Die Verwendung des Drehstroms insbesondere des hochgespannten Drehstroms für den Betrieb elektrischer Bahnen Betrachtungen und Versuche

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Bibliographische Detailangaben
1. Verfasser:	Reichel, W. (VerfasserIn)
Format:	Elektronisch E-Book
Sprache:	German
Veröffentlicht:	Berlin ; Boston Oldenbourg Wissenschaftsverlag [2019]
Ausgabe:	Reprint 2019
Schlagworte:	Drehstrommotor Elektrische Bahn Technology & Engineering / Engineering (General)
Online-Zugang:	FAW01 FHA01 FKE01 FLA01 UPA01 FAB01 FCO01 UBM01 UBY01 URL des Erstveröffentlichers Inhaltsverzeichnis
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MARC


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245	1	0	\|a Die Verwendung des Drehstroms insbesondere des hochgespannten Drehstroms für den Betrieb elektrischer Bahnen \|b Betrachtungen und Versuche \|c W. Reichel
250			\|a Reprint 2019
264		1	\|a Berlin ; Boston \|b Oldenbourg Wissenschaftsverlag \|c [2019]
264		4	\|c © 1903
300			\|a 1 online resource (VIII, 158 pages) \|b Zahlr. Abb., 4 Taf
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500			\|a Description based on online resource; title from PDF title page (publisher's Web site, viewed 26. Nov 2019)
546			\|a In German
650		4	\|a Drehstrommotor
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Datensatz im Suchindex

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adam_text	CONTENTS LIST OF ABBREVIATIONS..................................................................................... XXIX 1 SYSTEMATIC MUSICOLOGY: A HISTORICAL INTERDISCIPLINARY PERSPECTIVE ALBRECHT SCHNEIDER.......................................................................................... 1 1.1 SYSTEMATIC MUSICOLOGY: DISCIPLINE AND FIELD OF RESEARCH ................ 1 1.2 BEGINNINGS OF MUSIC THEORY IN GREEK A NTIQUITY ................................ 2 1.3 FROM THE MIDDLE AGES TO THE RENAISSANCE AND BEYOND: DEVELOPMENTS IN MUSIC THEORY AND GROWTH OF EMPIRICISM ............... 3 1.4 SAUVEUR, RAMEAU AND THE ISSUE OF PHYSICALISM IN MUSICTHEORY .... 5 1.5 CONCEPTS OF SYSTEMS AND SYSTEMATIC RESEARCH .................................. 7 1.6 SYSTEMATIC APPROACHES: CHLADNI, HELMHOLTZ, STUMPF, AND RIEMANN ...................................... 9 1.7 GESTALT QUALITY AND GESTALT PSYCHOLOGY ............................................ 12 1.8 MUSIC PSYCHOLOGY: INDIVIDUAL AND SOCIOCULTURAL FACTORS .................. 14 1.9 SOME MODERN DEVELOPMENTS.............................................................. 15 1.10 SYSTEMATIC MUSICOLOGY AS A MUSICOLOGICAL DISCIPLINE........................ 17 REFERENCES....................................................................................................... 19 PART A MUSICAL ACOUSTICS AND SIGNAL PROCESSING 2 VIBRATIONS AND WAVES WILFRIED KAUSEL................................................................................................. 29 2.1 VIBRATIONS............................................................................................. 29 2.2 WAVES.................................................................................................... 33 2.3 WAVE EQUATIONS 1 -D ........................................................................... 36 2.4 SOLUTION FOR 1-D-W AVES ..................................................................... 40 2.5 STIFFNESS................................................................................................ 46 REFERENCES....................................................................................................... 46 3 WAVES IN TWO AND THREE DIMENSIONS WILFRIED KAUSEL................................................................................................. 49 3.1 WAVES ON A SURFACE.............................................................................. 49 3.2 SOLUTION FOR WAVES ON A SURFACE.......................................................... 52 3.3 SOUND WAVES IN SPACE ........................................................................ 56 REFERENCES....................................................................................................... 62 4 CONSTRUCTION OF WOODEN MUSICAL INSTRUMENTS CHRIS WALTHAM, SHIGERU YOSHIKAWA ............................................................... 63 4.1 SCOPE.................................................................................................... 63 4.2 PHYSICAL PROPERTIES OF WOOD ............................................................... 65 4.3 TONEWOODS........................................................................................... 68 4.4 FRAMEWOODS ........................................................................................ 72 4.5 CONSTRUCTION ........................................................................................ 74 4.6 CONCLUSION........................................................................................... 78 4.A APPENDIX................................................................................................ 78 REFERENCES....................................................................................................... 78 5 M EASUREM ENT TECHNIQUES THOMAS MOORE...................................................................................................... 81 5.1 MEASUREMENT OF AIRBORNE SOUND ............................................................ 81 5.2 MEASUREMENT OF DEFLECTION................................................................. 87 5.3 MEASUREMENT OF IMPEDANCE ............................................................... 99 5.4 CONCLUSIONS.......................................................................................... 101 REFERENCES.......................................................................................................... 101 6 SOME O BSERVATIONS ON TH E PHYSICS O F S TRINGED IN STRU M E N TS NICHOLAS GIORDANO............................................................................................... 105 6.1 THREE CLASSES OF STRINGED INSTRUMENTS................................................... 105 6.2 COMMON COMPONENTS AND ISSUES.......................................................... 105 6.3 THE STORY OF THREE INSTRUMENTS........................................................... 108 6.4 SUMMARY.............................................................................................. 