Sectional form - Factbites

Sectional form - Factbites
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Topic: Sectional form

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In the News (Sun 20 Dec 09)

Northern Trust

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	CROSS-SECTION LIBRARIES
		Using the card-image form of a coupled library with cross sections ordered as shown in Table 10.2, "Arrangement of Data in a Coupled Neutron-Gamma Library Table," on page 10-18 (for no upscatter), the isotopic cross sections for each Legendre order of scatter carry data arranged as shown in Table 10.3.
		In this form neutrons appear to "downscatter" into the gamma-ray groups as a result of gamma production resulting from neutron interactions but gamma- rays do not "upscatter" into neutron groups, i.e., there is no neutron production via photoneutron, or gamma-n, reactions.
		That table shows the contents of a card-image cross-section table for a 7-group coupled set (4 neutron, 3 gamma groups).
	laws.lanl.gov /XTM/dant/la12969/cross.doc14.html

	Facts about topic: (Thirty-two-bar form)
		Most Tin Pan Alley songs consisted of a verse or "sectional verse", and a refrain (The part of a song where a soloist is joined by a group of singers) or "sectional refrain", often in thirty-two-bar form.
		Compound AABA form is the combination of a AABA like bridge (B) that contrasts and prepares the return of a verse-chorus (additional info and facts about verse-chorus) pair (A).
		Thirty-two-bar form was often used in rock in the 1950s and 60s, afterwhich verse-chorus form (additional info and facts about verse-chorus form) became more prevalent.
	www.absoluteastronomy.com /encyclopedia/T/Th/Thirty-two-bar_form.htm (639 words)

	Thirty-two-bar form -- Facts, Info, and Encyclopedia article
		Most Tin Pan Alley songs consisted of a verse or "sectional verse", and a (The part of a song where a soloist is joined by a group of singers) refrain or "sectional refrain", often in thirty-two-bar form.
		Thirty-two-bar form was often used in rock in the 1950s and 60s, afterwhich (Click link for more info and facts about verse-chorus form) verse-chorus form became more prevalent.
		Compound AABA form is the combination of a AABA like bridge (B) that contrasts and prepares the return of a (Click link for more info and facts about verse-chorus) verse-chorus pair (A).
	www.absoluteastronomy.com /encyclopedia/t/th/thirty-two-bar_form.htm (685 words)

	Strophic form - Wikipedia, the free encyclopedia
		Strophic form, or chorus form, is a sectional and/or additive way of structuring a piece of music based on the repetition of one formal section or block played repeatedly.
		Most folk and popular songs are strophic in form, including the twelve bar blues, all of which may be in simple verse or simple verse-chorus form.
		The "verse-chorus-verse" (verse-chorus form) of most popular music songs may be interpreted as parts of a larger a strophic verse-refrain form.
	www.wikipedia.org /wiki/Strophic (219 words)

	Musical form - Wikipedia, the free encyclopedia
		Forms and formal detail may be described as sectional or developmental, developmental or variational, syntactical or processual (Keil 1966), embodied or engendered, extensional or intensional (Chester 1970), and associational or hierarchical (Lerdahl 1983).
		Musical form (the whole or structure) is contrasted with content (the parts) or with surface (the detail), but there is no clear line between the two.
		Forms of chamber music are defined by instrumentation (string quartet, piano quintet and so on).
	en.wikipedia.org /wiki/Form_(music) (1079 words)

	Arch forms and a method of moulding same - Patent 4099329
		The arch form according to claim 1, wherein said rear teeth are inclined with respect to their said counter parts in a natural set of teeth at an angle of between 10.degree.
		An arch form as claimed in claim 1 wherein said at least one projection is in the form of a ridge extedning over said tooth portion in spaced relationship to said base portions of said teeth.
		A method of moulding the arch form requires the provision of a two-part mould defining the shape of the tooth portion, and a further mould part defining the shape of the gum portion.
	www.freepatentsonline.com /4099329.html (2018 words)

