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Landscape Analysis of Overcomplete Tensor and Neural Collapse
Landscape Analysis of Overcomplete Tensor and Neural Collapse Qing Qu Dept. of EECS, University of Michigan May 17, 2021 Outline of this Talk • Introduction • Overcomplete Tensor Decomposition (Representation Learning) • Neural Collapse in Deep Network Training Outline of this Talk • Introduction • Overcomplete Tensor Decomposition (Representation Learning) • Neural Collapse in Deep Network Training Nonconvex Problems in Representation Learning 5/18/21 4 General Nonconvex Problems 5/18/21 5 General Nonconvex Problems 5/18/21 6 General Nonconvex Problems 5/18/21 7 Optimizing Nonconvex Problems Globally 5/18/21 8 Nonconvex Problems with Benign Landscape • Generalized Phase Retrieval [Sun’18] • Low-rank Matrix Recovery [Ma’16, Jin’17, Chi’19] • (Convolutional) Sparse Dictionary Learning [Sun’16, Qu’20] • (Orthogonal) Tensor Decomposition [Ge’15] • Sparse Blind Deconvolution [Zhang’17, Li’18, Kuo’19] • Deep Linear Network [Kawaguchi’16] • ... 5/18/21 9 Outline of this Talk • Introduction • Overcomplete Tensor Decomposition (Representation Learning) • Neural Collapse in Deep Network Training Landscape Analysis of Overcomplete Learning Q. Qu, Y. Zhai, X. Li, Y. Zhang, Z. Zhu, Analysis of optimization landscapes for overcomplete learning, ICLR’20, (oral, top 1.9%) • Provide the global landscape for overcomplete representation learning problems. • Explains why they can be efficiently optimized to global optimality Overcomplete Tensor Decomposition We consider decomposing a 4-th order tensor of rank m in the following form Core problem for several unsupervised representation learning problems (ICA and mixture of Gaussian [Anandkumar’12], dictionary learning [Barak’14,Qu’20]), and even training neural networks [Ge’17]. Overcomplete Tensor Decomposition A natural (nonconvex) objective to find one component Overcomplete Tensor Decomposition Overcomplete Tensor Decomposition • For overcomplete case, most of existing landscape analysis results [Ge’17] are local, or are based on Sum-of-Squares relaxations [Barak’15, Ma’16] which is computationally expensive. -
Commemorative Concert the Suntory Music Award
Commemorative Concert of the Suntory Music Award Suntory Foundation for Arts ●Abbreviations picc Piccolo p-p Prepared piano S Soprano fl Flute org Organ Ms Mezzo-soprano A-fl Alto flute cemb Cembalo, Harpsichord A Alto fl.trv Flauto traverso, Baroque flute cimb Cimbalom T Tenor ob Oboe cel Celesta Br Baritone obd’a Oboe d’amore harm Harmonium Bs Bass e.hrn English horn, cor anglais ond.m Ondes Martenot b-sop Boy soprano cl Clarinet acc Accordion F-chor Female chorus B-cl Bass Clarinet E-k Electric Keyboard M-chor Male chorus fg Bassoon, Fagot synth Synthesizer Mix-chor Mixed chorus c.fg Contrabassoon, Contrafagot electro Electro acoustic music C-chor Children chorus rec Recorder mar Marimba n Narrator hrn Horn xylo Xylophone vo Vocal or Voice tp Trumpet vib Vibraphone cond Conductor tb Trombone h-b Handbell orch Orchestra sax Saxophone timp Timpani brass Brass ensemble euph Euphonium perc Percussion wind Wind ensemble tub Tuba hichi Hichiriki b. … Baroque … vn Violin ryu Ryuteki Elec… Electric… va Viola shaku Shakuhachi str. … String … vc Violoncello shino Shinobue ch. … Chamber… cb Contrabass shami Shamisen, Sangen ch-orch Chamber Orchestra viol Violone 17-gen Jushichi-gen-so …ens … Ensemble g Guitar 20-gen Niju-gen-so …tri … Trio hp Harp 25-gen Nijugo-gen-so …qu … Quartet banj Banjo …qt … Quintet mand Mandolin …ins … Instruments p Piano J-ins Japanese instruments ● Titles in italics : Works commissioned by the Suntory Foudation for Arts Commemorative Concert of the Suntory Music Award Awardees and concert details, commissioned works 1974 In Celebration of the 5thAnniversary of Torii Music Award Ⅰ Organ Committee of International Christian University 6 Aug. -
Is Shuma the Chinese Analog of Soma/Haoma? a Study of Early Contacts Between Indo-Iranians and Chinese