117 REFERENCES........................................................................................................... 118 7 M ODELING O F W IND IN STRU M E N TS BENOIT FAHRE, JOEL GILBERT, AVRAHAM HIRSCHBERG........................................... 121 7.1 A CLASSIFICATION OF WIND INSTRUM ENTS................................................. 121 7.2 THE CLARINET........................................................................................... 123 7.3 THE OBOE............................................................................................... 128 7.4 THE HARMONICA ..................................................................................... 130 7.5 THE TROMBONE ...................................................................................... 131 7.6 THE FLUTE ............................................................................................... 133 REFERENCES........................................................................................................... 137 8 PROPERTIES O F TH E SOUND O F FLUE ORGAN PIPES JUDIT ANGSTER, ANDRAS M IKLOS............................................................................. 141 8.1 EXPERIMENTAL METHODOLOGY................................................................. 142 8.2 STEADY-SOUND CHARACTERISTICS.............................................................. 142 8.3 EDGE AND MOUTH TONES ........................................................................ 149 8.4 CHARACTERISTICS OF THE ATTACK TRANSIENTS.............................................. 151 8.5 DISCUSSION AND OUTLOOK....................................................................... 153 REFERENCES....................................................................................................... 154 9 PERCUSSION MUSICAL IN STRU M E N TS ANDREW C. MORRISON, THOMAS D. ROSSING.......................................................... 157 9.1 DRUMS................................................................................................... 157 9.2 MALLET PERCUSSION INSTRUMENTS ........................................................... 160 9.3 CYMBALS, GONGS, AND PLATES................................................................ 164 9.4 METHODS FOR STUDYING THE ACOUSTICS OF PERCUSSION INSTRUMENTS ...... 168 REFERENCES........................................................................................................... 170 10 MUSICAL IN STRU M E N TS AS SYNCHRONIZED SYSTEMS ROLF BADER............................................................................................................ 171 10.1 ADDED VERSUS INTRINSIC SYNCHRONIZATION ............................................ 171 10.2 MODELS OF THE SINGING VOICE ............................................................... 173 10.3 HARMONIC SYNCHRONIZATION IN WIND INSTRUM ENTS.............................. 178 10.4 VIOLIN BOW-STRING INTERACTION............................................................. 182 10.5 FRACTAL DIMENSIONS OF MUSICAL INSTRUMENT SOUNDS........................... 186 10.6 GENERAL MODELS OF MUSICAL INSTRUMENTS ............................................ 191 10.7 CONCLUSIONS.......................................................................................... 194 REFERENCES........................................................................................................... 195 11 ROOM ACOUSTICS - FUNDAMENTALS AND COMPUTER SIMULATION MICHAEL VORLAENDER........................................................................................... 197 11.1 FUNDAMENTALS OF SOUND FIELDS IN ROOMS........................................... 198 11.2 STATISTICAL ROOM ACOUSTICS .................................................................. 199 11.3 REVERBERATION....................................................................................... 200 11.4 STATIONARY EXCITATION........................................................................... 201 11.5 ROOM IMPULSE RESPONSES.................................................................... 201 11.6 COMPUTERS IN ROOM ACOUSTICS ............................................................ 206 11.7 AURALIZATION.......................................................................................... 211 11.8 CURRENT RESEARCH TOPICS....................................................................... 212 11.9 FINAL REMARKS....................................................................................... 213 REFERENCES....................................................................................................... 214 PART B SIGNAL PROCESSING 12 MUSIC STUDIO TECHNOLOGY ROBERT MORES.................................................................................................... 221 12.1 MICROPHONES AND MICROPHONE ARRANGEMENTS ................................... 222 12.2 SIGNAL PRECONDITIONING AND EFFECTS.................................................... 227 12.3 DIGITALIZATION....................................................................................... 232 12.4 MIXING CONSOLES................................................................................... 235 12.5 SYNTHESIZER AND SEQUENCER................................................................. 236 12.6 HISTORICAL AND CONTEMPORARY AUDIO FORMATS AND RESTORATION ......... 239 12.7 SIGNALS, CONNECTORS, CABLES AND AUDIO NETWORKS.............................. 245 12.8 LOUDSPEAKERS, REFERENCE LISTENING AND REINFORCEMENT ..................... 251 REFERENCES....................................................................................................... 257 13 DELAY-LINES AND DIGITAL WAVEGUIDES GARYSCAVONE.................................................................................................... 259 13.1 DIGITAL DELAY LINES................................................................................ 259 13.2 SIMULATING SOUND WAVE PROPAGATION................................................. 264 13.3 DIGITAL WAVEGUIDES.............................................................................. 267 REFERENCES....................................................................................................... 271 14 CONVOLUTION, FOURIER ANALYSIS, CROSS-CORRELATION AND THEIR INTERRELATIONSHIP JONAS BRAASCH................................................................................................... 