The days are over when the crowd was filled with voice geeks who could identify transpositions, cuts, and optional high notes.
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In 2005, Durant created "Proposal for White and Indian Dead Monument Transpositions, Washington DC," which reproduced monuments around the country commemorating Native American massacres.
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With transpositions and sampling, he reminded the man of a boy who once believed in justice and rights, who shot robbers with his fingertips.
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In "The Southern Reach" and his follow-up novel, "Borne" (2017), he focused on depicting large-scale, catastrophic environmental change through unsettling, bizarrely touching transpositions.
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She manages to avoid shrillness in what she aptly calls the "Wagnerian coloratura spectacle" that is her final "Exterminating Angel" aria, a flood of sustained superhigh sound up to F. Even if nothing in previous Met history has equaled her high A, other singers have come close, sometimes adding unwritten interpolations and transpositions to show off their personal stratospheres.
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But an automorphism that stabilizes the transpositions is inner, so the inner automorphisms form an index 2 subgroup of Aut(S6), so Out(S6) = C2. More pithily: an automorphism that stabilizes transpositions is inner, and there are only two conjugacy classes of order 15 (transpositions and triple transpositions), hence the outer automorphism group is at most order 2\.
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There are many other ways of writing σ as a composition of transpositions, for instance :, but it is impossible to write it as a product of an even number of transpositions.
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Since transposing the mode up a whole tone produces the same set of notes, mode 1 has only 2 transpositions. Any scale having 12 different transpositions is not a mode of limited transposition.
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The transposition (a~b), executed thereafter, then addresses z by the index of b to swap what initially were a and z. In fact, the symmetric group is a Coxeter group, meaning that it is generated by elements of order 2 (the adjacent transpositions), and all relations are of a certain form. One of the main results on symmetric groups states that either all of the decompositions of a given permutation into transpositions have an even number of transpositions, or they all have an odd number of transpositions. This permits the parity of a permutation to be a well-defined concept.
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TDS yields spectacular results compared to traditional algorithms, even attaining superlinear speedup (although only in one sense of the word). This property is attained because computers have a limited amount of memory and for large problems, not all transpositions can be stored. Therefore, some transpositions will be calculated more than once. Because 16 computers have 16 times as much memory as 1 (assuming all computers are identical), 16 computers with TDS can store more transpositions than 1 and therefore have to compute less.
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There are two complementary ways to view the modes: considering their possible transpositions, and considering the different modes contained within them.
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In 2005, his exhibition "Proposal for White and Indian Dead Monument Transpositions, Washington D.C." was shown at the Paula Cooper Gallery in New York.Sam Durant, Proposal for White and Indian Dead Monument Transpositions. Washington. D.C. (New York: Paula Cooper Gallery, 2005). This work derived out of a residency he was conducting at the Walker Art Center in 2002.
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This may transpose to 1. P-76 P-84 2. R-68 P-34. Transpositions of 1. R-68 P-84 2.
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Transforming back, we get . Because contains all disjoint transpositions in , . Hence, . Since , we have demonstrated that there is a third element in .
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In a process of 15 cyclical transpositions, Michael explains (in threefold appearance as singer, trumpeter, and dancer), his experience and opposition to Lucifer.
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The net result of all of these transpositions, for a radix-2 algorithm, corresponds to a bit reversal of the input (DIF) or output (DIT) indices. If, instead of using a small radix, one employs a radix of roughly and explicit input/output matrix transpositions, it is called a four-step algorithm (or six-step, depending on the number of transpositions), initially proposed to improve memory locality,Gentleman W. M., and G. Sande, "Fast Fourier transforms—for fun and profit," Proc. AFIPS 29, 563–578 (1966).Bailey, David H., "FFTs in external or hierarchical memory," J. Supercomputing 4 (1), 23–35 (1990) e.g.
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The Guatemalan bishop deployment can also occur on Black's third move, from various transpositions. For example, after 1.e4 b6 2.d4 e6, 1.
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The three octatonic collections are transpositionally and inversionally symmetric—that is, they are related by a variety of transposition and inversion operations: They are each closed under transpositions by 3, 6, or 9 semitones. A transposition by 1, 4, 7, or 10 semitones will transform the E scale into the D scale, the D scale into the D scale, and the D scale into the E scale. Conversely, transpositions by 2, 5, 8, or 11 semitones acts in the reverse way; the E scale goes to the D scale, D to D and D to E. Thus, the set of transpositions acts on the set of diminished collections as the integers modulo 3. If the transposition is congruent to 0 mod 3 the pitch collection is unchanged and the transpositions by 1 semitone or by 2 semitones are inverse to one another.
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A permutation with no fixed points is called a derangement. 2-cycles are called transpositions; such permutations merely exchange two elements, leaving the others fixed.
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Its edge colors represent the 3 generating transpositions: , , This Cayley graph is Hamiltonian; a Hamiltonian cycle may be found by the Steinhaus–Johnson–Trotter algorithm.
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It contains the intervals semitone, tone, semitone, tone, semitone, tone, semitone, tone – it has three transpositions, like the diminished 7th chord, and two modes: File:MOLT 2.png The third mode is divided into three groups of four notes each. It contains the intervals tone, semitone, semitone, tone, semitone, semitone, tone, semitone, semitone – it has four transpositions, like the augmented triad, and three modes. File:MOLT 3.
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Transposition tables are an essential part of a computer chess program. Transpositions exist in other abstract strategy games such as shogi, go, tic-tac-toe and hex.
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The story follows Shakespeare's play, The Merchant of Venice, but with some transpositions of the text. The comic figures of Lancelot Gobbo and Old Gobbo are absent.
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S6 has exactly one (class) of outer automorphisms: Out(S6) = C2. To see this, observe that there are only two conjugacy classes of S6 of size 15: the transpositions and those of class 23. Each element of Aut(S6) either preserves each of these conjugacy classes, or exchanges them. Any representative of the outer automorphism constructed above exchanges the conjugacy classes, whereas an index 2 subgroup stabilizes the transpositions.
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Other common transpositions are to various lines of the Queen's Gambit Declined (after e.g. 1.Nf3 d5 2.d4 Nf6 3.c4) or the Catalan Opening (after e.g. 1.
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If the skin defect does not exceed 3 cm in diameter, it can be closed primarily. If this is not possible without tension, the surrounding loose connective tissue can be undermined to attain more mobility. Different kinds of transpositions to close the defect with adjacent skin are possible: V-Y, Z,pinwheel flaps, advancement flaps, Orticochea flaps and rotation flaps. All these transpositions generate tension of the skin and may distort hair lines.
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Proceedings of the 1st International Roberto Gerhard Conference, p. 65. Regarding the use of these hexachords in the themes, he develops the relationships between these two structures, using retrogrades and inversions to develop the areas that correspond to exposition, development, recapitulation, and primary and subordinate themes. Thus, for example, he can only present one hexachord (with its respective transpositions) in the exposition, and reserve certain combinations of transpositions for occurrences of very specific motifs.
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An is generated by 3-cycles, since 3-cycles can be obtained by combining pairs of transpositions. This generating set is often used to prove that An is simple for .
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Modes of limited transposition are musical modes or scales that fulfill specific criteria relating to their symmetry and the repetition of their interval groups. These scales may be transposed to all twelve notes of the chromatic scale, but at least two of these transpositions must result in the same pitch classes, thus their transpositions are "limited". They were compiled by the French composer Olivier Messiaen, and published in his book La technique de mon langage musical ("The Technique of my Musical Language").
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Rubik's Revenge in solved state The parity of a permutation (as defined in abstract algebra) is the parity of the number of transpositions into which the permutation can be decomposed.. For example (ABC) to (BCA) is even because it can be done by swapping A and B then C and A (two transpositions). It can be shown that no permutation can be decomposed both in an even and in an odd number of transpositions. Hence the above is a suitable definition. In Rubik's Cube, Megaminx, and other twisting puzzles, the moves of the puzzle allow only even permutations of the puzzle pieces, so parity is important in understanding the configuration space of these puzzles.. The Feit-Thompson theorem states that a finite group is always solvable if its order is an odd number.
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Mary Oppen (November 28, 1908 – May 14, 1990), was an American activist, artist, photographer, poet and writer. She published an autobiography, Meaning a Life (1978), and a book of verse, Poems and Transpositions (1980).
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Molecular signatures of ribosomal evolution. Proc. Natl. Acad. Sci. USA, 105: 13953–13958. The geneticist Barbara McClintock introduced the idea of "jumping genes", chromosome transpositions that can produce rapid changes in the genome.McClintock, B. (1984).
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Parity can be generalized to Coxeter groups: one defines a length function ℓ(v), which depends on a choice of generators (for the symmetric group, adjacent transpositions), and then the function gives a generalized sign map.
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White responds by opening their bishop diagonal as well. This is White's side pawn. The Side Pawn opening is typically started with both players attacking each other's bishop (although transpositions with later moves are possible). 2\.
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He thus created numerous chromatic transpositions of musical scores. In the late 1990s, the musician Sergio Maltagliati expanded on Veronesi’s research. After World War II, he was the co-founder of the photographic group La Bussola.
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Moreover, any reasonable choice for the adjacent transpositions will work: it suffices to choose at each step a transposition of i and where i is a descent of the permutation as modified so far (so that the transposition will remove this particular descent, although it might create other descents). This is so because applying such a transposition reduces the number of inversions by 1; as long as this number is not zero, the permutation is not the identity, so it has at least one descent. Bubble sort and insertion sort can be interpreted as particular instances of this procedure to put a sequence into order. Incidentally this procedure proves that any permutation σ can be written as a product of adjacent transpositions; for this one may simply reverse any sequence of such transpositions that transforms σ into the identity.
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In chess, a transposition is a sequence of moves that results in a position which may also be reached by another, more common sequence of moves. Transpositions are particularly common in the opening, where a given position may be reached by different sequences of moves. Players sometimes use transpositions deliberately, to avoid variations they dislike, lure opponents into unfamiliar or uncomfortable territory or simply to worry opponents. See review at In chess the verb "transpose" means to shift the game onto a different opening track from which it started.
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Presented here are two algorithms: the first, simpler one, computes what is known as the optimal string alignment distance or restricted edit distance, while the second one computes the Damerau–Levenshtein distance with adjacent transpositions. Adding transpositions adds significant complexity. The difference between the two algorithms consists in that the optimal string alignment algorithm computes the number of edit operations needed to make the strings equal under the condition that no substring is edited more than once, whereas the second one presents no such restriction. Take for example the edit distance between CA and ABC.
