Orchestration White Paper
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World Bank Webinar Infrastructure and Software
Webinar Infrastructure & Software 101 Infrastructure for Core, Edge & RAN/Access with 5G Open Software Arpit Joshipura GM, Networking, Edge & IOT The Linux Foundation Agenda & Topics › Recap & Updates post Webinar 1: 5G 101 › Open Source Stacks and Global Foundations/SDO overview › Key Open Source Projects › Overview (Core, Edge, Access, AI) › Spotlight Projects: Deployment and Blueprint Examples › Networking (ONAP, ORAN SC) › AI (Acumos) › Edge (Akraino), › Where do I start? › Q&A Recap & Updates 5G 101 (from Webinar 1) The Linux Foundation’s goal is to create the greatest shared technology investment in history by enabling open collaboration across companies, developers and users. We are the nonprofit organization of choice to build ecosystems that accelerate open source technology development and commercial adoption on a global scale. Januar 4 y 2019 4 *Updated* Technology Disruption and Rise of Open Source 2010-2020 2021+ Technology building blocks for Open Source Software Putting E2E OSS to use in vertical markets Edge & Intent Based AI, IOT, Open Collaboration CLOUD NATIVE across Cloud, Telecom & Enterprise Kubernetes AUTOMATION & CNFs 5G & DISAGGREGATION ORCHESTRATION SOFTWARE VIRTUALIZATION DEFINED NETWORKING NETWORK FUNCTIONS VIRTUALIZATION 5 End to End Open Source Software Collaboration NETWORK VNFs CNFs Cloud Nati Core Apps/Internet / FUNCTIONS & APPS Web Mobile MANAGEMENT Carrier ORCHESTRATION Access & ANALYTICS Private Cloud NETWORK Residential CONTROL Carrier Core INFRASTRUCTURE SMB/ROBO Public Cloud Enterprise & IIOT eg -
1 組織名称(略称) Open Network Automation Platform (ONAP)
1 組織名称(略称) Open Network Automation Platform (ONAP) https://www.onap.org/ 2 分類 活動目的 ◎ 仕様策定 ○ 実装・検証 オープン 該当あり - 試験・認証 - 普及・啓発 ソース - その他( ) 対象技術分 ⑨情報・通信技術 対象サービス サービスには該当なし 野 (オペレーション関 連) 技術MAP 活動エリア ③モバイル系、固定 活動領域 ⑤APLとMDLの両領域 系の両方の領域を の活動を実施 対象に活動実施 3 目 的 Open Network Automation Platform (ONAP)は、Linux Foundation傘下のオ ープンソースのネットワークプロジェクトのひとつである。2017年2月末にONAPはA T&TのECOMPプロジェクトのオープンソース版と、China Mobile、Huawei、ZTEな ど主に中国勢が貢献する、Linux FoundationのOpen-Orchestratorプロジェクト版 を統合することによってあらたに設立したプロジェクトである。 本プロジェクトの目的は、物理的あるいは仮想的ネットワークエレメントをオーケスト レーションや自動化することにより、全てのライフサイクル管理を実現するため、幅 広く利用されるプラットフォームを開発することである。 ONAPアーキテクチャに基づく最初の統合版は、”Amsterdam”というコードネームで あり、2017年11月20日に発表された。次期バージョンのコードネームは、”Beijing” と言い、2018年6月にリリースが発表された。。 2018年1月現在、ONAPは、Linux FoundationのNetworking Fund傘下のプロジ ェクトとなっている。 (以上、Wikipediaより要訳) 4 組織構成 Linux Foundationは、これまで別々に運営されてきた6つのネットワーク関連のオ ープンソースソフトウェア開発プロジェクトをまとめた新しい運営スキームとして「LF Networking Fund」を2018年1月に開始したと発表した。LF Networkingは、29社 からなるplatinumメンバーが、新しいgoverning boardを構成している。 platinum membersには、次のように様々な業種の企業が含まれる。Amdocs, ARM, AT&T, Bell, China Mobile, China Telecom, Cisco, Cloudify, Ericsson, Huawei, I BM, Intel, Juniper, Lenovo, NEC, Nokia, Orange, Qualcomm, Red Hat, Ji o, Samsung, Suse, Tech Mahindra, Turk Telekom, Verizon, VMware, vod afone and ZTE.(日系企業:NECのみ) LF Networkingには、下図に示すように、各プロジェクト共通の、LF Networking G overning board、Technical Advisory Council (TAC) 及び、Marketing Advisor y Council (MAC)が存在する。また、各プロジェクトには、個別のTechnical Steeri ng Committee (TSC)が存在する。 また、ONAPのTSCは次のメンバーで構成されている。 https://www.onap.org/about/tsc Technical Steering -
Studies in Instrumentation and Orchestration and in the Recontextualisation of Diatonic Pitch Materials (Portfolio of Compositions)
Studies in Instrumentation and Orchestration and in the Recontextualisation of Diatonic Pitch Materials (Portfolio of Compositions) by Chris Paul Harman Submitted to The University of Birmingham for the degree of DOCTOR OF PHILOSOPHY Department of Music School of Humanities The University of Birmingham September 2011 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. Abstract: The present document examines eight musical works for various instruments and ensembles, composed between 2007 and 2011. Brief summaries of each work’s program are followed by discussions of instrumentation and orchestration, and analysis of pitch organization. Discussions of instrumentation and orchestration explore the composer’s approach to diversification of instrumental ensembles by the inclusion of non-orchestral instruments, and redefinition of traditional hierarchies among instruments in a standard ensemble or orchestral setting. Analyses of pitch organization detail various ways in which the composer renders diatonic -