273 14.1 CONVOLUTION.......................................................................................... 273 14.2 FOURIER FREQUENCY ANALYSIS AND TRANSFORMATION ............................... 276 14.3 CROSS-CORRELATION................................................................................. 280 REFERENCES....................................................................................................... 284 15 AUDIO SOURCE SEPARATION IN A MUSICAL CONTEXT BRYAN PARDO, ZAFAR RAFII, ZHIYAO D UAN.......................................................... 285 15.1 REPET.................................................................................................... 286 15.2 PITCH-BASED SOURCE SEPARATION........................................................... 291 15.3 LEVERAGING THE MUSICAL SCORE.............................................................. 294 15.4 CONCLUSIONS.......................................................................................... 296 REFERENCES....................................................................................................... 297 16 A U TOM ATIC SCORE EXTRACTION W ITH O PTICAL MUSIC R ECOGNITION (OMR) ICHIRO FUJINAGA, ANDREW HANKINSON, LAURENT P U G IN .................................... 299 16.1 HISTORY................................................................................................... 299 16.2 OVERVIEW.............................................................................................. 300 16.3 OMR CHALLENGES.................................................................................... 301 16.4 TECHNICAL BACKGROUND.......................................................................... 302 16.5 ADAPTIVE OMR....................................................................................... 305 16.6 SYMBOLIC MUSIC ENCODING.................................................................... 305 16.7 TOOLS...................................................................................................... 307 16.8 FUTURE................................................................................................... 308 REFERENCES....................................................................................................... 309 17 A DAPTIVE MUSICAL CONTROL O F TIM E-FREQUENCY R EPRESENTATIONS DOUG VAN NORT, PHILLIPPE DEPALLE................................................................. 313 17.1 STATE-SPACE ANALYSIS/SYNTHESIS........................................................... 314 17.2 RECURSIVE, INFINITE-LENGTH WINDOWS .................................................. 316 17.3 KALMAN FILTER-BASED PHASE VOCODER .................................................. 317 17.4 ADDITIVE LAYER AND HIGHER-LEVEL ARCHITECTURE.................................... 318 17.5 SOUND TRANSFORMATIONS....................................................................... 319 17.6 ADAPTIVE CONTROL OF SOUND TRANSFORMATIONS....................................... 320 17.7 CHAPTER SUMMARY................................................................................ 325 17.A APPENDIX 1: CHANDRASEKHAR IMPLEMENTATION................................... 325 17.B APPENDIX 2: EXAMPLE 2 EKF DERIVATION............................................. 326 REFERENCES....................................................................................................... 327 18 WAVE FIELD SYNTHESIS TIM ZIEMER....................................................................................................... 329 18.1 OVERVIEW.............................................................................................. 329 18.2 WAVE EQUATION AND SOLUTIONS............................................................. 330 18.3 WAVE FRONT SYNTHESIS........................................................................... 336 18.4 CURRENT RESEARCH AND DEVELOPMENT .................................................. 343 REFERENCES....................................................................................................... 345 19 F IN ITE -D IFFE RE N CE SCHEMES IN MUSICAL ACOUSTICS: A T UTORIAL STEFAN BILBAO, BRIAN HAMILTON, REGINALD HARRISON, ALBERTO TORIN ............... 349 19.1 THE 1-D WAVE EQUATION....................................................................... 350 19.2 THE IDEAL BAR EQUATION........................................................................ 356 19.3 ACOUSTIC TUBES ..................................................................................... 360 19.4 THE 2-D AND 3-D WAVE EQUATIONS ..................................................... 364 19.5 THIN LINEAR PLATE V IBRATION................................................................. 377 19.6 EXTENSIONS TO NONLINEAR SYSTEMS........................................................ 381 REFERENCES....................................................................................................... 381 20 REAL-TIM E SIGNAL PROCESSING ON FIELD PROGRAM M ABLE GATE ARRAY HARDWARE FLORIAN PFEIFLE................................................................................................... 385 20.1 OVERVIEW.............................................................................................. 386 20.2 DIGITAL BINARY LOGIC.............................................................................. 388 20.3 FPGA - A STRUCTURAL OVERVIEW.............................................................. 390 20.4 HARDWARE DESCRIPTION LANGUAGE (HOL) ............................................... 394 20.5 FPGA HARDWARE OVERVIEW.................................................................... 397 20.6 FPGA CHIPS........................................................................................... 397 20.7 INTERFACING WITH A FPGA....................................................................... 399 20.8 REAL-TIME DSP APPLICATIONS ............................................................... 402 20.9 REAL-TIME FILTERING APPLICATIONS........................................................ 402 20.10 REAL-TIME PHYSICAL MODELING OF LARGE-SCALE GEOMETRIES ................ 405 20.11 SUMMARY AND OUTLOOK........................................................................ 414 REFERENCES....................................................................................................... 