SINO-PLATONIC PAPERS Number 216 October, 2011 Is Shuma the Chinese Analog of Soma/Haoma? A Study of Early Contacts between Indo-Iranians and Chinese by ZHANG He Victor H. Mair, Editor Sino-Platonic Papers Department of East Asian Languages and Civilizations University of Pennsylvania Philadelphia, PA 19104-6305 USA [email protected] www.sino-platonic.org SINO-PLATONIC PAPERS FOUNDED 1986 Editor-in-Chief VICTOR H. MAIR Associate Editors PAULA ROBERTS MARK SWOFFORD ISSN 2157-9679 (print) 2157-9687 (online) SINO-PLATONIC PAPERS is an occasional series dedicated to making available to specialists and the interested public the results of research that, because of its unconventional or controversial nature, might otherwise go unpublished. The editor-in-chief actively encourages younger, not yet well established, scholars and independent authors to submit manuscripts for consideration. Contributions in any of the major scholarly languages of the world, including romanized modern standard Mandarin (MSM) and Japanese, are acceptable. In special circumstances, papers written in one of the Sinitic topolects (fangyan) may be considered for publication. Although the chief focus of Sino-Platonic Papers is on the intercultural relations of China with other peoples, challenging and creative studies on a wide variety of philological subjects will be entertained. This series is not the place for safe, sober, and stodgy presentations. Sino- Platonic Papers prefers lively work that, while taking reasonable risks to advance the field, capitalizes on brilliant new insights into the development of civilization. Submissions are regularly sent out to be refereed, and extensive editorial suggestions for revision may be offered. Sino-Platonic Papers emphasizes substance over form. -
An Analysis of Twentieth-Century Flute Sonatas by Ikuma Dan, Hikaru
Flute Repertoire from Japan: An Analysis of Twentieth-Century Flute Sonatas by Ikuma Dan, Hikaru Hayashi, and Akira Tamba D.M.A. Document Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of The Ohio State University By Daniel Ryan Gallagher, M.M. Graduate Program in Music The Ohio State University 2019 D.M.A. Document Committee: Professor Katherine Borst Jones, Advisor Dr. Arved Ashby Dr. Caroline Hartig Professor Karen Pierson 1 Copyrighted by Daniel Ryan Gallagher 2019 2 Abstract Despite the significant number of compositions by influential Japanese composers, Japanese flute repertoire remains largely unknown outside of Japan. Apart from standard unaccompanied works by Tōru Takemitsu and Kazuo Fukushima, other Japanese flute compositions have yet to establish a permanent place in the standard flute repertoire. The purpose of this document is to broaden awareness of Japanese flute compositions through the discussion, analysis, and evaluation of substantial flute sonatas by three important Japanese composers: Ikuma Dan (1924-2001), Hikaru Hayashi (1931- 2012), and Akira Tamba (b. 1932). A brief history of traditional Japanese flute music, a summary of Western influences in Japan’s musical development, and an overview of major Japanese flute compositions are included to provide historical and musical context for the composers and works in this document. Discussions on each composer’s background, flute works, and compositional style inform the following flute sonata analyses, which reveal the unique musical language and characteristics that qualify each work for inclusion in the standard flute repertoire. These analyses intend to increase awareness and performance of other Japanese flute compositions specifically and lesser- known repertoire generally. -
Chinese Zheng and Identity Politics in Taiwan A
CHINESE ZHENG AND IDENTITY POLITICS IN TAIWAN A DISSERTATION SUBMITTED TO THE GRADUATE DIVISION OF THE UNIVERSITY OF HAWAI‘I AT MĀNOA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY IN MUSIC DECEMBER 2018 By Yi-Chieh Lai Dissertation Committee: Frederick Lau, Chairperson Byong Won Lee R. Anderson Sutton Chet-Yeng Loong Cathryn H. Clayton Acknowledgement The completion of this dissertation would not have been possible without the support of many individuals. First of all, I would like to express my deep gratitude to my advisor, Dr. Frederick Lau, for his professional guidelines and mentoring that helped build up my academic skills. I am also indebted to my committee, Dr. Byong Won Lee, Dr. Anderson Sutton, Dr. Chet- Yeng Loong, and Dr. Cathryn Clayton. Thank you for your patience and providing valuable advice. I am also grateful to Emeritus Professor Barbara Smith and