	Continuous Variation Form
		By contrast to sectional variation form, in which a self-contained theme (almost always in binary form) is repeatedly presented in varied form, continuous variation form is created by repeated variation of a pattern that is not self-contained.
		Continuous variation form was popular in the Baroque period, but it is still popular today -- every Blues performance and Jazz improvisation over Blues changes is a kind of continuous variation form.
		Preceded by the recitative "Thy Hand, Belinda," this aria consists of eleven variations on a five-measure repeated bass pattern.
	www.lsu.edu /faculty/jperry/virtual_textbook/var_cont.htm (195 words)

	Variation Form
		Variation form is highly sectional and is diagrammed A A1 A2 A3 A4 A5 A6 A7 A8 etc. There is no fixed number of variations and usually there is any where between 4 and 30 variations.
		Variation form typically ends with a Coda or “tail.” A coda is a short section found at the end of a composition that reinforces the conclusion and extends the final cadence by using many closed cadences.
		Nevertheless it is a highly interesting form and is often used to show off the virtuosity and cleverness of a composer as he or she redresses a single idea.
	www.musicappreciation.com /variationform.htm (337 words)

	Musical form -- Facts, Info, and Encyclopedia article
		Forms and formal detail may be described as sectional or developmental, developmental or variational, syntactical or processual (Keil 1966), embodied or engendered, extensional or intensional (Chester 1970), and associational or hierarchical (Lerdahl 1983).
		Forms of (Serious music performed by a small group of musicians) chamber music are defined by instrumentation ((An instrumental quartet with 2 violins and a viola and a cello) string quartet, (Click link for more info and facts about piano quintet) piano quintet and so on).
		Form may also be described according to symmetries or lack thereof and repetition.
	www.absoluteastronomy.com /encyclopedia/m/mu/musical_form.htm (1584 words)

	Musical Forms - Sonata
		In the early phase the forms are single-movement or multi-sectional, in the manner of the canzona.
		Among forms used for inner and final movements are the minuet or scherzo, the rondo or sonata-rondo and variations.
		The break with tradition is evident both in those sonatas by Bartók, Stravinsky, Poulenc and Hindemith which look back to a much earlier age and in the piano sonalas of Barraqué and Boulez, which have no links of form or genre with any previous Sonatas.
	w3.rz-berlin.mpg.de /cmp/g_sonata.html (802 words)

	Rondo-Sonata, Rondo or Sonata-Rondo (coda)
		In order to maintain the textbook definition of the rondo form and to perpetuate the sectional appearance of the form, most theorists will group the various transitory passages under the umbrella of the episode so that any material that cannot be said to belong to the refrain therefore belongs to the episode.
		In sonata form however the transition is leading to the closing theme of the subordinate-theme complex, still part of the reorganised recapitulation and therefore not yet part of the coda.
		In the sonata form this refrain is seen as the beginning of an incomplete repetition of the exposition.
	www.humanities.mcmaster.ca /~mus701/macmacvol2/nd/ndessay.htm (4339 words)

	ndessay.htm
		In order to maintain the textbook definition of the rondo form and to perpetuate the sectional appearance of the form, most theorists will group the various transitory passages under the umbrella of the episode so that any material that cannot be said to belong to the refrain therefore belongs to the episode.
		The differences from the rondo lie in the missing repeat of the refrain and the lack of independence in episode C. In a movement that possesses all occurrences of the refrain the form might be seen to be more of a rondo than a sonata.
		In sonata form however the transition is leading to the closing theme of the subordinate-theme complex, still part of the reorganised recapitulation and therefore not yet part of the coda.
	www.humanities.mcmaster.ca /~mus701/nick/nd/ndessay.htm (4136 words)

	RONDO - LoveToKnow Article on RONDO
		If the form of a Bach or Cuperin rondo may be represented by A B A C A D A, andc., the various forms of the later rondo may be represented somewhat as follows: placing on a horizontal line those parts that are in the main key, and representing other keys by differences of level:
		The sectional rondo was modernized on a gigantic scale by Brahms in the finale of his G minor Pianoforte Quartet, Op.
		The single-phrase ritornello and short couplets of the old form are in the sonata style replaced by a broadly designed melody and well-contrasted episodes in different keys.
	www.1911encyclopedia.org /R/RO/RONDO.htm (882 words)