415 PART C MUSIC PSYCHOLOGY - PHYSIOLOGY 21 A U D ITO RY TIME PERCEPTION SIMON GRONDIN, EMI HASUO, TSUYOSHI KURODA, YOSHITAKA N AKAJIM A .......... 423 21.1 METHODS FOR STUDYING INTERVAL PROCESSING ......................................... 424 21.2 PROCESSING TIME INTERVALS: VARIABILITY................................................. 425 21.3 PROCESSING TIME INTERVALS: PERCEIVED DURATION.................................. 429 21.4 THEORETICAL PERSPECTIVES ..................................................................... 434 21.5 CONCLUSION ........................................................................................... 435 REFERENCES....................................................................................................... 435 22 A U TO M A TIC PROCESSING O F MUSICAL SOUNDS IN TH E HUM AN BRAIN ELVIRA BRATTICO, CHIARA OLCESE, MARI TERVANIEMI.............................................. 441 22.1 PERCEIVING THE MUSIC AROUND US: AN ATTENTIVE OR AUTOMATIC PROCESS?.................................................... 441 22.2 THE MMN AS A MEASURE OF AUTOMATIC SOUND PROCESSING IN THE AUDITORY CORTEX.......................................................................... 442 22.3 NEURAL GENERATORS OF THE MMN........................................................... 443 22.4 THE MMN FOR STUDYING AUTOMATIC PROCESSING OF SIMPLE MUSICAL RULES....................................................................... 444 22.5 FRAN AS AN INDEX OF SEMIAUTOMATIC PROCESSING OF MUSICAL RULES... 445 22.6 ENVIRONMENTAL EXPOSURE MODULATES THE AUTOMATIC NEURAL REPRESENTATIONS OF MUSICAL SOUNDS.................................................... 445 22.7 DISRUPTED AUTOMATIC DISCRIMINATION OF MUSICAL SOUNDS ................... 446 22.8 CONCLUSIONS.......................................................................................... 448 REFERENCES....................................................................................................... 448 23 LONG-TERM M EM ORY FO R MUSIC LOLA L. CUDDY.................................................................................................... 453 23.1 LONG-TERM MEMORY AND THE SEMANTIC SYSTEM.................................. 453 23.2 SEMANTIC MEMORY FOR MUSIC ............................................................... 454 23.3 EVIDENCE FROM NEUROPSYCHOLOGY ........................................................ 455 23.4 CONCLUDING COMMENTS........................................................................ 457 REFERENCES....................................................................................................... 458 24 A U D ITO RY W O RKIN G M EM ORY KATRIN SCHULZE, STEFAN KOELSCH, VICTORIA WILLIAMSON ..................................... 461 24.1 THE BADDELEY AND HITCH WM MODEL: THEORETICAL CONSIDERATIONS AND EMPIRICAL S UPPORT........................... 461 24.2 WM: BEHAVIORAL DATA........................................................................... 462 24.3 NEURAL CORRELATES UNDERLYING W M ....................................................... 464 24.4 SENSORIMOTOR CODES - AUDITORY WM AND THE MOTOR SYSTEM ............. 466 24.5 THE INFLUENCE OF LTM ON AUDITORY WM PERFORMANCE ......................... 468 24.6 SUMMARY AND CONCLUSION.................................................................... 468 REFERENCES....................................................................................................... 469 25 MUSICAL SYNTAX I: THEORETICAL PERSPECTIVES MARTIN ROHRMEIER, MARCUS PEARCE .................................................................. 473 25.1 O UTLINE................................................................................................. 473 25.2 THEORIES OF MUSICAL SYNTAX .................................................................. 474 25.3 MODELS OF MUSICAL SYNTAX.................................................................... 477 25.4 SYNTACTIC MODELS OF DIFFERENT COMPLEXITY........................................... 478 25.5 DISCUSSION............................................................................................. 482 25.A APPENDIX: THE CHOMSKY HIERARCHY .................................................... 483 REFERENCES....................................................................................................... 483 26 MUSICAL SYNTAX II: EM PIRICAL PERSPECTIVES MARCUS PEARCE, MARTIN ROHRMEIER .................................................................. 487 26.1 COMPUTATIONAL RESEARCH ..................................................................... 487 26.2 PSYCHOLOGICAL RESEARCH........................................................................ 494 26.3 NEUROSCIENTIFIC RESEARCH ..................................................................... 496 26.4 IMPLICATIONS AND ISSUES....................................................................... 498 REFERENCES....................................................................................................... 499 27 RHYTHM AND BEAT PERCEPTION TRAM NGUYEN, AARON GIBBINGS, JESSICA GRAHN ............................................... 507 27.1 TEMPORAL REGULARITY AND BEAT PERCEPTION.......................................... 507 27.2 BEHAVIORAL INVESTIGATIONS.................................................................... 508 27.3 ELECTROPHYSIOLOGICAL INVESTIGATIONS.................................................... 509 27.4 HEMODYNAMIC (FMRI/PET) INVESTIGATIONS ............................................ 514 27.5 PATIENT AND BRAIN STIMULATION INVESTIGATIONS ................................... 515 27.6 DISCUSSION............................................................................................. 516 REFERENCES....................................................................................................... 517 28 MUSIC AND ACTION GIACOMO NOVEMBRE, PETER E. KELLER................................................................ 523 28.1 COUPLING ACTION AND PERCEPTION THROUGH MUSICAL EXPERIENCE ......... 524 28.2 RESPONDING TO MUSIC W ITH ACTION AND (SOCIAL) INTERACTION ............... 528 28.3 CONCLUSION AND PERSPECTIVES.............................................................. 534 REFERENCES....................................................................................................... 534 29 MUSIC AND EM OTIONS TUOMAS EEROLA................................................................................................. 