 for the guitar orchestra in the arrangeintroduction of a completely new text into the author''s original material, an abundance of syncopated From the very beginning, the material for guitars is signifi cantly different from the original. bar 10 in the part of electric guitar 1 and acoustic fi rst electric and acoustic guitars from bar 10. Further, the melody continues to sound in the original tessitura, and only the fi rst electric guitar retains performed in parts in electric guitars 1 and 2, and the ==== make-pages.sh questions ==== make-pages.sh search ==== make-pages.sh topic modeling corpus Zipping study carrel