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Filipino restaurants dominate the area, as well as several freight delivery and remittance centers scattered throughout the neighborhood. Other Filipino-owned businesses including professional services (medical, dental, optical), driving schools, beauty salons, immigration services, and Filipino video rental establishments are present in the community. Woodside has many types of transpositions used in a daily bases.There's the IRT Flushing Line (), known colloquially as the Orient Express, the 69th Street station serves as the gateway to Queens' largest Little Manila , the long Island rail road, along with other public transpositions such as buses.
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Analogously, the alternating group is a subgroup of index 2 in the symmetric group on n letters. The elements of the alternating group, called even permutations, are the products of even numbers of transpositions. The identity map, an empty product of no transpositions, is an even permutation since zero is even; it is the identity element of the group.; The rule "even × integer = even" means that the even numbers form an ideal in the ring of integers, and the above equivalence relation can be described as equivalence modulo this ideal.
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The attributes a match engine is configured to use can typically include name, date of birth, sex, social security number, and address. The match engine must be able to give consideration to data challenges such as typos, misspellings, transpositions and aliases.
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"...before long they were all certain that Jim had consistently falsified his records... To produce extra hits, Jim had to resort to erasures and transpositions in the records of his call series."Louisa Rhine. (1983). Something Hidden. McFarland & Company. p. 226.
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Fundamentally, the entire piece is made up of two basic motifs, with the first motif existing in three different variations, making 4 fragments in total (not counting the inversions and transpositions of each).Reti, Rudolph. The Thematic Process in Music. (New York: Macmillan, 1951), 195.
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In scalar transposition, every pitch in a collection is shifted up or down a fixed number of scale steps within some scale. The pitches remain in the same scale before and after the shift. This term covers both chromatic and diatonic transpositions as follows.
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White often replies 3.cxd5, but other moves are playable and may lead to transpositions into more well-known variations such as the Queen's Gambit Accepted and the Tarrasch Defense. After 3.cxd5 it is not advisable for Black to play 3...Qxd5, because either 4.
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The second arabesque in G major is noticeably quicker and more lively in tempo. It opens with left hand chords and right hand trills. The piece makes several transpositions and explores a lower register of the piano. Again notable is a hint of the pentatonic scale.
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In view of possible transpositions to the main Sicilian variations, Black has various replies to 2.Nc3 in the Open Sicilian. 2...Nc6 is the most common choice, but 2...e6 and 2...d6 are often played. The Main line of the Closed Sicilian is 2.Nc3 Nc6 3.
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They are both told in third person by an unidentified narrator. The chapters “I shall murder” and “I murder” are also narrated in third person but the chapters that follow identify them as transpositions of the oral accounts given to the heroine by Jeanne Murneau and Serge Reppo respectively.
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The move 1.Nc3 is considered an irregular opening, so it is classified under the A00 code in the Encyclopaedia of Chess Openings (also see List of chess openings). Transpositions to more common openings are possible, many of which are discussed in the preceding section. In addition, 1.
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The image on the right shows the permutohedron of order 4, which is the truncated octahedron. Its vertices are the 24 permutations of (1, 2, 3, 4). Parallel edges have the same edge color. The 6 edge colors correspond to the 6 possible transpositions of 4 elements, i.e.
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Damerau–Levenshtein distance plays an important role in natural language processing. In natural languages, strings are short and the number of errors (misspellings) rarely exceeds 2. In such circumstances, restricted and real edit distance differ very rarely. Oommen and Loke even mitigated the limitation of the restricted edit distance by introducing generalized transpositions.
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Page 1 of Geometric Dissections and Transpositions, showing Perigal's dissection-based proof of the Pythagorean theorem In his booklet Geometric Dissections and Transpositions (London: Bell & Sons, 1891) Perigal provided a proof of the Pythagorean theorem based on the idea of dissecting two smaller squares into a larger square. The five-piece dissection that he found may be generated by overlaying a regular square tiling whose prototile is the larger square with a Pythagorean tiling generated by the two smaller squares.. Reprinted in . Perigal had the same dissection printed on his business cards, and it also appears on his tombstone. In the same book, Perigal expressed the hope that dissection based methods would also solve the 1925 Tarski's problem of circle-squaring by dissection.
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Any permutation can be expressed as the composition (product) of transpositions—formally, they are generators for the group. In fact, when the set being permuted is for some integer , then any permutation can be expressed as a product of ' (1~2), (2~3), (3~4), and so on. This follows because an arbitrary transposition can be expressed as the product of adjacent transpositions. Concretely, one can express the transposition (k~~l) where k < l by moving to one step at a time, then moving back to where was, which interchanges these two and makes no other changes: :(k~~l) = (k~~k+1)\cdot(k+1~~k+2)\cdots(l-1~~l)\cdot(l-2~~l-1)\cdots(k~~k+1).
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The union of all R_{i}s is the set of eigenvalues of the corresponding permutation matrix. The geometric multiplicity of each eigenvalue equals the number of R_{i}s that contain it.J Najnudel, A Nikeghbali 2010 p.4 From group theory we know that any permutation may be written as a product of transpositions.
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During this time, George's final illness began to manifest itself with confusion, failing memory, and other losses. In 1980, the Montemora Foundation published her book Poems & Transpositions. George Oppen, died of pneumonia preceded by Alzheimer's Disease on July 7, 1984, aged 76. On December 3, 1987, his widow read from her autobiography at the San Francisco Arts Commission Gallery.
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Jose V. Lopez is an American-Filipino molecular biologist. He has been faculty and professor of biology at Nova Southeastern University (NSU). in Dania Beach FL since 2007. His doctoral dissertation involved the characterization of transpositions of mitochondrial DNA into the nuclei of cats and the naming of NUMT (nuclear mitochondrial DNAs) as a common evolutionary genomics phenomenon.
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Optimum Offline algorithms for the list update and paging rules. Technical Report YALE/DcS/TR-805, Yale University, New Haven, Conn, August 1990 The best known optimal offline algorithm dependent on request sequence length runs in O(l^2(l−1)!n) time published by Dr Srikrishnan Divakaran in 2014. Paid transpositions are in general necessary for optimum algorithms.
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Paris: Harmattan. . of Henri Texier's first quintet, participated in the 1960s in one of the first expressions of free jazz in France. As a painter, he then experimented plastic transpositions of Ornette Coleman's approach. Free jazz, painted in 1973, used architectural structures in correspondence to the classical chords of standard harmonies confronted with an unrestrained all over painted improvisation.
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Even the backward-looking pieces based on previously published works (the tarantella and neapolitan song from the Piano Concerto, and Frauengemach and Die Nächtlichen from the Turandot Suite) have been changed to reflect his new outlook. Tonality is weakened by the use of bitonality. Introductory measures, bridge passages, and transpositions have been added which incorporate this new style.
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There is another class of involutions, of trace 0, that move all 100 vertices.Wilson (2009), p. 213 As permutations in the alternating group A100, being products of an odd number (25) of double transpositions, these involutions lift to elements of order 4 in the double cover 2.A100. HS thus has a double cover 2.HS.
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Black's intention is to play ...exd5 and create a , whose advance will be supported by fianchettoed bishop on g7. The combination of these two features differentiates Black's setup from the other Benoni defenses and the King's Indian Defense, although transpositions between these openings are common. The Modern Benoni is classified under the ECO codes A60–A79.
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His other weakness was that, while no one had greater attacking flair, Zukertort never approached Steinitz' understanding of positional play, and Steinitz often outmaneuvered him fairly simply. Unlike the majority of attacking players, Zukertort preferred openings such as 1.c4 and 1.Nf3 that are closed or semi-closed and offered the possibility of transpositions—in fact in the early 1880s 1.
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Negrini was a baritonal tenor. The tessitura for the role of Gabriele Adorno he created was so middle voiced, that Verdi later authorised transpositions up for the tenor Emilio Pancani in 1869Harold Powers One Halfstep at a Time: Tonal Transposition and 'Split Association' in Italian Opera, Cambridge Opera Journal, Vol. 7, No. 2 (July 1995), pp. 135–164 and Francesco Tamagno in 1881.
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Since DNA frequently undergoes insertions, deletions, substitutions, and transpositions, and each of these operations occurs on approximately the same timescale, the Damerau–Levenshtein distance is an appropriate metric of the variation between two strands of DNA. More common in DNA, protein, and other bioinformatics related alignment tasks is the use of closely related algorithms such as Needleman–Wunsch algorithm or Smith–Waterman algorithm.
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Messiaen's first mode, also called the whole-tone scale, is divided into six groups of two notes each. The intervals it contains are tone, tone, tone, tone, tone, tone – it has two transpositions and one mode. File:MOLT 1.png The second mode, also called octatonic/diminished/semitone-tone/tone-semitone, may be divided into four groups of three notes each.
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In 1994, her work Transpositions covered a wall with 100 boards on which were printed photographs of historical portraits of women. Each woman's eyes captures the viewer's gaze. They are no longer the model of the original artist, but women on their own. This is Julie's way of stressing the women's lives over art history and the traditional male gaze.
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We start with lots of belief in ourselves and our abilities, and end up in nothing but mistrust and dissolution.” Discussing the influence aesthetic for Shadows of the Sun and the influence of chamber music, Rygg commented, “There's no specific aesthetic other than a sense of the beautiful itself, I suppose. There's a connection to classical composition, that's pretty obvious. Some Wagner transpositions.
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The Fischer group Fi23 has a rank 3 action on a graph of 31671 vertices corresponding to 3-transpositions, with point stabilizer the double cover of the Fischer group Fi22. It has a second rank-3 action on 137632 points The smallest faithful complex representation has dimension 782. The group has an irreducible representation of dimension 253 over the field with 3 elements.
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It is classified under the ECO codes A60–A79. After the initial moves, Black proceeds to capture on d5, creating a majority of black pawns on the queenside. To support their advance, the king's bishop is usually fianchettoed on g7. These two features differentiate Black's setup from the other Benoni defences and the King's Indian Defence, although transpositions between these openings are common.
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These transpositions are "usually up or down a fifth", a fundamental interval in the series of overtones and an indication perhaps of the "influence of Chinese musical theory in which the fifth is significant". According to Szabolcsi, these 'Hungarian transpositions', along with "some melodic, rhythmical and ornamental peculiarities, clearly show on the map of Eurasia the movements of Turkish people from the East to the West". The subsequent influence on neighbouring countries' music is seen in the music of Slovakia, Poland, and, with intervals of the third or second, in the music of the Czech Republic. Hungarian and other Finno-Ugric musical traditions are also characterised by the use of an ABBA binary musical form, with Hungary itself especially known for the A A' A' A variant, where the B sections are the A sections transposed up or down a fifth (A').