539 29.1 THE RISE OF MUSIC AND EMOTION RESEARCH........................................... 539 29.2 STRUCTURE OF EMOTIONS.......................................................................... 540 29.3 MECHANISMS AND MODIFIERS OF EMOTIONS ............................................ 543 29.4 MEASURES AND MUSICAL M ATERIALS........................................................ 547 29.5 CURRENT CHALLENGES.............................................................................. 549 REFERENCES....................................................................................................... 550 PART D PSYCHOPHYSICS/PSYCHOACOUSTICS 30 FUNDAMENTALS ALBRECHT SCHNEIDER.......................................................................................... 559 30.1 THEORETICAL AND METHODOLOGICAL BACKGROUND ................................... 560 30.2 TYPES OF SOUND AND SOUND FEATURES RELEVANT FOR HEARING AND MUSIC PERCEPTION.......................................................................... 587 30.3 SOME BASICS OF SOUND IN A SOUND F IE LD ............................................ 596 REFERENCES........................................................................................................... 598 31 PITCH AND PITCH PERCEPTION ALBRECHT SCHNEIDER............................................................................................. 605 31.1 PITCH AS ELEMENTARY SENSATION AND AS PERCEPTUAL Q UALITY ............... 606 31.2 SKETCH OF THE AUDITORY PATHWAY (AUP) ............................................... 615 31.3 EXCITATION OF THE AUDITORY SYSTEM: FROM THE TYMPANUM TO THE BM, THE IHC AND 0HC ............................... 617 31.4 PLACE CODING AND TEMPORAL CODING OF SOUND FEATURES ..................... 620 31.5 AUDITORY MODELS AND PITCH EXTRACTION................................................... 627 31.6 PSYCHOPHYSICS.......................................................................................... 629 31.7 CATEGORICAL PITCH PERCEPTION, RELATIVE AND ABSOLUTE PITCH .................. 640 31.8 SCALES, TONE SYSTEMS, ASPECTS OF IN TO N A TIO N ........................................ 651 31.9 GEOMETRIC PITCH MODELS, TONALITY.......................................................... 663 REFERENCES.......................................................................................................... 671 32 PERCEPTION OF TIMBRE AND SOUND COLOR ALBRECHT SCHNEIDER............................................................................................. 687 32.1 TIMBRE AND SOUND COLOR: BASIC FEATURES ............................................ 687 32.2 SENSATION AND PERCEPTION OF TIMBRE AND SOUND COLOR ..................... 695 REFERENCES........................................................................................................... 719 33 SENSATION OF SOUND INTENSITY AND PERCEPTION OF LOUDNESS ALBRECHT SCHNEIDER............................................................................................. 727 33.1 PHYSICAL AND PHYSIOLOGICAL BASIS OF SOUND INTENSITY SENSATION ....... 727 33.2 MODELS OF LOUDNESS SENSATION........................................................... 730 33.3 FROM LAB TO DISCO: MEASUREMENTS AND PERCEPTUAL VARIABILITY OF LOUDNESS.......................................................................................... 735 33.4 SUMMING U P ......................................................................................... 737 REFERENCES........................................................................................................... 739 PART E MUSIC EMBODIMENT 34 WHAT IS EMBODIED MUSIC COGNITION? MARC LEMAN, PIETER-JAN MAES, LUC NIJS, EDITH VAN DYCK................................. 747 34.1 ONTOLOGICAL AND EPISTEMOLOGICAL FOUNDATIONS .................................. 748 34.2 THE ARCHITECTURE OF EMBODIED MUSIC COGNITION ................................ 750 34.3 EMPIRICAL EVIDENCE FOR EMBODIED MUSIC COGNITION........................... 753 34.4 EMBODIMENT AND DYNAMIC COGNITION................................................. 756 34.5 CONTRIBUTIONS TO A PARADIGM SHIFT IN SYSTEMATIC MUSICOLOGY .......... 757 34.6 CONCLUSION ........................................................................................... 757 REFERENCES........................................................................................................... 758 35 SONIC OBJECT C OGNITION ROLF INGE GOD0Y.............................................................................................. 761 35.1 OBJECT FOCUS ........................................................................................ 761 35.2 ONTOLOGIES............................................................................................. 763 35.3 MOTOR THEORY........................................................................................ 764 35.4 TIMESCALES AND DURATION THRESHOLDS .................................................. 765 35.5 CHUNKING.............................................................................................. 766 35.6 SOUND GENERATION................................................................................ 767 35.7 CONSTRAINTS AND IDIOM S....................................................................... 768 35.8 SOUND SYNTHESIS .................................................................................. 769 35.9 FEATURE TAXONOMY................................................................................ 770 35.10 SHAPE COGNITION................................................................................... 771 35.11 TYPOLOGY AND MORPHOLOGY OF SONIC OBJECTS ...................................... 772 35.12 SINGULAR, COMPOSED, COMPOSITE AND CONCATENATED OBJECTS ............. 773 35.13 TEXTURES, HIERARCHIES, ROLES AND TRANSLATIONS ................................... 774 35.14 ANALYSIS-BY-SYNTHESIS........................................................................ 775 35.15 SUMMARY.............................................................................................. 776 REFERENCES....................................................................................................... 776 36 IN VE STIG A TIN G EM BODIED MUSIC C OGNITION FO R H EALTH AND W E LL-B E IN G MICHELINE LESAFFRE............................................................................................ 