Ericsson Internal ONAP PROGRAM
Technical Community Cooperation: Generic Network Management Magnus Buhrgard, Open Source and Standardization Manager Ericsson Some observations 1 (4) • ONAP is appealing to cooperate with for all the listed standards entities • It is a very large area – need to define focus • There are ongoing collaborations – Thanks Deng Hui and others! - I need your help to identify them • A number of presentations were made at the Joint sub-committee meeting in April: - ETSI NFV - Thinh Nguyenphu - 3GPP SA5 - Thomas Tovinger & Anatoly Andrianov - BBF - Tim Carey - MEF - Karthik Sethuraman - TM Forum - Ken Dilbeck - ETSI ZSM – Klaus Martiny & Uwe Rauschenbach Some observations 2 (4) “It is evident that as ONAP matures, with more platform capabilities introduced in each release, standards become increasingly important to ensure an extensible and interoperable ecosystem that the ONAP platform can support.” “People make the difference: Despite all the processes and governance that are put in place .. …. It is the individuals who invest the time and careful focus that is required to bridge both communities who will make this effort successful.” “Sometimes a standards effort will also create a reference implementation or snippets of code demonstrating an implementation. ….the standards licensing model might be incompatible with inclusion in an open source project” Ways of Working for Collaboration • Harmonization will benefit both ONAP and SDOs, but main objective to look for ONAP benefits • Use ideas from SDOs. • Be standards-compliant • Influence standards. -
Beethoven's Fourth Symphony: Comparative Analysis of Recorded Performances, Pp
BEETHOVEN’S FOURTH SYMPHONY: RECEPTION, AESTHETICS, PERFORMANCE HISTORY A Dissertation Presented to the Faculty of the Graduate School Of Cornell University In Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy by Mark Christopher Ferraguto August 2012 © 2012 Mark Christopher Ferraguto BEETHOVEN’S FOURTH SYMPHONY: RECEPTION, AESTHETICS, PERFORMANCE HISTORY Mark Christopher Ferraguto, PhD Cornell University 2012 Despite its established place in the orchestral repertory, Beethoven’s Symphony No. 4 in B-flat, op. 60, has long challenged critics. Lacking titles and other extramusical signifiers, it posed a problem for nineteenth-century critics espousing programmatic modes of analysis; more recently, its aesthetic has been viewed as incongruent with that of the “heroic style,” the paradigm most strongly associated with Beethoven’s voice as a composer. Applying various methodologies, this study argues for a more complex view of the symphony’s aesthetic and cultural significance. Chapter I surveys the reception of the Fourth from its premiere to the present day, arguing that the symphony’s modern reputation emerged as a result of later nineteenth-century readings and misreadings. While the Fourth had a profound impact on Schumann, Berlioz, and Mendelssohn, it elicited more conflicted responses—including aporia and disavowal—from critics ranging from A. B. Marx to J. W. N. Sullivan and beyond. Recent scholarship on previously neglected works and genres has opened up new perspectives on Beethoven’s music, allowing for a fresh appreciation of the Fourth. Haydn’s legacy in 1805–6 provides the background for Chapter II, a study of Beethoven’s engagement with the Haydn–Mozart tradition. -
The Classical Period (1720-1815), Music: 5635.793