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Be2, Black can retreat the knight or gambit a pawn with 4...d6!? If White plays 3.Nc3 instead of 3.e5, Black can transpose to the Pirc Defence with 3...d6 or continue in unconventional fashion with 3...d5!?) Transpositions are possible after 2.c4, for example a Maróczy Bind results after 2...c5 3.Nf3 Bg7 (or Nc6) 4.d4 cxd4 5.
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She left the country in 1960 shortly after the revolution and never returned. She left as an exile, first going to Madrid and later settling in Miami, FL., where she remained the rest of her life. Ms. Cabrera received several honorary doctorate degrees, including one from the University of Miami in 1987. Cabrera describes her stories as "transpositions," but they went much further than a simple retelling.
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3 "Community," Yale University Press, forthcoming). He is editor of the new and first complete Hebrew translation of Thomas Hobbes' Leviathan (Shalem 2009). Lorberbaum has also published three volumes of Hebrew verse and is together with Michal Govrin, editor of the Devarim poetry series of Carmel publishers that published his book of poetic translations Transpositions. He is on the editorial board of the Hebraic Political Studies journal.Prof.
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Game-playing programs work by analyzing millions of positions that could arise in the next few moves of the game. Typically, these programs employ strategies resembling depth-first search, which means that they do not keep track of all the positions analyzed so far. In many games, it is possible to reach a given position in more than one way. These are called transpositions.
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However, the health of the patient and possible contra-indications play an important role as well. Due to the development and improvement of cutaneous, myocutanous and fasciocutaneous tissue transpositions plastic surgeons are able to successfully restore the defect to its original shape. Nevertheless, functional recovery is not guaranteed in all patients. For the optimal renewal of shape and function, a suitable flap can be chosen to reconstruct the defect.
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Pawn formations symmetrical about a vertical line (such as the e5 Chain and the d5 Chain) may appear similar, but they tend to have entirely different characteristics because of the propensity of the kings to castle on the . Pawn structures often transpose into one another, such as the Isolani into the Hanging pawns, and vice versa. Such transpositions must be considered carefully and often mark shifts in game strategy.
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Messiaen used modes he called modes of limited transposition. They are distinguished as groups of notes that can only be transposed by a semitone a limited number of times. For example, the whole-tone scale (Messiaen's Mode 1) only exists in two transpositions: namely C–D–E–F–G–A and D–E–F–G–A–B. Messiaen abstracted these modes from the harmony of his improvisations and early works.
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Some checksum methods are based on the mathematics of prime numbers. For instance the checksums used in International Standard Book Numbers are defined by taking the rest of the number modulo 11, a prime number. Because 11 is prime this method can detect both single-digit errors and transpositions of adjacent digits. Another checksum method, Adler-32, uses arithmetic modulo 65521, the largest prime number less than 2^{16}.
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There are two forms of dances; one a "civil" dance, the other a "military" dance, performed by 64 dancers in an 8x8 formation. The modern repertoire of aak consists of just two different surviving melodies. Both the two surviving pieces have 32 notes that last around 4 minutes when performed, and one of the two is performed in a number of transpositions. The music is played very slowly.
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The following schema refers to the association of these traditional segmentations and how Gerhard implements series transpositions and hexachords (encoded with P and H respectively). This new perspective of the harmonic structure is largely consistent with Babbitt's thinking, that the fundamental idea of 12-tone technique is a reformulation of the principle of tonality. In fact, it is inferred in Gerhard's writings that he was very much aware of Babbit's research.
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Other variants of edit distance are obtained by restricting the set of operations. Longest common subsequence (LCS) distance is edit distance with insertion and deletion as the only two edit operations, both at unit cost. Similarly, by only allowing substitutions (again at unit cost), Hamming distance is obtained; this must be restricted to equal-length strings. Jaro–Winkler distance can be obtained from an edit distance where only transpositions are allowed.
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In a melody, a real sequence is a sequence where the subsequent segments are exact transpositions of the first segment, while a tonal sequence is a sequence where the subsequent segments are diatonic transpositions of the first. The following passage from J.S. Bach demonstrates both kinds of sequence at work: Bach Concerto for Two Violins in D minor first movement bars 22-24J.S. Bach Concerto for Two Violins in D minor, first movement, bars 22-24Note: In the example image above, the annotation "the intervals in the second sequence are the same as in the first" is not entirely correct. The descending pitches in the first segment (G to A), have different intervals than in the second segment (C to D). The difference being in the last three pitches (C, Bb, A versus F, E, D). We have whole-step + half-step intervals in the first, and half-step + whole-step in the second.
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Typically, there are 12 tones in the western scale. Computing the number of unique trichords is a mathematical problem. A computer program can quickly iterate all the triads and remove the ones that are merely transpositions of others, leaving (as noted above) nineteen or, to within inversional equivalence, twelve. As an example, the following list contains all trichords that can be made including the note C, but includes 36 that are merely transpositions or transposed inversions of others: # C D♭ D [0,1,2] – this combination has no name (half step cluster, with doubly diminished third and quintuply diminished fifth, spelled enharmonically) # C D♭ E♭ [0,1,3] – this combination has no name # C D♭ E [0,1,4] – Eaug with sus6 # C D♭ F [0,1,5] – Dmaj seventh (omit 5th) # C D♭ G♭ [0,1,6] – Gsus#4 # C D♭ G [0,5,6] (= inv. of [0,1,6]) # C D♭ A♭ [0,4,5] (= inv.
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A major argument took place between the director, composer, writer Abrar Alvi and Geeta Dutt. Finally Dutt, who remained unconvinced, had to give in to the pressure. In 2004, as part of a Sight & Sound feature "celebrating the relationship between cinema and music", Pyaasa was named by Olivier Assayas as one of his favourites, going so far as to say that it was "possibly one of the most remarkable transpositions of poetry on screen".
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The text was copied by a single scribe. The Gospel text is a version of the Vulgate, mostly as translated by Saint Jerome (Hieronymus of Stridon, 347–420 CE), with a number of additions and transpositions. Comparable versions of the Gospel texts can be found in the Book of Kells (Dublin, Trinity College, ms 58), the Book of Armagh (Dublin, Trinity College, ms 52) and the Echternach Gospels (Paris, Bnf, ms Lat.9389).
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Coin effects include productions, vanishes, transformations, transpositions, teleportations, penetrations, restorations, levitations and mental magic—some are combined in a single routine. A simple effect might involve borrowing a coin, making it vanish, concealing the coin, then reproducing it again unexpectedly and returning it to the owner. More complex effects may involve multiple coins, substituting or switching coins and other objects or props can be employed (i.e. handkerchiefs, glasses) as well as the coins.
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Alfred Music. . This is a mode of Olivier Messiaen's seventh mode of limited transposition; it has six transpositions, like the tritone, and five modes (the same pitch classes with C, D, D, E, or E taken as the first scale step or tonic). This allows a dominant seventh chord to be built upon the tonic and a seventh sharp nine chord, and allows the tonic chord to have an altered ninth, eleventh, and thirteenth factors.
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Marks and Weierud give an example from Alan Turing that shows these cycles can be completed when some information is incomplete. (page 3 in PDF) Furthermore, Enigma permutations were simple transpositions, which meant that each permutation A B C D E F only transposed pairs of characters. Those character pairs had to come from different cycles of the same length. Moreover, any one pairing between two cycles determined all the other pairs in those cycles.
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The f2–f4 gives the Bishop's Opening an affinity with the King's Gambit and the Vienna Game, two openings that share this characteristic. The Bishop's Opening can transpose into either of these openings, and in particular a favorable variation of the King's Gambit, but with care Black can circumvent this. Transpositions into Giuoco Piano and Two Knights Defense and other openings are also possible. The Encyclopaedia of Chess Openings assigns the Bishop's Opening the codes C23 and C24.
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These marytyriai had been composed by a thetic and a dynamic sign. The thetic was the first letter of Chrysanthos monosyllable parallage, the dynamic was taken from 5 signs of the eight enechemata of the trochos."Thetic" and "dynamic" means that the combination could even represent the transpositions of μεταβολή κατὰ τόνον. While the thetic sign remained the same, the shift of the scale and its tetrachords were represented by the combination with another dynamic sign.
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The bass trumpet is usually notated in the treble clef. The bass trumpet in C sounds one octave lower than written, the bass trumpet in E sounds a major sixth lower than written and the bass trumpet in B sounds a major ninth lower than written. Wagner's transpositions include bass trumpet in E, E, D, C and B, though players often have parts for the bass trumpet transposed into C to play on the C bass trumpet.
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Interval cycles, "unfold [i.e., repeat] a single recurrent interval in a series that closes with a return to the initial pitch class", and are notated by George Perle using the letter "C", for cycle, with an interval-class integer to distinguish the interval. Thus the diminished-seventh chord would be C3 and the augmented triad would be C4. A superscript may be added to distinguish between transpositions, using 0–11 to indicate the lowest pitch class in the cycle.
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This extremely famous poem was set to various adaptations or transpositions in other arts, such as Les Djinns (op. 12, 1875)Gabriel Fauré: Les Djinns - Chœur National des Jeunes de France on YouTube by Gabriel Fauré, for mixed choir, or the symphonic poem Les Djinns (FWV 45), composed by César Franck in 1884, as well as Louis Vierne's rendition of Les Djinns op. 35Lousi Vierne, Les Djinns, Op 35 - The Queensland Orchestra for voice and orchestra from 1912.
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The kulintang player's ability to improvise within the parameters of a rhythmic mode is a must. As with gamelan orchestras, each kulintang mode has a kind of theme the kulintang player “dresses up” by variations of ornamentation, manipulating segments by inserting repetitions, extensions, insertions, suspensions, variations and transpositions. This occurs at the discretion of the kulintang player. Therefore, the kulintang player functions not only as the one carrying the melody, but also as the conductor of the entire ensemble.
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Consider a list (a,b,c) where a is at the head of the list, and a request sequence c,b,c,b. An optimal offline algorithm using only free exchanges would cost 9 (3+3+2+1), whereas an optimal offline algorithm using only paid exchanges would cost 8. So, we cannot get away with just using free transpositions for the optimum offline algorithm. The optimum list update problem was proven to be NP-hard by .
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By the beginning of the Baroque period, the notion of the musical key was established, describing additional possible transpositions of the diatonic scale. Major and minor scales came to dominate until at least the start of the 20th century, partly because their intervallic patterns are suited to the reinforcement of a central triad. Some church modes survived into the early 18th century, as well as appearing in classical and 20th- century music, and jazz (see chord-scale system).