Dr. Fred Blake for their intellectual comments and support of my doctoral studies. I would like to thank all of my interviewees from my fieldwork, in particular my zheng teachers—Prof. Wang Ruei-yu, Prof. Chang Li-chiung, Prof. Chen I-yu, Prof. Rao Ningxin, and Prof. Zhou Wang—and Prof. Sun Wenyan, Prof. Fan Wei-tsu, Prof. Li Meng, and Prof. Rao Shuhang. Thank you for your trust and sharing your insights with me. My doctoral study and fieldwork could not have been completed without financial support from several institutions. I would like to first thank the Studying Abroad Scholarship of the Ministry of Education, Taiwan and the East-West Center Graduate Degree Fellowship funded by Gary Lin. -
Ideophones in Middle Chinese
KU LEUVEN FACULTY OF ARTS BLIJDE INKOMSTSTRAAT 21 BOX 3301 3000 LEUVEN, BELGIË ! Ideophones in Middle Chinese: A Typological Study of a Tang Dynasty Poetic Corpus Thomas'Van'Hoey' ' Presented(in(fulfilment(of(the(requirements(for(the(degree(of(( Master(of(Arts(in(Linguistics( ( Supervisor:(prof.(dr.(Jean=Christophe(Verstraete((promotor)( ( ( Academic(year(2014=2015 149(431(characters Abstract (English) Ideophones in Middle Chinese: A Typological Study of a Tang Dynasty Poetic Corpus Thomas Van Hoey This M.A. thesis investigates ideophones in Tang dynasty (618-907 AD) Middle Chinese (Sinitic, Sino- Tibetan) from a typological perspective. Ideophones are defined as a set of words that are phonologically and morphologically marked and depict some form of sensory image (Dingemanse 2011b). Middle Chinese has a large body of ideophones, whose domains range from the depiction of sound, movement, visual and other external senses to the depiction of internal senses (cf. Dingemanse 2012a). There is some work on modern variants of Sinitic languages (cf. Mok 2001; Bodomo 2006; de Sousa 2008; de Sousa 2011; Meng 2012; Wu 2014), but so far, there is no encompassing study of ideophones of a stage in the historical development of Sinitic languages. The purpose of this study is to develop a descriptive model for ideophones in Middle Chinese, which is compatible with what we know about them cross-linguistically. The main research question of this study is “what are the phonological, morphological, semantic and syntactic features of ideophones in Middle Chinese?” This question is studied in terms of three parameters, viz. the parameters of form, of meaning and of use. -
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On A Snowy Night: Yishan Yining (1247-1317) and the Development of Zen Calligraphy in Medieval Japan Xiaohan Du Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy under the Executive Committee of the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2021 © 2021 Xiaohan Du All Rights Reserved Abstract On A Snowy Night: Yishan Yining (1247-1317) and the Development of Zen Calligraphy in Medieval Japan Xiaohan Du This dissertation is the first monographic study of the monk-calligrapher Yishan Yining (1247- 1317), who was sent to Japan in 1299 as an imperial envoy by Emperor Chengzong (Temur, 1265-1307. r. 1294-1307), and achieved unprecedented success there. Through careful visual analysis of his extant oeuvre, this study situates Yishan’s calligraphy synchronically in the context of Chinese and Japanese calligraphy at the turn of the 14th century and diachronically in the history of the relationship between calligraphy and Buddhism. This study also examines Yishan’s prolific inscriptional practice, in particular the relationship between text and image, and its connection to the rise of ink monochrome landscape painting genre in 14th century Japan. This study fills a gap in the history of Chinese calligraphy, from which monk- calligraphers and their practices have received little attention. It also contributes to existing Japanese scholarship on bokuseki by relating Zen calligraphy to religious and political currents in Kamakura Japan. Furthermore, this study questions the validity of the “China influences Japan” model in the history of calligraphy and proposes a more fluid and nuanced model of synthesis between the wa and the kan (Japanese and Chinese) in examining cultural practices in East Asian culture. -
<I>Comment Vous Appelez-Vous</I>?: Why the French Change Their Names