779 36.1 TRANSITIONS IN MUSICOLOGY AND SOCIETY ............................................... 779 36.2 MODELS OF MUSIC, HEALTH AND W ELL-B EING.......................................... 781 36.3 FROM THEORY TO THERAPEUTIC APPROACHES ........................................... 783 36.4 CONCLUSION............................................................................................ 789 REFERENCES....................................................................................................... 789 37 A CONCEPTUAL FRAM EW ORK FO R MUSIC-BASED IN TE RA CTIO N SYSTEMS PIETER-JAN MAES, LUC NIJS, MARC LEMAN.......................................................... 793 37.1 A CONCEPTUAL MODEL OF MUSIC-BASED INTERACTION SYSTEMS ................ 794 37.2 THE HUMAN REWARD SYSTEM................................................................. 795 37.3 SOCIAL INTERACTION................................................................................. 797 37.4 MONITORING, MOTIVATION, AND ALTERATION ............................................ 797 37.5 THE EVALUATION OF MUSIC-BASED INTERACTIVE SYSTEMS ......................... 799 37.6 SOME CASE STUDIES OF APPLICATIONS AND SUPPORTING RESEARCH .......... 799 37.7 CONCLUSION ........................................................................................... 801 REFERENCES....................................................................................................... 802 38 M ETHODS FO R S TUDYING M USIC-R ELATED BODY M OTION ALEXANDER REFSUM JENSENIUS.......................................................................... 805 38.1 SOME KEY CHALLENGES........................................................................... 805 38.2 QUALITATIVE MOTION ANALYSIS................................................................. 806 38.3 VIDEO-BASED ANALYSES ........................................................................ 808 38.4 SENSOR-BASED MOTION CAPTURE ............................................................ 812 38.5 SYNCHRONIZATION AND STORAGE.............................................................. 815 38.6 CONCLUSION ........................................................................................... 816 REFERENCES....................................................................................................... 816 PART F MUSIC AND MEDIA 39 C ONTENT-BASED M ETHODS FO R KNOW LEDGE DISCOVERY IN MUSIC JUAN PABLO BELLO, PETER GROSCHE, MEINARD MUELLER, RON WEISS ...................... 823 39.1 MUSIC STRUCTURE ANALYSIS ..................................................................... 824 39.2 FEATURE REPRESENTATION....................................................................... 826 39.3 MUSIC SYNCHRONIZATION AND NAVIGATION.............................................. 827 39.4 SELF-SIMILARITY IN MUSIC RECORDINGS.................................................... 829 39.5 AUTOMATED EXTRACTION OF REPETITIVE STRUCTURES .................................. 835 39.6 CONCLUSIONS.......................................................................................... 838 REFERENCES....................................................................................................... 838 40 H EARING AIDS AND MUSIC: SOME THEORETICAL AND PRACTICAL ISSUES MARSHALL CHASIN, NEIL S. HOCKLEY.................................................................... 841 40.1 ASSESSMENT OF MUSICIANS ..................................................................... 842 40.2 PERIPHERAL SENSORY HEARING LOSS........................................................ 842 40.3 DIRECT ASSESSMENT OF MUSIC WITH A PERIPHERAL HEARING LOSS ............. 844 40.4 ACOUSTIC PROPERTIES OF MUSIC VERSUS SPEECH ...................................... 844 40.5 SOME STRATEGIES TO HANDLE THE MORE INTENSE INPUTS OF MUSIC................................................................................................ 846 40.6 SOME HEARING-AID TECHNOLOGIES TO HANDLE THE MORE INTENSE INPUTS OF MUSIC ...................................................... 847 40.7 GENERAL RECOMMENDATIONS FOR AN OPTIMAL HEARING AID FOR M USIC.............................................................................................. 849 40.8 CONCLUSIONS AND RECOMMENDATIONS FOR FURTHER RESEARCH ............... 851 REFERENCES....................................................................................................... 851 41 MUSIC TECHNOLOGY AND EDUCATION ESTEFANIA CANO, CHRISTIAN DITTMAR, JAKOB ABESSER, CHRISTIAN KEHLING, SASCHA GROLLMISCH........................................................................................... 855 41.1 BACKGROUND.......................................................................................... 856 41.2 MUSIC EDUCATION TOOLS.......................................................................... 857 41.3 SOUND SOURCE SEPARATION FOR THE CREATION OF MUSIC PRACTICE M ATERIAL .................................................................. 859 41.4 DRUM TRANSCRIPTION FOR REAL-TIME MUSIC PRACTICE.............................. 862 41.5 GUITAR TRANSCRIPTION BEYOND SCORE NOTATION ..................................... 865 41.6 DISCUSSION AND FUTURE CHALLENGES ..................................................... 868 REFERENCES....................................................................................................... 869 42 MUSIC LEARNING: A U TO M A TIC MUSIC C OM POSITION AND S INGING VOICE ASSESSMENT LORENZO J. TARDON, ISABEL BARBANCHO, CARLES ROIG, EMILIO MOLINA, ANA M. BARBANCHO.......................................................................................... 873 42.1 RELATED WORK ON MELODY COMPOSITION ............................................... 874 42.2 RELATED WORK ON VOICE ANALYSIS FOR ASSESSMENT ............................... 874 42.3 MUSIC COMPOSITION FOR SINGING ASSESSMENT ...................................... 875 42.4 SINGING ASSESSMENT............................................................................. 879 42.5 SUMMARY.............................................................................................. 881 REFERENCES....................................................................................................... 882 43 COMPUTATIONAL ETHNOMUSICOLOGY: A STUDY OF FLAMENCO AND ARAB-ANDALUSIAN VOCAL MUSIC NADINE KROHER, EMILIA GOMEZ, AMIN CHAACHOO, MOHAMED SORDO, JOSE-MIGUEL DIAZ-BAENEZ, FRANCISCO GOMEZ, JOAQUIN M ORA ......................... 