DOCUMENT RESUME ED 096 203 SO 007 735 AUTHOR Pearl, Jesse; Carter, Raymond TITLE Music Listening--The Classical Period (1720-1815), Music: 5635.793. INSTITUTION Dade County Public Schools, Miami, Fla. PUB DATE 72 NOTE 42p.; An Authorized Course of Instruction for the Quinmester Program; SO 007 734-737 are related documents PS PRICE MP-$0.75 HC-$1.85 PLUS POSTAGE DESCRIPTORS *Aesthetic Education; Course Content; Course Objectives; Curriculum Guides; *Listening Habits; *Music Appreciation; *Music Education; Mucic Techniques; Opera; Secondary Grades; Teaching Techniques; *Vocal Music IDENTIFIERS Classical Period; Instrumental Music; *Quinmester Program ABSTRACT This 9-week, Quinmester course of study is designed to teach the principal types of vocal, instrumental, and operatic compositions of the classical period through listening to the styles of different composers and acquiring recognition of their works, as well as through developing fastidious listening habits. The course is intended for those interested in music history or those who have participated in the performing arts. Course objectives in listening and musicianship are listed. Course content is delineated for use by the instructor according to historical background, musical characteristics, instrumental music, 18th century opera, and contributions of the great masters of the period. Seven units are provided with suggested music for class singing. resources for student and teacher, and suggestions for assessment. (JH) US DEPARTMENT OP HEALTH EDUCATION I MIME NATIONAL INSTITUTE -
Score-Reading Orchestrationonline.Com
course notes Score-Reading orchestrationonline.com © 2014 Thomas Goss 1 course notes Score-Reading orchestrationonline.com Part 1: Your Visual Ear Score-Reading Course Notes I. What is a Score? compiled by Thomas Goss and Lawrence Spector a. a document which contains an artistic work, free from its creator b. a set of directions for the conductor and musicians c. a visual record of an auditory experience from the imagination of the composer INTRO TO THE SCORE-READING COURSE The purpose of this series is to bring the two experiences of hearing music and seeing notes very close This course is intended as an introduction to score-reading for developing musicians at the orchestral level: composers, arrangers, and conductors in training. As stated in the video, score-reading should be together. A very experienced composer or conductor will observe a page of music and know exactly a lifelong habit. The experienced score-reader will eventually be able to develop the ability of determining what it’s supposed to sound like. This is called “mental hearing,” and can be developed through years of which score, for them, is a timeless artistic statement by whether that score always has new things to scoring and score-reading (and conducting as well). say to their eye and inner ear. II. Musical Literacy a. imagine learning to read music with time spent comparable to learning to read text Table of Contents b. my definition of musical literacy: the ability to read the score of the great works (in addition to knowing styles and eras of music, performers, repertoire, etc.) Part 1: Your Visual Ear ..............................................................................2 c. -
How to Orchestrate and Arrange Music by Dr
Brinkman: How to Orchestra and Arrange Music 1 How to Orchestrate and Arrange Music By Dr. David Brinkman Prepared for the Instrumentation and Arranging Class at the University of Wyoming This material is intended for use by students in the class, and may not be used or duplicated for any other purpose. Copyright 2009. All rights are reserved. Table of Contents Introduction Chapter 1 Instruments Chapter 2 Definitions Chapter 3 Historical Instrumentation/Orchestration Chapter 4 Transcriptions Chapter 5 Arranging Chapter 6 Score and Parts Chapter 7 Overall Considerations Chapter 8 Grading Rubric Chapter 9 Jazz Arranging Chapter 10 Marching Band Arranging Chapter 11 Scoring for Young Band/Orchestra