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The Luhn algorithm will detect any single-digit error, as well as almost all transpositions of adjacent digits. It will not, however, detect transposition of the two-digit sequence 09 to 90 (or vice versa). It will detect most of the possible twin errors (it will not detect 22 ↔ 55, 33 ↔ 66 or 44 ↔ 77). Other, more complex check-digit algorithms (such as the Verhoeff algorithm and the Damm algorithm) can detect more transcription errors.
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In musical set theory there are twelve trichords given inversional equivalency, and, without inversional equivalency, nineteen trichords. These are numbered 1–12, with symmetrical trichords being unlettered and with uninverted and inverted nonsymmetrical trichords lettered A or B, respectively. They are often listed in prime form, but may exist in different voicings; different inversions at different transpositions. For example, the major chord, 3-11B (prime form: [0,4,7]), is an inversion of the minor chord, 3-11A (prime form: [0,3,7]).
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Transformational processes in music are the steps which composers take from deep structure to surface structure. Some of these processes include transpositions, augmentation, deletion, and embedding; he describes them in terms of manipulating melodic material. Ambiguity becomes a more significant theme as Bernstein discusses transformational processes' ability to add ambiguity, and therefore heighten expressiveness. In terms of transformational processes, Bernstein focuses predominantly on the process of deletion; to demonstrate this process, Bernstein extends several different examples from language, poetry, and music.
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Such open-wire balanced lines with periodic transpositions still survive today in some rural areas. Twisted-pair cabling was invented by Alexander Graham Bell in 1881. . See also TIFF format scans for USPTO 00244426 By 1900, the entire American telephone network was either twisted pair or open wire with transposition to guard against interference. Today, most of the millions of kilometres of twisted pairs in the world are outdoor landlines, owned and maintained by telephone companies, used for voice service.
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The main musical numbers from the 1711 libretto are listed, together with changes and replacements from the two major revisions of 1717 and 1731. Minor changes, transpositions, and alterations to recitative sections are not shown. New numbers introduced in 1717 and 1731 are listed separately. Other arias not listed may have been sung in Rinaldo during the years 1711–17, but in the absence of contemporary evidence from scores or librettos the extent of such changes cannot be accurately ascertained.
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According to Newbould, the exposition and development of the first movement are completely written out, so the recapitulation is based on the exposition, with the pertinent transpositions. Only 11 bars based on earlier transitional material or composed by Newbould were added. As for the coda, his reconstruction became more speculative, but Schubert left a series of modules marked presto which left the overall plan clear. In his opinion, the composer left enough clues so as to decide the correct order of the modules.
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The KIA is often used against the semi-open defences where Black responds asymmetrically to e4, such as in the French Defence, Sicilian Defence, or Caro–Kann Defence. Yet it can also be played against Black's more common defenses, usually through a move order that begins with 1.Nf3 and a later fianchetto of the white-square bishop. For this reason, transpositions to the Réti Opening, Catalan Opening, English opening or even the Nimzo-Larsen Attack (after b3 and Bb2) are not uncommon.
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The centralizer of an element of order 3 in the monster group is a triple cover of the Fischer group, as a result of which the prime 3 plays a special role in its theory. In particular it acts on a vertex operator algebra over the field with 3 elements. The simple Fischer group has a rank 3 action on a graph of 306936 (=23.33.72.29) vertices corresponding to the 3-transpositions of Fi24, with point stabilizer the Fischer group Fi23.
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Replacement is usually based on tree depth and aging: nodes higher in the tree (closer to the root) are favored, because the subtrees below them are larger and result in greater savings; and more recent nodes are favored because older nodes are no longer similar to the current position, so transpositions to them are less likely. Other strategies are to retain nodes in the principal variation, nodes with larger subtrees regardless of depth in the tree, and nodes that caused cutoffs.
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Newbould states that he thought about the sketch deeply in his completion attempt, eventually memorizing it and pretending to himself to have composed it in order to be able to find natural ways to develop the material. The entire development section of the first movement is absent from the sketch and had to be reconstructed by Newbould. This was challenging due to the exhaustive treatment of the thematic material by Schubert in the exposition alone. The recapitulations largely follow the exposition, with the necessary transpositions made.
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Petros Peloponnesios' version can be listened in a performance according to his own notation system (Demetrios Nerantzes). Iakovos the Protopsaltes' version is only rarely performed (Monks of Vatopaidia). In this kolon already the 14th-century sticherarion had plenty of transpositions. For this reason every example was transcribed by letter notation, as thetic symbols on one line, and by a dynamic symbol according to the papadic parallage on another line (each descending step by a plagios formula, and each ascending one by a kyrios formula).
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This might explain that Charles Atkinson discussed Carolingian theory in comparison with the later papadikai, in which all possible transpositions were represented by the Koukouzelian wheel or by the kanônion.Charles Atkinson (2008, pp. 114-118). Wheels are also used in Arabic music theory since the 13th century, and Al-Farabi was the first who started a long tradition of science, which did not only find the proportions of the untransposed diatonic system on the oud keyboard, but also those of all possible transpositions.Liberty Manik (1969).
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Haydn also disguises the return to the recapitulation after the development section of the movement:for an analysis of this and the other opus 20 quartets, see Tovey, in Cobbett (1923), p. 534, or Drabkin (2000). after only three bars of development, Haydn returns to the theme in the tonic, suggesting the beginning of the recapitulation; but instead, deviates into a series of transpositions, finally sneaking back to the main theme when least expected. Haydn uses this trick of a pretended recapitulation in other opus 20 quartets.
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The most important pieces, a number of ricercars from the so-called Bourdeney Codex, were attributed to Brunel by Anthony Newcomb in 1987. These works are of considerable importance in the evolution of the genre: there are frequent instances of advanced contrapuntal techniques such as inversion and augmentation, hexachord transpositions (inganno) of the subjects; some of the pieces even employ countersubjects.Hudson, Grove. Two ricercares also appear in another mansucript: one imitative, structured like a motet, and the other completely devoid of any imitative passages.
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It is typical of chordioids that many different resultant chords can be created from the same base depending on the note or combination of notes added. The resultant chords on a single chordioid are somewhat related, because they can be progressed between using motion of just one voice. Theorists – or practical music teachers – writing of chordioids usually go so far as to advise that students learn them in the practical manner of chords generally: in all transpositions, ranges, permutations, and voicings, for reading, writing, and playing.Slonimsky, Nicholas.
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In 2003, Horlor collaborated with the Vancouver poet Matt Rader and the illustrator James Kingsley to publish Our Mission, Our Moment through Rader's publishing company, Mosquito Press. A hand-bound chapbook, Our Mission, Our Moment contains eight poetic transpositions of the speeches of George W. Bush. His poem "In Praise of Beauty" won first place for poetry in This Magazines 2006 Great Canadian Literary Hunt and "St. Brendan and the Isle of Sheep" was a 2006 Editor's Choice in Arc Poetry Magazines Poem of the Year contest.
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Ottaway, Vaughan Williams Symphonies, 17. Vaughan Williams was not the only composer following a non-narrative approach to his text. Mahler took a similar, perhaps even more radical approach in his Eighth Symphony, presenting many lines of the first part, "Veni, Creator Spiritus", in what music writer and critic Michael Steinberg referred to as "an incredibly dense growth of repetitions, combinations, inversions, transpositions and conflations". He does the same with Goethe's text in Part Two of the symphony, making two substantial cuts and other changes.
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This obviates manual recording of long columns of numbers, which not only reduces the risk of the operator introducing errors (such as digit transpositions) but also greatly improves the productivity of the process by freeing the human from time-consuming data recording and copying tasks. Another advantage is that they can be switched between metric and inch units with the press of a button, thus obviating a separate unit conversion step of typing into a calculator or web browser and then typing the results.
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They are very often used as a pair, especially when applied to contrasting features of the common practice music of the period 1600–1900. These terms may mean different things in different contexts. Very often, diatonic refers to musical elements derived from the modes and transpositions of the "white note scale" C–D–E–F–G–A–B. In some usages it includes all forms of heptatonic scale that are in common use in Western music (the major, and all forms of the minor).
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He discovered the mysteries of arranging and orchestration at about 10 years old and gleaned knowledge of instruments and transpositions by studying printed band parts and listening to records. He won a government scholarship to St. Olaves & St. Saviours, a grammar school in Tooley Street, Bermondsey and at 13 formed a band, mainly of school friends, which won several dance band contests. He left school when he was 18 years old, continued with his band and began working as a clerk in an accounts office.
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See Theodor, "Die Midraschim zum Pentateuch und der Dreijährige Palestinensische Cyclus," in "Monatsschrift," 1886, pp. 307–313, 406-415. The length of Leviticus Rabbah is the same as that of the edition quoted by Nathan ben Jehiel in the Arukh, since he refers to passages from chapters 36 and 37 as "the end." Aside from some transpositions, eliminations, and glosses, the printed text of Leviticus Rabbah is noteworthy as containing, at the end of the first three chapters, annotations from Tanna debe Eliyahu which were not contained in the older manuscripts.
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Unlike a traditional theme and variations, Copland's Piano Variations are not episodic . They are continuously played through, in an undisrupted development of the seven-note "row" in the theme from which Copland builds the rest of the piece, "in what I hope is a consistently logical way" . All of the content can be traced back to this or transpositions of this seven-note motif, suggesting the serialist techniques of Schoenberg. The concision, rigor, and lack of ornamentation have been compared to that of the style of Anton Webern .
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Here the intervals are not referred to the Byzantine phthongoi, but to the name of the frets. And the fret corresponding to β was called "ring finger fret of Zalzal" (wuṣtā Zalzal), named after the famous Baghdadi oud player Zalzal.An overview over all proportions mentioned in Arabian music theory offers Liberty Manik (1969). According to him, Al- Farabi was the first who explained all the frets needed for all possible transpositions for two diatonic tetrachord divisions, while the pythagorean proportion was called after the "old ring finger fret".
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Guadeloupe resolved these contending definitions in Caribbean fashion by radicalizing both traditions. In Guadeloupe's reading, Christianity and Marxism are both products of planetary creolization: the clash of the peoples of the earth leading to agonistic borrowings and transpositions, as such they are cosmopolitan rather than European and Middle Eastern traditions. Marxism and Liberation Theology are common names for the Social Question and the continuous interrogation of Being and Becoming that meet other traditions such as those concerned with racism and patriarchy. All this is connected to Guadeloupe's predilection for the American pragmatist tradition.