885 43.1 M OTIVATION ........................................................................................... 885 43.2 BACKGROUND.......................................................................................... 887 43.3 CASE STUDY............................................................................................. 889 43.4 CONCLUSION AND FUTURE PERSPECTIVES .................................................. 895 43.5 COMPLEMENTARY MATERIAL ..................................................................... 896 REFERENCES....................................................................................................... 896 44 THE RELATION BETWEEN MUSIC TECHNOLOGY AND MUSIC INDUSTRY ALEXANDER LERCH................................................................................................ 899 44.1 RECORDING AND PERFORMANCE................................................................ 901 44.2 MUSIC CREATION...................................................................................... 903 44.3 MUSIC DISTRIBUTION AND CONSUMPTION................................................. 906 44.4 CONCLUSION ........................................................................................... 907 REFERENCES....................................................................................................... 908 45 ENABLING INTERACTIVE AND INTEROPERABLE SEMANTIC MUSIC APPLICATIONS JESUS CORRAL GARDA, PANOS KUDUMAKIS, ISABEL BARBANCHO, LORENZO J. TARDOEN, MARK SANDLER.................................................................... 911 45.1 IM AF STANDARD .................................................................................... 912 45.2 IMPLEMENTATION OF THE IM AF ENCODER ............................................... 913 45.3 IM AF IN SONIC VISUALISER ..................................................................... 917 45.4 FUTURE DEVELOPMENTS AND CONCLUSIONS.............................................. 920 REFERENCES....................................................................................................... 920 46 DIGITAL SENSING OF MUSICAL INSTRUMENTS PETER DRIESSEN, GEORGE TZANETAKIS .................................................................. 923 46.1 DIGITAL MUSIC INSTRUM ENTS .................................................................. 923 46.2 ELEMENTS OF A HYPERINSTRUMENT.......................................................... 924 46.3 ACOUSTIC INSTRUMENT............................................................................. 924 46.4 HYPERINSTRUMENT................................................................................. 925 46.5 DIRECT SENSORS....................................................................................... 925 46.6 INDIRECT OR SURROGATE SENSORS.............................................................. 927 46.7 INSTRUMENT CASE STUDIES ..................................................................... 928 46.8 APPLICATION CASE STUDIES ..................................................................... 930 46.9 CONCLUSIONS.......................................................................................... 932 REFERENCES....................................................................................................... 932 PART 6 MUSIC ETHNOLOGY 47 INTERACTION BETWEEN SYSTEMATIC MUSICOLOGY AND RESEARCH ON TRADITIONAL MUSIC JUKKA LOUHIVUORI............................................................................................. 939 47.1 BACKGROUND.......................................................................................... 939 47.2 FOLK/TRADITIONAL MUSIC RESEARCH.......................................................... 940 47.3 COMPARATIVE MUSICOLOGY ..................................................................... 941 47.4 COGNITIVE APPROACHES - CROSS-CULTURAL MUSIC COGNITION AND COGNITIVE ETHNOMUSICOLOGY.......................................................... 941 47.5 ANTHROPOLOGY OF MUSIC - ETHNOMUSICOLOGY - CULTURAL MUSICOLOGY.. 943 47.6 NEW TRENDS .......................................................................................... 945 47.7 FUNCTION OF ETHNOMUSICOLOGY IN SYSTEMATIC MUSICOLOGY ..................... 946 47.8 SUMMARY............................................................................................... 948 REFERENCES........................................................................................................... 949 48 A NALYTICAL E THNOM USICOLOGY: HOW WE GOT OUT O F ANALYSIS AND HOW TO GET BACK IN LESLIE TILLEY........................................................................................................... 953 48.1 ETHNOMUSICOLOGY S ANALYTICAL ROOTS .................................................. 953 48.2 THE MID-CENTURY PENDULUM SWING: THE RISE OF ANTHROPOLOGY-BASED STUDIES ........................................... 959 48.3 ANALYSIS IN MODERN ETHNOMUSICOLOGY................................................. 966 REFERENCES........................................................................................................... 974 49 MUSICAL SYSTEMS O F SUB-SAHARAN AFRICA SIMHA AROM......................................................................................................... 979 REFERENCES........................................................................................................... 982 50 MUSIC AM ONG ETHNIC M IN O RITIE S IN S OUTHEAST ASIA HAEKAN LUNDSTROEM............................................................................................ 987 50.1 SINGING MANNERS................................................................................... 988 50.2 THE SOUNDS OF BAMBOO AND M ETAL ..................................................... 992 50.3 MUSIC AND VILLAGE LIFE.......................................................................... 996 50.4 VILLAGE MUSIC AND MODERN SOCIETY ..................................................... 999 50.A APPENDIX: RECORDINGS......................................................................... 1002 REFERENCES.......................................................................................................... 1002 51 MUSIC ARCHAEOLOGY RICARDO EICHMANN............................................................................................ 1005 51.1 METHODS................................................................................................ 