Chapter 12 Finale Check Sheet Introduction Creating an effective arrangement of music is a craft and it is an art. A person can learn appropriate ranges of the instruments and effective combinations. That, as well as learning to effectively notate (using Finale or other notation program) can be considered the craft of arranging. The artistry is the ability to imagine sounds and to make them come alive. It involves creativity, musicality, musical experience, and attention to details. The successful student—and the successful orchestrator/arranger will be able master the craft and work towards the artistry of creating a new musical work. Brinkman: How to Orchestra and Arrange Music 2 Chapter 1 Instruments You must know “in your ear” how the various instruments will sound individually and in combination. • You must know the ranges of the instruments o Consult your text o Use the Check Range Plug-in on Finale. On Finale 2009 it is under Scoring and Arranging. -
An Introduction to ONAP Amar Kapadia My Introduction
5G & NETWORK TRANSFORMATION CONFERENCE An Introduction to ONAP Amar Kapadia My Introduction ● Author of “Understanding OPNFV”, “ONAP Demystified” ● NFV specialist with background in OpenStack, Ceph, dataplane acceleration technologies ● Co-founder Aarna Networks, Inc. ● Previously at Mirantis, Seagate, Emulex, Philips, HP ● MS EE from University of California, Berkeley © 2017 Aarna Networks, Inc. Aarna and Argela Partnership ● Aarna Networks provides the only LF-approved ONAP training courses ● Aarna and Argela are strategic partners around ONAP © 2017 Aarna Networks, Inc. What is ONAP OPEN NETWORK AUTOMATION PLATFORM: Comprehensive platform for real-time, policy-driven orchestration and automation of physical and virtual network functions. 100% open source, part of Linux Foundation. Born Mar/2017 © 2017 Aarna Networks, Inc. Who is Behind ONAP AT&T ECOMP + Linux Foundation Open-O merger in Q2’2017 100% open source, part of Linux Foundation Operators represent 60+% of mobile users worldwide © 2017 Aarna Networks, Inc. Why ONAP? High levels of agility for 5G and MEC will require a sophisticated automation tool such as ONAP © 2017 Aarna Networks, Inc. ONAP in the NFV Architecture Context OSS / BSS / E- Services / Big Data EMSs NFVO VNFs Global VNFMs/ DC NFVI Software PNFMs Virtual compute, storage, networking, dataplane acceleration SDN Controller NFVI Hardware VIM servers, storage, switches Modified ETSI NFV Architecture © 2017 Aarna Networks, Inc. ONAP Scope Monitoring Design Runtime ETSI NFVO, and Service Framework Framework VNFM, PNFM Assurance © 2017 Aarna Networks, Inc. ONAP & Other Software Systems OSS/BSS/Big Data/E-Services ONAP artifacts apps, sVNFM, sVNFM, EMS) apps, External modules & modules External (e.g. VNF packages, analyticVNF packages,(e.g. -
The Benefits of Orchestration for the High School Orchestra Conductor Robert D
Eastern Illinois University The Keep Masters Theses Student Theses & Publications 1953 The Benefits of Orchestration for the High School Orchestra Conductor Robert D. Climer Eastern Illinois State College Recommended Citation Climer, Robert D., "The Benefits of Orchestration for the High School Orchestra Conductor" (1953). Masters Theses. 4502. https://thekeep.eiu.edu/theses/4502 This Dissertation/Thesis is brought to you for free and open access by the Student Theses & Publications at The Keep. It has been accepted for inclusion in Masters Theses by an authorized administrator of The Keep. For more information, please contact [email protected]. r -, THE BENEFITS OF ORCHESTRATION FOR THE HIGH SCHOOL ORCHESTRA CONDUCTOR -i<- An Independent Paper by Robert D. Climer L _J THE BENEFITS OF ORCHESTRATION FOR THE HIGH SCHOOL ORCHESTRA COND UCTOR by ROBERT D. CLIMER An Independent Paper Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Science in Education at the Eastern Illinois State College Charleston, Illinois April 24, 1953 PREFACE In partial fulfillment of the