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Hodgkinson created a set of musical cells which he combined in various permutations to build the piece's major movements. Sequences of cells were repeated using different transpositions in sections of the piece in a way that each successive movement was longer than its predecessor.These sequences were never intended to specify precise rhythm, dynamics and melody, but rather to serve as a "roadmap". Piekut said Hodgkinson did, however, deviate from the resulting structure from time to time when he found the "musical logic of growing consciousness [did not] match the radical transformation communicated in the lyrics".
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Once a child of the root has been selected (using prove-best or disprove-rest) then the algorithm descends to a leaf node by repeatedly selecting the child that has the highest upper bound. When a leaf node is reached, the algorithm generates all successor nodes and assigns intervals to them using the evaluation function. Then the intervals of all nodes have to be backed up using the backup operation. When transpositions are possible, then the back-up operation might need to alter the values of nodes that did not lie on the selection path.
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A5 is the smallest non-abelian simple group, having order 60, and the smallest non-solvable group. The group A4 has the Klein four-group V as a proper normal subgroup, namely the identity and the double transpositions that is the kernel of the surjection of A4 onto . We have the exact sequence . In Galois theory, this map, or rather the corresponding map , corresponds to associating the Lagrange resolvent cubic to a quartic, which allows the quartic polynomial to be solved by radicals, as established by Lodovico Ferrari.
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This was historically due to this part being taken by a G bass trombone, rather than the modern B♭ bass trombone. As instrument technology modernized, the need for a bass trombone in G diminished, with the introduction of the B♭ bass trombone with F rotary valve. The larger bore and open wrap of the F valve gave the B♭ bass trombone a lower available playing register than the straight G bass trombone. Tuned percussion is written in concert pitch (with the appropriate octave transpositions) with the appropriate clef for the instrument – e.g.
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One common recruitment process of musicians for professional orchestras and bands is an audition and the ensemble's librarian is often responsible for preparing the materials required for such auditions. These usually include a round consisting of excerpts from standard orchestral repertoire that the auditionee is required to perform for the audition committee. The orchestra librarian is usually in charge of preparing the audition materials for the auditionees and audition committee. Care must be taken that starts, stops, key and time signatures, tempo markings and transpositions are properly indicated.
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The same applies to conductors' personal tempo indications and dynamic markings. Temporary musical edits (such as cuts and inserts) are done in a way which allows their easy removal afterward. In addition to common library tools, ensemble librarians often utilize music engraving software for incorporating last-minute musical changes such as transpositions, "concert" endings, inserts or other musical edits to the performance material at hand. On occasion, digital image processing software (such as Adobe Photoshop) is used for correcting errata and enhancing print quality of problematic performance materials of public domain musical works.
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To get around these problems Hampel devised a new instrument, the inventionshorn, in which detachable crooks (or inventions) were inserted not in the mouth pipe, but in the middle of the horn. This presented the new problem of fitting the longest and shortest crooks into the same small space. Working with the Dresden instrument maker Johann Werner, Hampel perfected the Inventionshorn sometime between 1750 and 1755. The new horn was capable of the full range of transpositions and quickly became a regular member of the developing symphony orchestra.
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Voldemar Lestienne is a journalist and a reporter before becoming deputy editor-in-chief of the newspaper France-Soir and then deputy director of France Dimanche.Fin de carrière pour l'écrivain Voldemar Lestienne by Pierre Maury in Le Soir 26 December 1990. At the same time, he wrote a career as a writer with two successful sales novels, Furioso and Fracasso - transpositions of Dumas's Three Musketeers in the context of the Second World War, and was rewarded by the Prix Interallié for L'Amant de poche (1975) and which was his latest novel though.
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The Fischer group Fi22 has a rank 3 action on a graph of 3510 vertices corresponding to its 3-transpositions, with point stabilizer the double cover of the group PSU6(2). It also has two rank 3 actions on 14080 points, exchanged by an outer automorphism. Fi22 has an irreducible real representation of dimension 78. Reducing an integral form of this mod 3 gives a representation of Fi22 over the field with 3 elements, whose quotient by the 1-dimensional space of fixed vectors is a 77-dimensional irreducible representation.
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Trancefer is quite distinctive in its sound and arrangements. It is quite different from what Schulze was doing in the 1970s in the sense that it is not a composition that uses sequencers, transpositions, and a main melody line. Trancefer is more syncopated, and here the main focus is put on the dialog between the percussions and the chords Schulze is playing on the Yamaha CS-80 synthesizer. There is a pre-release of Trancefer, called "Trancefer half-speed cut", which consists of 300 copies at 45RPM normal cut, and 500 copies at 33RPM, the 'halfspeed' cut.
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In diatonic set theory structure implies multiplicity is a quality of a collection or scale. This is that for the interval series formed by the shortest distance around a diatonic circle of fifths between members of a series indicates the number of unique interval patterns (adjacently, rather than around the circle of fifths) formed by diatonic transpositions of that series. Structure being the intervals in relation to the circle of fifths, multiplicity being the number of times each different (adjacent) interval pattern occurs. The property was first described by John Clough and Gerald Myerson in "Variety and Multiplicity in Diatonic Systems" (1985).
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MISS is a technique that can be employed for all major types of strabismus surgery like rectus muscle recessions, resections, plications, reoperations, transpositions, oblique muscle recessions, or plications, and adjustable sutures, even in the presence of restricted motility. The smaller openings and the less traumatic procedure are in general associated with faster postoperative rehabilitation and less swelling and dyscomfort for the patient immediately after the procedure. It is supposed that the technique can be performed as an outpatient intervention in many patients (mainly adults) who would otherwise be hospitalized. D. S. Mojon: Review: minimally invasive strabismus surgery.
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Ciphers such as TSC-1, TSC-3, TSC-4, ABC, Mir-1 and VEST are built with different types of T-functions. Because arithmetic operations such as addition, subtraction and multiplication are also T-functions (triangular T-functions), software- efficient word-based T-functions can be constructed by combining bitwise logic with arithmetic operations. Another important property of T-functions based on arithmetic operations is predictability of their period, which is highly attractive to cryptographers. Although triangular T-functions are naturally vulnerable to guess-and-determine attacks, well chosen bitwise transpositions between rounds can neutralize that imbalance.
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For example, The Helsinki Philharmonic Orchestra, Finnish Radio Symphony Orchestra, and the Tampere Philharmonic Orchestra all are single-librarian orchestras. The symphony orchestra librarian is in frequent contact with conductors and soloists to coordinate the editions and versions of works to be used, possible alterations or edits required, and their appropriate implementation. These can include cuts, inserts, supplemental rehearsal markings, transpositions and doublings. The librarian may also be involved in providing information to the orchestra administration for program planning purposes, such as information on the duration and instrumentation of the works in question, and any rental or purchase costs.
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Most deterministic algorithms are variants of these three algorithms : ; MTF (Move to front) : After accessing an item move it to the front of the list without changing the order of other items ; TRANS (Transpose) : After accessing an item, transpose it with the immediately preceding item. ; FC (Frequency Count) : For each item maintain a frequency count of the number of accesses to it - when an element is accessed increase its frequency count and reorder the list in the decreasing order of frequencies. Observe that all these use just free transpositions. It turns out that both TRANS and FC are not competitive.
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For this encipherment Alberti used a decoder device, his cipher disk, which implemented a polyalphabetic substitution with mixed alphabets. Johannes Trithemius—in his book Polygraphiae libri sex (Six books of polygraphia), which was published in 1518 after his death—invented a progressive key polyalphabetic cipher called the Trithemius cipher.Johann Tritheim, Polygraphiae libri sex … (Basel, Switzerland: Michael Furter and Adam Petri, 1518), Liber quintus (fifth book), pages 461-462; the Recta transpositionis tabula (square table of transpositions, or "Vigenère table") appears on page 463. Unlike Alberti's cipher, which switched alphabets at random intervals, Trithemius switched alphabets for each letter of the message.
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Ptolemy substituted a diatonic sequence of seven transpositions pitched either a whole tone or a semitone apart. The entire double-octave scale system was then transposed onto each of these relative pitch levels, requiring (in modern terms) a different key signature in each case, and therefore a different sequence of whole and half steps in the fixed central octave span. The Hypophrygian transposition was the second-lowest of these, a whole tone above the Hypodorian. A whole tone higher was the Hypolydian, followed a semitone higher still by the Dorian, then after another whole tone by the Phrygian, and so on (; ).
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La fedeltà premiata was first performed in 1781. When it was revived in 1782, Haydn shortened and rearranged his opera and introduced extensive transpositions to accommodate recasting: Celia was changed from a mezzo-soprano to a soprano and Count Perrucchetto from a bass to a tenor, the Count gaining another aria in the process. The score used in Doráti's album is the edition compiled by the Haydn scholar H. C. Robbins Landon, which is based on Haydn's original version. The album presents Haydn's music in its entirety, except for some minor cuts to recitativo secco marked as optional by Haydn himself.
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His relationship with Heinrich Isaac is unclear, but three of the odd-numbered sequence verses he set are in the same transpositions as the Choralis Constantinus (he also set Victimae paschali laudes, whereas Isaac used a different Easter sequence, Laudes salvatori). When, in the course of the Reformation, the bishop was forced to move his seat to Meersburg, Buchner followed him to continue in his post, while maintaining a residence in Constance. In 1529 he applied for a position at Speyer, but apparently demanded too high a salary. He was often called to inspect new organs, such as those of Zurich and Heidelberg.
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Instead, notes/chords can be described in terms of their properties and relationships at any particular moment: whether one note is higher than another, whether one chord has more notes than another, whether one chord is more widely spaced than another, and so on. One can also compare and contrast different strings of notes as transpositions (change in pitch) or inversions (change in note order) of each other. These terms are also used to compare chords. These methods of analysis have been used for centuries but became more important as music began to lose its tonal basis.
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According to Mark Swed, "ultimately, what Johnston has done, more than any other composer with roots in the great American musical experiments of the '50s and '60s, is to translate those radical approaches to the nature of music into a music that is immediately apprehensible" (, quoted in ). Most of Johnston's later works use a large number of pitches, generated through just- intonation procedures. In these works, he forms melodies based on an "otonal" eight-note just-intonation scale made from the 8th through 15th partials of the harmonic series, or its "utonal" inversion. He then gains new pitches by using common-tone transpositions or inversions.
