Contour theories

ABSTRAK Pada sebuah peta terdapat garis imajiner tidak memiliki nilai, posisi, dan ketinggiannya. Adapun latar belakang penulisan artikel ini adalah untuk mengetahui sifat dan karakteristik kontur serta cara untuk menginterpolasi. Garis kontur adalah garis yang menghubungkan titik di lapangan yang memiliki ketinggian sama. Garis kontur memiliki sifat-sifat berbentuk kurva tertutup, tidak bercabang, tidak berpotongan, menjorok ke arah hulu jika melewati sungai, menjorok ke arah jalan menurun jika melewati permukaan jalan, dan tidak tergambar jika melewati bangunan. Kegunaan garis kontur yaitu untuk menentukan profil melintang tanah, menghitung luas genangan, menentukan rute dengan kelandaian tertentu, dan menentukan titik dengan ketinggian yang sama. Menginterpolasi garis kontur dapat dengan tiga cara yaitu cara taksiran, hitungan, dan grafis. Ketiga metode memiliki prinsip yang sama yaitu dengan dua titik yang diketahui posisi dan ketinggiannya. Kata kunci: Garis Kontur, Interpolasi, Titik

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This article considers the chronological flow of Schoenberg’s chordal atonal music, using melodic contour and other contextual features to prioritize some chordal events over others. These non- consecutive chords are tracked and compared for their coloristic contrasts, producing an unfolding akin to Klangfarbenmelodie, but paced more like a narrative trajectory in a drama. The dramatic pacing enhances discernment of nuance among atonal dissonant chords, thereby emancipating them from subordinate obscurity to vivid distinctness. Thus Schoenberg’s music is strategically configured to differentiate its own pitch material. This approach is theorized in terms of representational hierarchy association (RHA) among chords, and demonstrated in analyses of Op. 11, No. 2, Op. 21, No. 4, and Op. 19, No. 3. In support, the analyses consider: (1) the combinatorics of voicing as effecting contrasts of timbre; (2) an application of Lewin’s Binary State Generalized Interval System (GIS) to melodic contour and motivic transformation based on binary-state switching; (3) Klumpenhouwer Networks to model chord-to-chord connections hierarchically; and (4) the role of pitch-class set genera (families of chords) in projecting a palindromic arch form.

The country named Bangladesh has a glorious history. Many ancient settlements of Small and large in the land of Bangladesh are established. Some of them are destructed with the passage of time. The relics of these destructed ancient settlements are found in the different places in Bangladesh during archaeological survey. Kalupol Rajar Vita Mound is an ancient settlement site which has recently been found in the district in Chuadanga during survey led by Regional Directorate, Department of Archaeology, Khulna Division of Bangladesh. It is a little effort to present this site in this article. Kalupol Rajar Vita Mound is situated at the village of Kalupol of Titudaha union under the district of Chuadanga in Bangladesh. A river named Chitra flows on the west of this ancient site. The length of the mound is almost 120 meters from East to West and the width is almost 65 meters from North to South. Maximum altitude of the mound is 11.40 meters and Minimum altitude is between 9.50 and 9.90 meters. Average altitude of the surroundings land of the mound is 9.00 meters. The rough surface of the mound is covered with grasses and small plants. Beside there is a big Banyan tree on the mound including sandy loam. There is no any written historical evidence about Kalupol Rajar Vita Mound, Chuadanga. But there are many local myths on this mound. According to the opinions of the villagers of Kalupol, Rajar Vita (king house) Mound is an ancient settlement. It was established by a king named 'Gandhab' a long years ago. This king had 1, 00,000 cows. There are a Ujir Vita (Vizier house) on the west bank of Chitra river near Rajar Vita, a Dhopar Vita (Washerman house) on the north of Rajar Vita and a Napit Vita (Barber house) on the east of Rajar Vita according to the myths of Kalupol villagers. Some local newspapers mentioned that a king named Gandhab Roy lived in Kalupol during 14-15th Century ACE. He built a palace on the bank of the Chitra river. Then a pious named Khaja Malik ul Gaus came here. A conflict was created between Khaja Malik ul Gaus and Gandhab. Gandhab Roy lost against Khaja Gaus and left his palace. Kalupol Rajar Vita Mound creates a curiosity among the historians as well as archaeologists. Regional Directorate, Department of Archaeology, Khulna Division of Bangladesh executed the test archaeological excavation in the last year (2016 - 2017 fiscal year). During the test excavation, some architectural relics like wall built with mud and thin bricks, pottery and other terracotta objects were found. Department of Archaeology has taken a decision to continue the excavation in the mound to explore the history, cultural features as well as architectural features of Kalupol Rajar Vita Mound more. In 2017 - 2018 fiscal year, An archaeological excavation is being executed in Rajar Vita Mound under the supervision of Regional Director, Department of Archaeology, Khulna Division.

In this paper, we present some problems of two Music Contour Relations Theory operations algorithms: the Refinement of Contour Reduction Algorithm, which was developed by Rob Schultz, and the Equivalence Contour Class Prime Form algorithm, which was developed by Elizabeth Marvin and Paul Laprade. We also propose two alternative algorithms to solve these problems.

Scholars do not agree on whether descriptions of music in terms of emotions should be considered literal or metaphorical. I begin by introducing the intuitively convincing idea that emotion words apply metaphorically to music. After guaranteeing this approach the support of nominalism, I argue that it is still unable to ground expressive descriptions in musical properties. As an alternative, I present some literalist accounts based on resemblances and focus especially on the advantages of Contour theory. Although it manages to anchor expressive descriptions to the perceivable structure of music, Contour theory has difficulty in accounting for expressive descriptions of musical items that do not resemble any behavioural expression. In order to overcome this deficiency of the theory, I suggest that a combination of multi-dimensional theories of emotions along with the Wittgensteinian notion of secondary meaning helps to avoid the appeal to resemblances, thereby accounting in a literalist fashion for the application of emotions terms to musical objects that do not resemble human expressions.