Comment vous appelez-vous?: Why the French Change Their Names James E. Jacob California State University, Chico and Pierre L. Horn Wright State University We examine the history, processes, and motivations which explain in part why and how the French change their names. Studying a small but representative sample of official name changes mandatorily published in the JournaL OfficieL de La Republique Franfaise at certain moments of post-World War II history (1946, 1963, and 1992-1995), we identify the four most important reasons for changing names: because they are obscene or. pejorative; ridiculous; perceived as too foreign, especially too Arab or too Jewish; or to add the patent of nobility . While we express surprise that names of these kinds still exist in contemporary France, we also recognize that the decision to request a name change at this late date is the last refuge for families who have long suffered indignities and humiliations because of their names. The name I bear is not only a "gift" from my father or my mother; it is an integral part of myself; it has defined me ... since my childhood. Francois eros [T]he name is a family possession; it is the cement of the family. Marianne Mulon Names 46.1 (March 1998):3-28 ISSN:0027-7738 © 1998by The American Name Society 3 4 Names 46.1 (March 1998) With the Ordonnance de Villers-Cotterets in 1539, which, according to Albert Dauzat (1949, 40), codified a long-established custom of assigning and preserving family names, the French monarchy sought to further integrate the diversity of its realm. -
The “Masters” in the Shiji
T’OUNG PAO T’oungThe “Masters” Pao 101-4-5 in (2015) the Shiji 335-362 www.brill.com/tpao 335 The “Masters” in the Shiji Martin Kern (Princeton University) Abstract The intellectual history of the ancient philosophical “Masters” depends to a large extent on accounts in early historiography, most importantly Sima Qian’s Shiji which provides a range of longer and shorter biographies of Warring States thinkers. Yet the ways in which personal life experiences, ideas, and the creation of texts are interwoven in these accounts are diverse and uneven and do not add up to a reliable guide to early Chinese thought and its protagonists. In its selective approach to different thinkers, the Shiji under-represents significant parts of the textual heritage while developing several distinctive models of authorship, from anonymous compilations of textual repertoires to the experience of personal hardship and political frustration as the precondition for turning into a writer. Résumé L’histoire intellectuelle des “maîtres” de la philosophie chinoise ancienne dépend pour une large part de ce qui est dit d’eux dans l’historiographie ancienne, tout particulièrement le Shiji de Sima Qian, qui offre une série de biographies plus ou moins étendues de penseurs de l’époque des Royaumes Combattants. Cependant leur vie, leurs idées et les conditions de création de leurs textes se combinent dans ces biographies de façon très inégale, si bien que l’ensemble ne saurait être considéré comme l’équivalent d’un guide de la pensée chinoise ancienne et de ses auteurs sur lequel on pourrait s’appuyer en toute confiance. -
Chinese Language and Characters
Chinese Language and Characters Pronunciation of Chinese Words Consonants Pinyin WadeGiles Pronunciation Example: Pinyin(WadeGiles) Aspirated: p p’ pin Pao (P’ao) t t’ tip Tao (T’ao) k k’ kilt Kuan (K’uan) ch ch’ ch in, ch urch Chi (Ch’i) q ch’ ch eek Qi (Ch’i) c ts’ bi ts Cang (Ts’ang) Un- b p bin Bao (Pao) aspirated: d t dip Dao (Tao) g k gilt Guan (Kuan) r j wr en Ren (Jen) sh sh sh ore Shang (Shang) si szu Si (Szu) x hs or sh sh oe Xu (Hsu) z ts or tz bi ds Zang (Tsang) zh ch gin Zhong (Chong) zh j jeep Zhong (Jong) zi tzu Zi (Tzu) Vowels - a a father usually Italian e e ei ght values eh eh broth er yi i mach ine, p in Yi (I) i ih sh ir t Zhi (Chih) o soap u goo se ü über Dipthongs ai light ao lou d ei wei ght ia Will ia m ieh Kor ea ou gr ou p ua swa n ueh do er ui sway Hui (Hui) uo Whoah ! Combinations ian ien Tian (Tien) ui wei Wei gh Shui (Shwei) an and ang bun and b ung en and eng wood en and am ong in and ing sin and s ing ong un and ung u as in l oo k Tong (T’ung) you yu Watts, Alan; Tao The Watercourse Way, Pelican Books, 1976 http://acc6.its.brooklyn.cuny.edu/~phalsall/texts/chinlng1.html