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Sometimes an inversion is defined as the pair of values itself whose order is reversed; this makes no difference for the number of inversions, and this pair (reversed) is also an inversion in the above sense for the inverse permutation σ−1. The number of inversions is an important measure for the degree to which the entries of a permutation are out of order; it is the same for σ and for σ−1. To bring a permutation with k inversions into order (that is, transform it into the identity permutation), by successively applying (right-multiplication by) adjacent transpositions, is always possible and requires a sequence of k such operations.
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Caroline Fischer in Concert Klassik.com, 2009: “Atmospherically dense sonority [...], marked sensibility [...] her enormous serenity which wins one over, the plasticity and precision with which she shapes chains of chords, octaval transpositions, runs and the rhythmical complexity.” Leipziger Volkszeitung, 2009: “Her approach to Liszt is shaped by the musical line, she focuses on the transparency and structure, whether it be in the magnificent transcriptions of songs by Schubert or Schumann in the dissembling Mephisto Waltz No.1.” Klassik-heute.com, 2009: “ Fischer satisfies all purity requirements, and invests drive and passion without losing that formal overview which these small, self-contained inner landscapes suggest to the interpreter.
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Miko (singular Muko) are transpositions of a piece by one step of the scale (up or down). The whole melody is shifted up or down one xylophone bar: 1 is replaced by 2, 2 by 3, 3 by 4, 4 by 5 and 5 by 1. Although in the middle of the xylophone, the structure of the piece remains the same, the movement patterns of the musicians are changed, and the okukoonera part may become completely different. In fact, this way, from each piece of the total repertoire of 50 different compositions, 4 more pieces can be derived, giving a total of 250 pieces.
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In 2002, with David Duriez, he recorded Get On Down (2020 Vision). In 2004, he has composed and produced his first album, 'Round The Clock (Super Bad Trax), a 12 track journey to the enchanted world of Super Bad, the tenor sax adventurer! In 2006, he has worked for the first time with his father's orchestra, mixing and producing Scriabin's Groove, setting Alexander Scriabin piano pieces opposite their transpositions into the idiom of jazz. In 2007, Jean-Philippe Audin (VideoCello), Jérôme Badini (ElectroSax) and Judith Darmont (VideoKeyboard) created the MovieSonic concept, mixing on stage music, photo and video triggered through their digitally enhanced instruments.
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The series title was a play on an advertising convention of the time, in which a competitor's product was not referred to by name, but simply as "Brand X"; DC was sometimes playfully called "Brand Echh" in Marvel "Bullpen Bulletins" and letters pages, hence this comic was "Not Brand Echh". The copyrighted title of the comic in its postal indicia was Brand Echh for its first four issues, and afterward Not Brand Echh, the trademarked cover title from the start. Typical stories and name transpositions included Ironed Man (Iron Man) vs. Magnut, Robot Biter (Gold Key Comics' Magnus, Robot Fighter); "Best Side Story", with Dr. Deranged (Dr.
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In the main type of anagram dictionary, the letters in words or phrases are rearranged in alphabetical order, and these transpositions are themselves then ordered alphabetically within word-length groups, so that any words consisting of this group of letters can be found. This arrangement is designed for use in solving word puzzles such as crosswords, or for playing games such as Scrabble. The first such anagram dictionary was The Crossword Anagram Dictionary by R.J. Edwards In the other kind of anagram dictionary, words are categorized into equivalence classes that consist of words with the same number of each kind of letter. Thus words will only appear when other words can be made from the same letters.
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L'Herbier's decision to update Zola's story to the present-day met with strong criticism even before filming began. The theatre and film director André Antoine published a newspaper article denouncing such a betrayal of Zola's depiction of society in the Second Empire and arguing that it was unacceptable to treat a classic work of literature in this way. L'Herbier delivered a robust reply, pointing out the long history of literary transpositions and arguing that to treat Zola's novel as a period piece would be to betray the passion of its theme.Marcel L'Herbier, La Tête qui tourne. Paris: Belfond, 1979. p.164-167. Filming began in spring 1928 and continued until the autumn.
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The C-text was written in the 1380s as a major revision of B except for the final sections. There is some debate over whether the poem can be regarded as finished or not. It entails additions, omissions, and transpositions; it is not significantly different in size from B. Some scholars see it as a conservative revision of B that aims at disassociating the poem from Lollardy and the religious and political radicalism of John Ball during the Great Rising of 1381. (Ball appropriated Piers and other characters in the poem for his own verses, speeches, and letters during the Rising.) There is little actual evidence for this proposal, and much against it.
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The four inner rings of the central wheel re-defined the dynamis of each phthongos constantly by the enechema of another echos, so each parallage defined the disposition of the intervals in another way, thus represented all possible transpositions as part of the outer nature. The inner nature was represented by the four peripheral wheels for protos (on the top left), devteros (on the top right), tritos (at the bottom left), and tetartos (at the bottom right). Within these circles each phthongos became part of a certain melos and its echos, so its function was defined as a modal degree of an echos, e.g. a cadential or final degree, or a mobile degree attracted by the others.
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Neo-Riemannian music theory's PLR operations applied to a minor chord Q. Recent research by Neo-Riemannian music theorists David Lewin, Brian Hyer, and others, have revived the Tonnetz to further explore properties of pitch structures. Modern music theorists generally construct the Tonnetz using equal temperament, and using pitch-classes, which make no distinction between octave transpositions of a pitch. Under equal temperament, the never- ending series of ascending fifths mentioned earlier becomes a cycle. Neo- Riemannian theorists typically assume enharmonic equivalence (in other words, Ab = G#), and so the two-dimensional plane of the 19th-century Tonnetz cycles in on itself in two different directions, and is mathematically isomorphic to a torus.
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For instance, the seven natural pitch classes that form the C-major scale can be obtained from a stack of perfect fifths starting from F: :F—C—G—D—A—E—B Any sequence of seven successive natural notes, such as C–D–E–F–G–A–B, and any transposition thereof, is a diatonic scale. Modern musical keyboards are designed so that the white notes form a diatonic scale, though transpositions of this diatonic scale require one or more black keys. A diatonic scale can be also described as two tetrachords separated by a whole tone. The term diatonic originally referred to the diatonic genus, one of the three genera of the ancient Greeks.
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Maecenas also wrote literature himself in both prose and verse which comprise of lost literary work. The some twenty fragments that remain show that he was less successful as an author than as a judge and patron of literature. His prose works on various subjects – Prometheus, dialogues like Symposium (a banquet at which Virgil, Horace and Messalla were present), De cultu suo (on his manner of life) and a poem In Octaviam ("Against Octavia") of which the content is unclear – were ridiculed by Augustus, Seneca and Quintilian for their strange style, the use of rare words and awkward transpositions. According to Dio Cassius, Maecenas was also the inventor of a system of shorthand.
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Since the emergence and popularization of online auction sites such as eBay, misspelled auction searches have quickly become lucrative for people searching for deals. The concept on which these searches are based is that, if an individual posts an auction and misspells its description and/or title, regular searches will not find this auction. However, a search which includes misspelled alterations of the original search term in such a way as to create misspellings, transpositions, omissions, double strikes, and wrong key errors would find most misspelled auctions. The resulting effect is that there are far fewer bids than there would be under normal circumstances, allowing the searcher to obtain the item for less.
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The existence of this group was suggested by Bernd Fischer in unpublished work from the early 1970s during his investigation of {3,4}-transposition groups: groups generated by a class of transpositions such that the product of any two elements has order at most 4. He investigated its properties and computed its character table. The first construction of the baby monster was later realized as a permutation group on 13 571 955 000 points using a computer by Jeffrey Leon and Charles Sims, though Robert Griess later found a computer-free construction using the fact that its double cover is contained in the monster. The name "baby monster" was suggested by John Horton Conway.
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While trying to retrieve the first word, the second word, which is represented in proximity, is accidentally retrieved as well, and the two compete for being recalled. Errors in serial recall tasks are often confusions of neighboring items on a memory list (so-called transpositions), showing that retrieval competition plays a role in limiting our ability to recall lists in order, and probably also in other working memory tasks. A third form of interference is the distortion of representations by superposition: When multiple representations are added on top of each other, each of them is blurred by the presence of all the others. A fourth form of interference assumed by some authors is feature overwriting.
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In its earliest stages, organum involved two musical voices: a Gregorian chant melody, and the same melody transposed by a consonant interval, usually a perfect fifth or fourth. In these cases the composition often began and ended on a unison, the added voice keeping to the initial tone until the first part has reached a fifth or fourth, from where both voices proceeded in parallel harmony, with the reverse process at the end. Organum was originally improvised; while one singer performed a notated melody (the vox principalis), another singer—singing "by ear"—provided the unnotated second melody (the vox organalis). Over time, composers began to write added parts that were not just simple transpositions, thus creating true polyphony.
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Transposon insertion elements have been reported to increase the fitness of gram-negative E. coli strains through either major transpositions or genome rearrangements, and increasing mutation rates. In a study on the effects of long-term exposure of simulated microgravity on non-pathogenic E. coli, the results showed transposon insertions occur at loci, linked to SOS stress response. When the same E. coli strain was exposed to a combination of simulated microgravity and trace (background) levels of (the broad spectrum) antibiotic (chloramphenicol), the results showed transposon-mediated rearrangements (TMRs), disrupting genes involved in bacterial adhesion, and deleting an entire segment of several genes involved with motility and chemotaxis. Both these studies have implications for microbial growth, adaptation to and antibiotic resistance in real time space conditions.
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Joseph Schillinger suggests that the scale was formulated already by Persian traditional music in the 7th century AD, where it was called "Zar ef Kend", meaning "string of pearls", the idea being that the two different sizes of intervals were like two different sizes of pearls Octatonic scales first occurred in Western music as byproducts of a series of minor-third transpositions. While Nikolai Rimsky- Korsakov claimed he was conscious of the octatonic collection "as a cohesive frame of reference" in his autobiography My Musical Life , instances can be found in music of previous centuries. Eytan locates one in Domenico Scarlatti's Sonata K. 319. In the following passage, according to "its descending whole-step/half-step bass progression is complete and continuous".
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Allochiria is a neurological disorder in which the patient responds to stimuli presented to one side of their body as if the stimuli had been presented at the opposite side. It is associated with spatial transpositions, usually symmetrical, of stimuli from one side of the body (or of the space) to the opposite one. Thus a touch to the left side of the body will be reported as a touch to the right side, which is also known as somatosensory allochiria. If the auditory or visual senses are affected, sounds (a person's voice for instance) will be reported as being heard on the opposite side to that on which they occur and objects presented visually will be reported as having been presented on the opposite side.