1006 51.2 RESEARCH TOPICS.................................................................................... 1007 51.3 MUSICAL PRACTICE ................................................................................... 1008 51.4 MUSIC THEORY......................................................................................... 1009 51.5 ANCIENT SOUNDS.................................................................................... 1010 51.6 CONCLUSION............................................................................................ 1011 REFERENCES....................................................................................................... 1012 52 THE COMPLEX DYNAMICS O F IM P RO VISA TIO N DAVID BORGO...................................................................................................... 1017 52.1 THE STUDY OF IMPROVISATION................................................................. 1017 52.2 THE FIELD OF IMPROVISATION STUDIES ..................................................... 1018 52.3 CHALLENGES IN DEFINING IM PROVISATION ............................................... 1018 52.4 SOME CONTEMPORARY RESEARCH DIRECTIONS........................................... 1020 52.5 REFERENT-BASED IM PROVISATION ........................................................... 1021 52.6 REFERENT-FREE IM PROVISATION .............................................................. 1022 52.7 FINAL THOUGHTS...................................................................................... 1024 REFERENCES.......................................................................................................... 1025 53 MUSIC OF STRUGGLE AND PROTEST IN THE 20TH CENTURY ANTHONY SEEGER................................................................................................ 1029 53.1 HISTORICAL ANTECEDENTS OF MUSIC OF PROTEST AND STRUGGLE IN THE UNITED STATES............................................................................. 1030 53.2 THE POET WALT WHITMAN S INFLUENCE ON THE IMAGE OF THE PROTEST SINGER-SONGWRITER ........................................................ 1031 53.3 BALLAD COLLECTORS, SONGS OF STRUGGLE, AND VERSIONS OF THE AMERICAN IDENTITY..................................................................... 1032 53.4 THE VOCAL STYLE AND PERFORMANCE PRACTICE OF US PROTEST MUSIC ......... 1033 53.5 20TH CENTURY POLITICS AND PROTEST MUSIC ............................................ 1035 53.6 AFRICAN-AMERICAN MUSICAL TRADITIONS AND SOCIAL PROTEST .................. 1036 53.7 THE CONSERVATIVE REACTION .................................................................. 1037 53.8 THE FOLK MUSIC REVIVAL AND THE COMMERCIALIZATION OF FOLK MUSIC... 1038 53.9 CONCLUSION........................................................................................... 1040 REFERENCES................................................................................................... 1041 ABOUT THE AUTHORS......................................................................................... 1043 DETAILED CONTENTS .............................................................................................. 1057 SUBJECT INDEX.................................................................................................. 1079
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spelling	Reichel, W. aut Die Verwendung des Drehstroms insbesondere des hochgespannten Drehstroms für den Betrieb elektrischer Bahnen Betrachtungen und Versuche W. Reichel Reprint 2019 Berlin ; Boston Oldenbourg Wissenschaftsverlag [2019] © 1903 1 online resource (VIII, 158 pages) Zahlr. Abb., 4 Taf txt rdacontent c rdamedia cr rdacarrier Description based on online resource; title from PDF title page (publisher's Web site, viewed 26. Nov 2019) In German Drehstrommotor Elektrische Bahn Technology & Engineering / Engineering (General) bisacsh Erscheint auch als Druck-Ausgabe 9783486733457 https://doi.org/10.1515/9783486733440 Verlag URL des Erstveröffentlichers Volltext DNB Datenaustausch application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=031662790&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis
spellingShingle	Reichel, W. Die Verwendung des Drehstroms insbesondere des hochgespannten Drehstroms für den Betrieb elektrischer Bahnen Betrachtungen und Versuche Drehstrommotor Elektrische Bahn Technology & Engineering / Engineering (General) bisacsh
title	Die Verwendung des Drehstroms insbesondere des hochgespannten Drehstroms für den Betrieb elektrischer Bahnen Betrachtungen und Versuche
title_auth	Die Verwendung des Drehstroms insbesondere des hochgespannten Drehstroms für den Betrieb elektrischer Bahnen Betrachtungen und Versuche
title_exact_search	Die Verwendung des Drehstroms insbesondere des hochgespannten Drehstroms für den Betrieb elektrischer Bahnen Betrachtungen und Versuche
title_full	Die Verwendung des Drehstroms insbesondere des hochgespannten Drehstroms für den Betrieb elektrischer Bahnen Betrachtungen und Versuche W. Reichel
title_fullStr	Die Verwendung des Drehstroms insbesondere des hochgespannten Drehstroms für den Betrieb elektrischer Bahnen Betrachtungen und Versuche W. Reichel
title_full_unstemmed	Die Verwendung des Drehstroms insbesondere des hochgespannten Drehstroms für den Betrieb elektrischer Bahnen Betrachtungen und Versuche W. Reichel
title_short	Die Verwendung des Drehstroms insbesondere des hochgespannten Drehstroms für den Betrieb elektrischer Bahnen
title_sort	die verwendung des drehstroms insbesondere des hochgespannten drehstroms fur den betrieb elektrischer bahnen betrachtungen und versuche
title_sub	Betrachtungen und Versuche
topic	Drehstrommotor Elektrische Bahn Technology & Engineering / Engineering (General) bisacsh
topic_facet	Drehstrommotor Elektrische Bahn Technology & Engineering / Engineering (General)
url	https://doi.org/10.1515/9783486733440 http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=031662790&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA
work_keys_str_mv	AT reichelw dieverwendungdesdrehstromsinsbesonderedeshochgespanntendrehstromsfurdenbetriebelektrischerbahnenbetrachtungenundversuche

Die Verwendung des Drehstroms insbesondere des hochgespannten Drehstroms für den Betrieb elektrischer Bahnen Betrachtungen und Versuche

MARC

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