	MUTH132
		Sectional binary: a binary form in which the first part is harmonically closed, that is, part one ends with a conclusive cadence in the key in which it began.
		Continuous binary: a binary form in which the first part is harmonically open, that is, part one does not end with a conclusive cadence in the key in which it began.
		Tne chief difference between ternary and rounded binary form is that the B section of a ternary form is harmonically closed, while the B section of a rounded binary is harmonically open.
	www.oberlin.edu /faculty/jlubben/muth132/binterms.htm (274 words)

	Form drag - Wikipedia, the free encyclopedia
		"Clean" designs, or designs that are streamlined and change cross-sectional area gradually are also critical for achieving minimum form drag.
		Form drag follows the drag equation, meaning that it rises with the square of speed, and thus becomes more important for high speed aircraft.
		The general size and shape of the body is the most important factor in form drag; bodies with a larger apparent cross-section will have a higher drag than thinner bodies.
	en.wikipedia.org /wiki/Form_drag (274 words)

	Science Fair Projects - Twelve bar blues
		While the blues is most often considered to be in sectional strophic form with a verse-refrain pattern, it may also be considered as an extension of the variational chaconne procedure.
		Van der Merwe (1989) considers it developed in part specifically from the American Gregory Walker though the conventional account would consider hymns as the provider of the blues repeating chord progression or harmonic formulae (Middleton 1990, p.117-8).
		"Form in Rock Music: A Primer", in Stein, Deborah (2005).
	www.all-science-fair-projects.com /science_fair_projects_encyclopedia/12-bar_blues (531 words)

	Musical Forms - Cantata
		A step towards the cantata as a multi-sectional form was taken in psalm compositions by Tunder, Buxtehude and others, whose chorale settings are akin to true cantatas since they use a closed form for each stanza.
		In the early cantatas of his pupil, Alessandro Scarlatti, and those of Stradella and Steffani, the distinction between recitative and aria is clear and the number of sections usually smaller.
		The most important genre of vocal chamber music in the Baroque period; the principal musical constituent of the Lutheran service.
	w3.rz-berlin.mpg.de /cmp/g_cantata.html (531 words)

	Drag of Blunt Bodies and Streamlined Bodies
		This drag is associated with the formation of a wake, which can be readily seen behind a passing boat, and it is usually less sensitive to Reynolds number than the frictional drag.
		Formally, both types of drag are due to viscosity (if the body was moving through an an inviscid fluid there would be no drag at all), but the distinction is useful because the two types of drag are due to different flow phenomena.
		We see that as the Reynolds number increases the variation in the drag coefficient (based on cross-sectional area) decreases, and over a large range in Reynolds number it is nearly constant.
	www.princeton.edu /~asmits/Bicycle_web/blunt.html (531 words)

	J/Psi Preprints
		The dipole cross section calculated with the unintegrated gluon density of the nucleon substantially differs from the well-known perturbative form $\sigma_{dip} \sim b^2$ for $b > 0.3$fm, where $b$ is the transverse separation of the dipole.
		We evaluate the cross sections for the dissociation of J/psi and Upsilon in collision with pion as a function of the temperature of the hadron medium, using the quark-interchange model of Barnes and Swanson.
		We calculate the cross section for q(\bar q)g-production in diffractive DIS with finite fermion masses and zero momentum transfer.
	www.slac.stanford.edu /exp/e160/jpsi_refs.html (531 words)

	Geologic cross sections
		Section C: Bedrock units showing subdivisions based on both age and geologic characteristics; for example, different types of rocks that formed or were altered during a regional event in the geologic history are grouped together.
		These diagrams present key elements of Minnesota's geology in the form of simplified cross sections that extend from the north-central to the southeastern part of the state.
		On the left (north) side of the cross sections are various Archean (about 2.7 billion years old) rock units.
	www.geo.umn.edu /mgs/xsections/sect.html (531 words)

	cross section
		cross section: In reference to a blade, the shape of the blade form if the blade were cut across the blade and perpendicular to the length of the blade.
	www.webref.org /anthropology/c/cross_section.htm (531 words)