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As long as they have localized this transposition, singers will always find their way back to the untransposed column. By this example the use of Gabriel's kanonion as illustration of the Byzantine tonal system, as it can be found in same Papadikai, becomes evident. A protopsaltes or maistoros who was well skilled in the psaltic art, could use these memorial landscapes in order to find their way through the labyrinth of tonal relation- and kinships. Even in improvised teretismata or nenanismata, inserted sections using abstract syllables, complex structures were possible, a soloist could pass through several transpositions and was still able to find their way out—which meant back to the transposition of the first column and the echos of the main signature.
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In subsequent publications, Polotsky refined his observations into a new understanding of the Egyptian verbal system. The Standard Theory reached a broader reception in the 1960s, with some, such as Alan Gardiner, arguing against its conclusions. The theory was revised on a more linguistic basis during the 1970s, with further analyses using generative grammar. In 1976, Polotsky published Les transpositions du verbe en égyptien classique, his most complete treatment of the theory as it applied to classical Egyptian. Polotsky’s ideas gained widespread acceptance, and in 1983, Egyptologist Leo Depuydt first gave them the name of ‘Standard Theory’. However, while scholars of Coptic and Late Egyptian firmly adopted Polotsky’s views, they eventually came to be questioned by scholars of Old and Middle Egyptian.
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Excerpt of the trumpet part of Symphony No. 9 of Antonín Dvořák, where sight transposition is required. Although transpositions are usually written out, musicians are occasionally asked to transpose music "at sight", that is, to read the music in one key while playing in another. Musicians who play transposing instruments sometimes have to do this (for example when encountering an unusual transposition, such as clarinet in C), as well as singers' accompanists, since singers sometimes request a different key than the one printed in the music to better fit their vocal range (although many, but not all, songs are printed in editions for high, medium, and low voice). There are three basic techniques for teaching sight transposition: interval, clef, and numbers.
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Cosselli was one of the first singers to make the transition between the old conception of the bass vocal range to what we know today as the baritone, a voice type that was still in its infancy. For Donizetti again, he created the role of Enrico in the highly successful Lucia di Lammermoor, at the San Carlo in Naples, in 1835, giving to the role a new dramatic dimension, looking forward to what was to become known as the Verdi-baritone; the standard published score of Lucia contains several downward transpositions which mask the consistently high tessitura of the role as written for Cosselli. He went on singing the florid bass roles of Rossini such as Mosè, Maometto, Assur, etc.
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During the University years in Bari, Mirabella began his career as an actor and director of theatrical transpositions of works by Bertolt Brecht, William Shakespeare, Angelo Beolco, Carlo Goldoni, Samuel Beckett and Georg Buchner. Once he moved to Rome he enters in RAI and works on radio, creating and conducting radio broadcasts. In the early 1980s, Mirabella appeared in several movies like Massimo Troisi's Ricomincio da tre and Lucio Fulci's The Beyond, where he played the role of librarian Martin Avery. In 1996 he created the successful TV medicine column Elisir, in transmission on Rai 3 from 1996 to 2017: Elisir was an information television program dedicated to health and well-being where clarity and informative simplicity were the main characteristics of the transmission.
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Thus, transposition table entries for nodes at a shallower depth in the game tree are more valuable (since the size of the subtree rooted at such a node is larger) and are therefore given more importance when the table fills up and some entries must be discarded. The hash table implementing the transposition table can have other uses than finding transpositions. In alpha–beta pruning, the search is fastest (in fact, optimal) when the child of a node corresponding to the best move is always considered first. Of course, there is no way of knowing the best move beforehand, but when iterative deepening is used, the move that was found to be the best in a shallower search is a good approximation.
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Born at Medinaceli, Old Castile, Gikatilla was for some time a pupil of the kabbalist Abraham Abulafia, by whom he is highly praised; his kabbalistic knowledge became so profound that he was supposed to be able to work miracles, and on this account was called "Joseph Ba'al ha-Nissim".. (the Thaumaturge or literally Master of Miracles; Zacuto, Yuḥasin, p. 224a). Like his master, Gikatilla occupied himself with mystic combinations and transpositions of letters and numbers; indeed, Abulafia considered him as the continuator of his school (Adolf Jellinek, B.H. iii, p. xl). But Gikatilla was not an adversary of philosophy; on the contrary, he tried to reconcile philosophy with kabbalah, declaring that the latter is the foundation of the former. He, however, strove after the higher science, that is, mysticism.
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Pseudogenes are DNA sequences, related to known genes, that have lost their protein-coding ability or are otherwise no longer expressed in the cell. Pseudogenes arise from retrotransposition or genomic duplication of functional genes, and become "genomic fossils" that are nonfunctional due to mutations that prevent the transcription of the gene, such as within the gene promoter region, or fatally alter the translation of the gene, such as premature stop codons or frameshifts. Pseudogenes resulting from the retrotransposition of an RNA intermediate are known as processed pseudogenes; pseudogenes that arise from the genomic remains of duplicated genes or residues of inactivated genes are nonprocessed pseudogenes. Transpositions of once functional mitochondrial genes from the cytoplasm to the nucleus, also known as NUMTs, also qualify as one type of common pseudogene.
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In information theory and computer science, the Damerau–Levenshtein distance (named after Frederick J. Damerau and Vladimir I. Levenshtein.) is a string metric for measuring the edit distance between two sequences. Informally, the Damerau–Levenshtein distance between two words is the minimum number of operations (consisting of insertions, deletions or substitutions of a single character, or transposition of two adjacent characters) required to change one word into the other. The Damerau–Levenshtein distance differs from the classical Levenshtein distance by including transpositions among its allowable operations in addition to the three classical single-character edit operations (insertions, deletions and substitutions). In his seminal paper, Damerau stated that in an investigation of spelling errors for an information- retrieval system, more than 80% were a result of a single error of one of the four types.
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Though this mantra recurs constantly, the structure of the composition is not a theme and variations as found in classical composers such as Beethoven and Bach, because the material is never varied, only expanded and contracted (both in duration and in pitch) to different degrees; not a single note is ever added, it is never "accompanied" or embellished . The comparatively strict predetermination of the form plan is occasionally broken and altered through the use of insertions, additions, and small deviations and exceptions . Near the end of the composition there is an extremely fast section that is a compression of the entire work into the smallest temporal space; in this section, all of the expansions and transpositions of the mantra formula are summarized as fast as possible and in four layers .
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While Tone-Clock Theory displays many similarities to Allen Forte's pitch-class set theory, it places greater emphasis on the creation of pitch 'fields' from multiple transpositions and inversions of a single set-class, while also aiming to complete all twelve pitch-classes (the 'chromatic aggregate') with minimal, if any, repetition of pitch-classes. While the emphasis of Tone-Clock Theory is on creating the chromatic aggregate, it is not a serial technique, as the ordering of pitch- classes is not important. Having said that, it bears a certain similarity to the technique of 'serial derivation', which was used by Anton Webern and Milton Babbitt amongst others, in which a row is constructed from only one or two set-classes. It also bears a similarity to Josef Hauer's system of 'tropes', albeit generalised to sets of any cardinality.
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1: Lexicographic ordering; 2: Steinhaus–Johnson–Trotter algorithm; 3: Heap's algorithm; 4: Ehrlich's star-transposition algorithm (see ): in each step, the first entry of the permutation is exchanged with a later entry; 5: Zaks' prefix reversal algorithm: in each step, a prefix of the current permutation is reversed to obtain the next permutation; 6: Sawada-Williams' algorithm: each permutation differs from the previous one either by a cyclic left-shift by one position, or an exchange of the first two entries; 7: Corbett's algorithm: each permutation differs from the previous one by a cyclic left- shift of some prefix by one position; 8: Single-track ordering: each column is a cyclic shift of the other columns; 9: Single-track Gray code: each column is a cyclic shift of the other columns, plus any two consecutive permutations differ only in one or two transpositions.
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Three note sets from the diatonic scale in the chromatic circle: M2M2=red, M2m2=yellow, and m2M2=blue The musical operation of scalar transposition shifts every note in a melody by the same number of scale steps. The musical operation of chromatic transposition shifts every note in a melody by the same distance in pitch class space. In general, for a given scale S, the scalar transpositions of a line L can be grouped into categories, or transpositional set classes, whose members are related by chromatic transposition. In diatonic set theory cardinality equals variety when, for any melodic line L in a particular scale S, the number of these classes is equal to the number of distinct pitch classes in the line L. For example, the melodic line C-D-E has three distinct pitch classes.
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The work is Neoclassical in outlook, and his approach reflects Martin's adoration of Bach. Martin's style draws elements from both the musical styles and traditions of France (such as the use of harmony to create local colour and the freer formal organisation) and Austro-Germany (such as the generally polyphonic style and the dense motivicism). The work also demonstrates Martin's use of the 12-tone technique, though in an entirely different way from the composers of the Second Viennese School. A 12-note row is apparent at the opening of the first movement, though Martin treats it as he does any other thematic or motivic material: it appears in various transpositions (all twelve, if fragmentary statements are included) but is never used in inversion, retrograde or retrograde-inversion forms, and is by no means present throughout the work.
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Research extends back to 1957, including spelling checkers for bitmap images of cursive writing and special applications to find records in databases in spite of incorrect entries. In 1961, Les Earnest, who headed the research on this budding technology, saw it necessary to include the first spell checker that accessed a list of 10,000 acceptable words. Ralph Gorin, a graduate student under Earnest at the time, created the first true spelling checker program written as an applications program (rather than research) for general English text: Spell for the DEC PDP-10 at Stanford University's Artificial Intelligence Laboratory, in February 1971. Gorin wrote SPELL in assembly language, for faster action; he made the first spelling corrector by searching the word list for plausible correct spellings that differ by a single letter or adjacent letter transpositions and presenting them to the user.
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Among the numerous examples can be mentioned the brothers Pietro and Ludovico Quandel and Giuseppe Buttà. Chaplain of the 9th Battalion Hunters of the Bourbon Army, he was the author of A Journey from Boccadifalco to Gaeta (Un viaggio da Boccadifalco a Gaeta) (1875), autobiographical work that tells the story of the landing of the Expedition of the Thousand in Marsala until the Siege of Gaeta as viewed from the vanquisheds' side. For a description of the events from his point of view Buttà resorted to a cutting language and a tone more sarcastic than de' Sivo's, also sparing no criticism against the Bourbon officers whom he accused of cowardice or treason against the crown. Despite the limitations resulting from transpositions of individual points of view, the memoirs are cited by many revisionist authors, which give them the value of historical documents.