requirements for the degree, Master of Science in Education, the author has prepared the following paper which surveys the high school orchestra and points out the benefits of a program of orchestration study for the high school orchestra conductor. Accompanying this paper is an orchestration, " " Lotus Land, Cyril Scott, which is also submitted. " Originally conceived by the composer for piano, Lotus " Land has been transcribed by the writer for the orches- tra. The first transcription was prepared for an or- chestra of semi-symphonic proportions such as would be found only in the larger and the more progressive pros perous high schools. -
Lecture Notes on Transposition and Reading an Orchestral Score
Lecture Notes on Transposition and Reading an Orchestral Score John Paul Ito Orchestral Scores The amount of information presented in an orchestral score can seem daunting, but a few simple things about the way the score is arranged can make it much more manageable. The instruments are grouped by families, in the following order: Woodwinds Horns Brass Percussion [Soloists, Singers] Strings Within each family, instruments are grouped by type, ordered with the higher instrument types higher within the family: Woodwinds: Flutes Oboes Clarinets Bassoons Brass: Trumpets Trombones Tubas Strings: Violin 1 Violin 2 Viola Cello Bass Notes on Transposition – © 2010 John Paul Ito 2 Similarly, individual instruments within an instrument type are ordered from high to low: Flutes Piccolo Flute Alto Flute Oboes Oboe Cor anglais Clarinets Eb Clarinet Clarinet Bass Clarinet Note that grouping by instrument type first means that the score will not reflect a consistent progression from high to low within instrument families. For example, among the woodwinds, the cor anglais will appear above the Eb clarinet, even though the Eb clarinet has a higher register. For the purposes of harmonic analysis, it is very convenient that scores are laid out with the strings on the bottom. This reflects an 18th-century concept of orchestration, in which the strings served as a foundation, with winds and brass added for extra color. Even into the 19th century, it remains true that all of the information needed for harmonic analysis is found in the strings, at the bottom of the score. This makes analysis easier, because string instruments are not transposing instruments. -
Intro to Orchestration Orchestrationonline.Com
course notes Intro to Orchestration orchestrationonline.com © 2014 Thomas Goss 1 course notes Intro to Orchestration orchestrationonline.com Intro to Orchestration Course Notes compiled by Thomas Goss and Lawrence Spector Table of Contents INTRO TO THE INTRO TO ORCHESTRATION COURSE Part 1: The Importance of Craft ................................................................3 Part 2: Elements of Craft ..........................................................................4 Hello, and welcome to the long-awaited course notes! If you are reading this, you are probably a viewer of my Orchestration Online YouTube channel. Thanks very much for watching, and I truly appreciate all Part 3: Personal Resources ......................................................................5 the helpful feedback that I’ve received since its inception in 2006. Part 4: Texture, Balance, & Function .......................................................6 Part 5: The Orchestrator At Work ............................................................7 As of this writing, there are still two more video chapters of this course to be uploaded. But nearly all of Part 6: Biggest Mistakes ...........................................................................8 the main principles of the professional approach to orchestration have been covered. They include: Part 7: Career Advice ................................................................................11 Part 8: Developing Your Skill Set .............................................................13 •