Tones 1 2 3 4 ā á ă à ē é ĕ È è Ī ī í ĭ ì ō ó ŏ ò ū ú ŭ ù Pinyin (Wade Giles) Meaning Ai Bā (Pa) Eight, see Numbers Bái (Pai) White, plain, unadorned Băi (Pai) One hundred, see Numbers Bāo Envelop Bāo (Pao) Uterus, afterbirth Bēi Sad, Sorrow, melancholy Bĕn Root, origin (Biao and Ben) see Biao Bi Bi (bei) Bian Bi āo Tip, dart, javelin, (Biao and Ben) see Ben Bin Bin Bing Bu Bu Can Cang Cáng (Ts’ang) Hidden, concealed (see Zang) Cháng Intestine Ch ōng (Ch’ung) Surging Ch ōng (Ch’ung) Rushing Chóu Worry Cóng Follow, accord with Dăn (Tan) Niche or shrine Dăn (Tan) Gall Bladder Dān (Tan) Red Cinnabar Dào (Tao) The Way Dì (Ti) The Earth, i.e. -
ASIAN SYMPHONIES a Discography of Cds and Lps Prepared By
ASIAN SYMPHONIES A Discography Of CDs And LPs Prepared by Michael Herman Edited by Stephen Ellis KOMEI ABE (1911-2006, JAPAN) Born in Hiroshima. He studied the cello with Heinrich Werkmeister at the Tokyo Music School and then studied German-style harmony and counterpoint with Klaus Pringsheim, a pupil of Gustav Mahler, as well as conducting with Joseph Rosenstock. Later, he was appointed music director of the Imperial Orchestra in Tokyo, and the musicians who played under him broadened his knowledge of traditional Japanese Music. He then taught at Kyoto's Elizabeth Music School and Municipal College of the Arts. He composed a significant body of orchestral, chamber and vocal music, including a Symphony No. 2 (1960) and Piccolo Sinfonia for String Orchestra (1984). Symphony No. 1 (1957) Dmitry Yablonsky/Russian National Philharmonic ( + Sinfonietta and Divertimento) NAXOS 8.557987 (2007) Sinfonietta for Orchestra (1964) Dmitry Yablonsky/Russian National Philharmonic ( + Sinfonietta and Divertimento) NAXOS 8.557987 (2007) NICANOR ABELARDO (1896-1934, PHILIPPINES) Born in San Miguel, Bulacan. He studied at the University of the Philippines Diliman Conservatory of Music, taking courses under Guy Fraser Harrison and Robert Schofield. He became head of the composition department of the conservatory in 1923. He later studied at the Chicago Musical College in 1931 under Wesley LaViolette. He composed orchestral and chamber works but is best-known for his songs. Sinfonietta for Strings (1932) Ramon Santos/Philippine Philharmonic Orchestra UNIVERSITY OF THE PHILIPPINES PRESS (2004) YASUSHI AKUTAGAWA (1925-1989, JAPAN) He was born in the Tabata section of Tokyo. He was taught composition by Kunihiko Hashimoto and Akira Ifukube at the Tokyo Conservatory of Music. -
Linguistic Composition and Characteristics of Chinese Given Names DOI: 10.34158/ONOMA.51/2016/8
Onoma 51 Journal of the International Council of Onomastic Sciences ISSN: 0078-463X; e-ISSN: 1783-1644 Journal homepage: https://onomajournal.org/ Linguistic composition and characteristics of Chinese given names DOI: 10.34158/ONOMA.51/2016/8 Irena Kałużyńska Sinology Department Faculty of Oriental Studies University of Warsaw e-mail: [email protected] To cite this article: Kałużyńska, Irena. 2016. Linguistic composition and characteristics of Chinese given names. Onoma 51, 161–186. DOI: 10.34158/ONOMA.51/2016/8 To link to this article: https://doi.org/10.34158/ONOMA.51/2016/8 © Onoma and the author. Linguistic composition and characteristics of Chinese given names Abstract: The aim of this paper is to discuss various linguistic and cultural aspect of personal naming in China. In Chinese civilization, personal names, especially given names, were considered crucial for a person’s fate and achievements. The more important the position of a person, the more various categories of names the person received. Chinese naming practices do not restrict the inventory of possible given names, i.e. given names are formed individually, mainly as a result of a process of onymisation, and given names are predominantly semantically transparent. Therefore, given names seem to be well suited for a study of stereotyped cultural expectations present in Chinese society. The paper deals with numerous subdivisions within the superordinate category of personal name, as the subclasses of surname and given name. It presents various subcategories of names that have been used throughout Chinese history, their linguistic characteristics, their period of origin, and their cultural or social functions.