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In 1961, Les Earnest, who headed the research on this budding technology, saw it necessary to include the first spell checker that accessed a list of 10,000 acceptable words. Ralph Gorin, a graduate student under Earnest at the time, created the first true spelling checker program written as an applications program (rather than research) for general English text: SPELL for the DEC PDP-10 at Stanford University's Artificial Intelligence Laboratory, in February 1971. Gorin wrote SPELL in assembly language, for faster action; he made the first spelling corrector by searching the word list for plausible correct spellings that differ by a single letter or adjacent letter transpositions and presenting them to the user. Gorin made SPELL publicly accessible, as was done with most SAIL (Stanford Artificial Intelligence Laboratory) programs, and it soon spread around the world via the new ARPAnet, about ten years before personal computers came into general use.
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The decomposition of a permutation into a product of transpositions is obtained for example by writing the permutation as a product of disjoint cycles, and then splitting iteratively each of the cycles of length 3 and longer into a product of a transposition and a cycle of length one less: :(a~b~c~d~\ldots~y~z) = (a~b)\cdot (b~c~d~\ldots~y~z). This means the initial request is to move a to b, b to c, y to z, and finally z to a. Instead one may roll the elements keeping a where it is by executing the right factor first (as usual in operator notation, and following the convention in the article on Permutations). This has moved z to the position of b, so after the first permutation, the elements a and z are not yet at their final positions.
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The row also demonstrates some other characteristic features of the composer's 12-tone technique, including the use of constant rhythmic values, no octave transpositions within the series, and the row's use frequently as an accompanimental ostinato. Later in the movement however, Martin does demonstrate his own take on the technique, common in the music of Arnold Schoenberg, Anton Webern and others, of 'telescoping' his row forms, that is, the final note of one statement is also the first of the next at a different transposition, though unlike these composers, Martin only uses fragments of each row form. The piece was intended for the so-called "revival harpsichord", the large early-20th-century instruments built in the piano tradition by makers such as Robert Goble and Pleyel. It is one of the few pieces in the sinfonia concertante genre to be composed in the twentieth century.
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The ethical dimension of Braidotti's work on difference comes to the fore in the last volume of the trilogy, Transpositions: On Nomadic Ethics, 2006. Here she surveys the different ethical approaches that can be produced by taking difference and diversity as the main point of reference and conclude that there is much to be gained by suspending belief that political participation, moral empathy and social cohesion can only be produced on the basis of the notion of recognition of sameness. Braidotti makes a case for an alternative view on subjectivity, ethics and emancipation and pitches diversity against the postmodernist risk of cultural relativism while also standing against the tenets of liberal individualism. Throughout her work, Braidotti asserts and demonstrates the importance of combining theoretical concerns with a serious commitment to producing socially and politically relevant scholarship that contributes to making a difference in the world.
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Given a purely combinatorial game, there is an associated rooted directed graph whose vertices are game positions and whose edges are moves, and graph traversal starting from the root is used to create a game tree. If the graph contains directed cycles, then a position in the game could repeat infinitely many times, and rules are usually needed to prevent the game from continuing indefinitely. Otherwise, the graph is a directed acyclic graph, and if it isn't a rooted tree, then the game has transpositions. This graph and its topology is important in the study of game complexity, where the state-space complexity is the number of vertices in the graph, the average game length is the average number of vertices traversed from the root to a vertex with no direct successors, and the average branching factor of a game tree is the average outdegree of the graph.
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Even though ethnomethodology has been characterised as having a "phenomenological sensibility", and reliable commentators have acknowledged that "there is a strong influence of phenomenology on ethnomethodology..." (Maynard and Kardash 2007:1484), orthodox adherents to the discipline—those who follow the teachings of Garfinkel—do not represent it as a branch, or form, of phenomenology, or phenomenological sociology. The confusion between the two disciplines stems, in part, from the practices of some ethnomethodologists (including Garfinkel), who sift through phenomenological texts, recovering phenomenological concepts and findings relevant to their interests, and then transpose these concepts and findings to topics in the study of social order. Such interpretive transpositions do not make the ethnomethodologist a phenomenologist, or ethnomethodology a form of phenomenology. To further muddy the waters, some phenomenological sociologists seize upon ethnomethodological findings as examples of applied phenomenology; this even when the results of these ethnomethodological investigations clearly do not make use of phenomenological methods, or formulate their findings in the language of phenomenology.
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The pitch material in the piano part is strictly ordered and based on a process of rotation and transposition that is typical of Crawford. A nine note tone row, T0, one measure in duration, is presented, then rotated so that it begins its second iteration on the second note of the original row and ends on the first, the third iteration on the third note of the original ending on the second, and so on. After nine measures, each beginning on a new pitch of T0, the original row is transposed down a semitone, to begin on the second note of the original row, T11, and rotated as before for nine measures. Crawford continues the pattern, transposing the original row so that it starts on successive pitches of T0 and rotating the transpositions (with only a few anomalies) until she has done this nine times (T10, T8, T5, T9, T7, T4, and T6), then presents the original row and its rotations one last time.
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In this respect Maria Alexandru's "approaches towards a critical edition" are quite helpful, because a comparison assumes that the didactic chant Mega Ison had been originally untransposed, while there are enough later versions which need several transpositions (μεταβολαὶ κατὰ τόνον). The section of echos plagios tou devterou (ἦχος πλάγιος τοῦ δευτέρου) is the longest and most complex one and it has some medial signatures for the phthora nenano which is resolved frequently, especially when it is used before the great sign chorevma (χόρευμα, Νο. 39 & 40) which usually prepares a cadence before a transition to phthora nana.Manuel Chrysaphes mentions the possibility to resolve phthora nenano by the use of the other phthora (Conomos 1985, pp. 64-65). But here, by the end of the plagios devteros section, there is a plagios protos cadence marked by the name of the great sign thema haploun (θέμα ἁπλοῦν, No. 49) which is finally resolved into its mesos the echos varys.
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Even greater potential SIMD advantages (more consecutive accesses) have been proposed for the Pease algorithm, which also reorders out- of-place with each stage, but this method requires separate bit/digit reversal and O(N log N) storage. One can also directly apply the Cooley–Tukey factorization definition with explicit (depth-first) recursion and small radices, which produces natural-order out-of-place output with no separate permutation step (as in the pseudocode above) and can be argued to have cache- oblivious locality benefits on systems with hierarchical memory. A free (GPL) C library for computing discrete Fourier transforms in one or more dimensions, of arbitrary size, using the Cooley–Tukey algorithm A typical strategy for in- place algorithms without auxiliary storage and without separate digit-reversal passes involves small matrix transpositions (which swap individual pairs of digits) at intermediate stages, which can be combined with the radix butterflies to reduce the number of passes over the data.
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Jellinek thinks that there were several aggadic midrashim to Song of Songs, each of which interpreted the book differently, one referring it to the exodus from Egypt, another to the revelations on Mount Sinai, and a third to the Tabernacle or the Temple in Jerusalem; and that all these midrashim were then combined into one work, which (with various additions) forms the present Shir ha-Shirim Rabbah. According to Jellinek, this midrash is older than the Pesikta de-Rav Kahana, which (he holds) has borrowed entire passages from it. Theodor has shown, however, that it was composed at a later date than the Pesikta de-Rav Kahana, from which it has borrowed entire passages. The author of Shir ha-Shirim Rabbah, intending to compile a running midrash on Song of Songs, took the comments on the several verses from the sources which he had at hand, and the changes and transpositions which he made are similar to those made by the redactor of the Yalkut Shimoni; in fact the midrash is similar in many ways to a "yalkut".
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A single columnar transposition could be attacked by guessing possible column lengths, writing the message out in its columns (but in the wrong order, as the key is not yet known), and then looking for possible anagrams. Thus to make it stronger, a double transposition was often used. This is simply a columnar transposition applied twice. The same key can be used for both transpositions, or two different keys can be used. As an example, we can take the result of the irregular columnar transposition in the previous section, and perform a second encryption with a different keyword, `STRIPE`, which gives the permutation "564231": 5 6 4 2 3 1 E V L N A C D T E S E A R O F O D E E C W I R E E As before, this is read off columnwise to give the ciphertext: CAEEN SOIAE DRLEF WEDRE EVTOC If multiple messages of exactly the same length are encrypted using the same keys, they can be anagrammed simultaneously.
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These two modes, which are mirror image to each other and are also transpositions of each other, are created by dividing the octave into four equal parts and adding an interval of either half a step or a whole step to each resulting note. As such, they are both symmetric scales and are used in diminished context, albeit in a different manner. They are also the result of superimposing two diminished seventh chords set either half a step or a whole step from each other. The symmetric diminished scale, also known as "half- whole", goes as follows: :1 2 2 3 4 5 6 7 It can be applied to a dominant chord, the root of which can be equally transposed to any note of the diminished seventh chord built on the root. For example, this scale starting on C (C D D E F G A B) can be applied to either C7, A7, F7 or E7. The inverse symmetric diminished scale, also known as "whole-half", goes as follows: :1 2 3 4 5 6 7 ()7 This scale is used as the chord scale for the diminished seventh chord.
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8 He succeeded in preventing an unworthy dissolution of the artistic estate. In 2016, he donated two paintings by the artist, which he had acquired in art galleries, to the Museum Spendhaus at Reutlingen, the native town of Alice Haarburger. As far as his own artistic work is concerned, Kermer has exhibited his abstract paintings, drawings, etchings and photographs in more than thirty solo and group exhibitions in Germany since 1954,[Hans Staut]: Ein Bekenntnis zur modernen Kunstauffassung: der junge Wolfgang Kermer stellt aus. In: Saarländische Volkszeitung, 8. Dezember 1954 in France since 2003Wolfgang Kermer expose à la Grenette: les clichés de l'artiste: transpositions poétiques d'un monde quotidien et banal... In: Le Progrès de Lyon, 28 novembre 2003 Also active as art collector, Wolfgang Kermer donated his private collections of international Studio glass, modern French ceramics as well as contemporary paintings, graphics und sculptures to museums in Frauenau,Alfons Hannes: Die Sammlung Wolfgang Kermer, Glasmuseum Frauenau: Glas des 20. Jahrhunderts; 50er bis 70er Jahre. (Bayerische Museen; 9) Schnell & Steiner, München, Zürich 1989 NeunkirchenSchenkung Wolfgang Kermer: Bestandskatalog. Ed. Städtische Galerie Neunkirchen, Neunkirchen 2011 and SarregueminesCéramique française 1970–2000: Donation France et Wolfgang Kermer.
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