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On Supper Continuity of Topological Spaces
Talal Ali Al-Hawary
Matematika , 2005,
Abstract: In 1968, Volicko defined the concept of supper-continuity between topological spaces. In this paper supper-continuity is characterised relating to several other well-known variations of continuity, and sufficient and necessary conditions for any of them to imply supper-continuous are also provided. Moreover, many constructions of super-continuity are studied.
Automatic Recognition of Lyrics in Singing  [cached]
Annamaria Mesaros,Tuomas Virtanen
EURASIP Journal on Audio, Speech, and Music Processing , 2010, DOI: 10.1155/2010/546047
Abstract: The paper considers the task of recognizing phonemes and words from a singing input by using a phonetic hidden Markov model recognizer. The system is targeted to both monophonic singing and singing in polyphonic music. A vocal separation algorithm is applied to separate the singing from polyphonic music. Due to the lack of annotated singing databases, the recognizer is trained using speech and linearly adapted to singing. Global adaptation to singing is found to improve singing recognition performance. Further improvement is obtained by gender-specific adaptation. We also study adaptation with multiple base classes defined by either phonetic or acoustic similarity. We test phoneme-level and word-level n-gram language models. The phoneme language models are trained on the speech database text. The large-vocabulary word-level language model is trained on a database of textual lyrics. Two applications are presented. The recognizer is used to align textual lyrics to vocals in polyphonic music, obtaining an average error of 0.94 seconds for line-level alignment. A query-by-singing retrieval application based on the recognized words is also constructed; in 57% of the cases, the first retrieved song is the correct one.
The KTH synthesis of singing  [cached]
Johan Sundberg
Advances in Cognitive Psychology , 2006,
Abstract: This is an overview of the work with synthesizing singing that has been carried out at the Speech Music Hearing Department, KTH since 1977. The origin of the work, a hardware synthesis machine, is described and some aspects of the control program, a modified version of a text-to-speech conversion system are reviewed. Three applications are described in which the synthesis system has paved the way for investigations of specific aspects of the singing voice. One concerns the perceptual relevance of the center frequency of the singer's formant, one deals with characteristics of an ugly voice, and one regards intonation. The article is accompanied by 18 sound examples, several of which were not published before. Finally, limitations and advantages of singing synthesis are discussed.
The Tibetan Singing Bowl  [PDF]
Denis Terwagne,John W. M. Bush
Physics , 2010,
Abstract: The Tibetan singing bowl is a type of standing bell. Originating from Himalayan fire cults as early as the 5th century BC, they have since been used in religious ceremonies, for shamanic journeying, exorcism, meditation and shakra adjustment. A singing bowl is played by striking or rubbing its rim with a wooden or leather-wrapped mallet. The sides and rim of the bowl then vibrate to produce a rich sound. When the bowl is filled with water, this excitation can cause crispation of the water surface that can be followed by more complicated surface wave patterns and ultimately the creation of droplets. We here demonstrate the means by which the Tibetan singing bowl can levitate droplets. This is a sample arXiv article illustrating the use of fluid dynamics videos.
Editor Journal
Journal of Global Pharma Technology , 2010, DOI: 10.1234/jgpt.v2i7.254
Ask Your Pharmacist  [cached]
Editor Journal
Journal of Global Pharma Technology , 2010, DOI: 10.1234/jgpt.v2i3.167
Abstract: Ask your Pharmacist
Ask your Pharmacist  [cached]
Editor Journal
Journal of Global Pharma Technology , 2009, DOI: 10.1234/jgpt.v1i1.19
Abstract: Ask your Pharmacist
Editor Journal
Journal of Global Pharma Technology , 2010, DOI: 10.1234/jgpt.v2i4.194
The singing arc: the oldest memristor?  [PDF]
Jean-Marc Ginoux,Bruno Rossetto
Physics , 2014, DOI: 10.1142/9789814434805_0040
Abstract: On April 30th 2008, the journal Nature announced that the missing circuit element, postulated thirty-seven years before by Professor Leon O. Chua has been found. Thus, after the capacitor, the resistor and the inductor, the existence of a fourth fundamental element of electronic circuits called "memristor" was established. In order to point out the importance of such a discovery, the aim of this article is first to propose an overview of the manner with which the three others have been invented during the past centuries. Then, a comparison between the main properties of the singing arc, i.e. a forerunner device of the triode used in Wireless Telegraphy, and that of the memristor will enable to state that the singing arc could be considered as the oldest memristor.
Michiyo Yoneno Reyes
Humanities Diliman , 2010,
Abstract: A group of songs called salidummay, popular in Northern Philippine highlands, is characterized by musical features of Anglo-American folk songs epitomized by meter and anhemitonic pentatonic pitch system (against domination of two to four tone tunes of older chants), as well as vernacular lyrics that often carry the formulaic expressions of older chants of the locale. The paper asks why salidummay songs that present hybrid features than other local forms have become a symbol of collective identity of the peoples of Northern Luzon highlands as that of the “Cordillera.” Analysis of three salidummay renditions performed in two privately hosted communal feasts (palanos) of the Banaos at western Kalinga reveals the categorical inconsistency of salidummay songs that carry both features of premodernity (spontaneity, orality, intimacy of communal reception) and modernity that is ultimately attributed to “congregational singing.” The paper then argues that the simultaneity of congregational singing of hymn singing , that is applied today to the singing of anthems, martial songs and protest songs, is the praxis of modernity; that it has already become the habitus of Filipinos in the twentieth century; and that, thus, salidummay singing is believed to be “tradition” in the narrative of projecting ethnicity. The paper concludes that tempo-spatial strata of premodernity and modernity is the key to understanding the sociocultural complex of contemporary Philippines.
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