	IsopSph7=28=00.doc
		Our main Theorem 4.4 says that if for example the sectional curvature K is less than K0, then an enclosure of small volume V has at least as much perimeter P as a round sphere of the same volume in the model space form of curvature K0.
		This follows from the asymptotic formulas for the perimeter P and volume V of geodesic balls about a point p of scalar curvature R (e.g.
		First one estimates the mean curvature H of a minimizer by an application of the Gauss-Bonnet-Chern theorem with boundary.
	www.lehigh.edu /~dlj0/courses/IsopSph7=28=00.doc (3467 words)

	Harmonic Reciprocal Mean Curvature Surfaces
		Once a surface in a space form with non-vanishing sectional curvature would be self-dual, it must be an isothermic surface in the Euclidean space, too.
		In the new class of surfaces, the reciprocal of the mean curvature is a harmonic function on the surface, all theta-isothermic surfaces are classified.
		On the other side - even this is very new and not yet understood - for these "generalization" of isothermic surfaces there exist an involution, that maps a theta-isothermic surface (up to a scaling of the ambiente space) into an isothermic surface in either S
	www-sfb288.math.tu-berlin.de /Research/PAINLEVE/HIMC.html (273 words)

	Manifolds with Quadratic Curvature Decay and Slow Volume Growth
		Finally, as in [Cheeger-Gromov (1985)], there is an integrality result for the integral of the Gauss-Bonnet-Chern form, which we state without proof.
		Note that condition (1) is scale-invariant in that it is unchanged by a constant rescaling of the Riemannian metric.
		Suppose that M has quadratic curvature decay and slow volume growth.Let E be a tame end of M as in Definition 5.
	www.math.iupui.edu /~zshen/Research/papers/lottshen/LottShen.html (669 words)

	Drag Reduction
		Having gotten past that, there are several other drag components to look at -- skin friction, form drag, and interference drag, as well as cross-sectional area.
		Form Drag: Good "streamlining" is an area where we can really see some results.
		Round forms enclose the most interior volume with the least skin area.
	www.mindspring.com /~cramskill/dragred.htm (669 words)

	Cross-Section Graphs of JENDL-3.2
		Three types of graphs are given in the form of gif and jpeg files.
		Cross sections for the graphs of type F1 were obtained with an accuracy of 2 % to reduce the size of PostScript files.
		F1: Total, elastic and inelastic scattering, capture and fission cross sections F2: Same as F1 but the cross sections are averaged in 70 energy group intervals F3: Threshold reaction cross sections
	wwwndc.tokai.jaeri.go.jp /j32fig/findex.html (669 words)

	Rondo-Sonata, Rondo or Sonata-Rondo (coda)
		In order to maintain the textbook definition of the rondo form and to perpetuate the sectional appearance of the form, most theorists will group the various transitory passages under the umbrella of the episode so that any material that cannot be said to belong to the refrain therefore belongs to the episode.
		In sonata form however the transition is leading to the closing theme of the subordinate-theme complex, still part of the reorganised recapitulation and therefore not yet part of the coda.
		As the name suggests the sonata-rondo is a hybrid form, which evinces characteristics from both the rondo and the sonata.
	www.humanities.mcmaster.ca /~mus701/macmacvol2/nd/ndessay.htm (4339 words)

	Song structure (popular music) - Wikipedia, the free encyclopedia
		Chorus form, or strophic form, is a sectional and/or additive way of structuring a piece of music based on the repetition of one formal section or block played repeatedly.
		Verse-chorus form or ABA form may be combined with AABA form, in compound AABA forms.
		Thirty-two-bar form uses four sections, most often eight measures long each (4*8=32), two verse or A sections, a contrasting B section, the bridge or "middle-eight", and a return of the verse in one last A section (AABA).
	www.voyager.in /Song_structure_(popular_music) (4339 words)

	Strophic form DigiMelon.COM
		Strophic form, or chorus form, is a sectional and/or additive way of structuring a piece of music based on the repetition of one formal section or block played repeatedly.
		The "verse-chorus-verse" (verse-chorus form) of most popular music songs may be interpreted as parts of a larger a strophic verse-refrain form.
		Most folk and popular songs are strophic in form, including the twelve bar blues, all of which may be in simple verse or simple verse-chorus form.
	www.digimelon.com /Chorus_form/index.html (220 words)

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In the News (Sun 20 Dec 09)