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"The reign of Louis XIV marks an important milestone in the development of dance and art. Convinced that visual arts and music would significantly contribute to a monarch’s authority, image, and glory, the “Sun King” coordinated artistic activities through establishing a significant number of royal academies. Through the Académie Royale de Danse the art of dancing was given a proper language and notation system for the first time in history. On the other hand, the Académie Royale de Musique was tied to the birth of a national operatic style. Opera was the perfect tool for an idealistic and majestic projection of a nation’s monarch. Keywords: baroque dance, Louis XIV, dance notation systems, ballet de cour, royal academies, Jean-Baptiste Lully, music, opera. "

Indian Classical Music is the best gift of Indian culture to the world. Indian Classical Music is of two types – उत्तर हिन्दुस्तानी संगीत पद्धति एवं दक्षिण हिन्दुस्तानी संगीत पद्धति. The roots of Indian Music are found in Vedas. Sanskrit is the ancient language and we found it in the Vedas. Many treatises related to music systems are also found in Sanskrit Language. To learn music properly, every learner has to go through two paths – 1. Theoretical music (Ancient treatises) 2. Practical Music (which follows Guru Shishya tradition). Pandit Bhatkhande has given wonderful and helpful notation system to Indian Classical Music. With the help of it he has collected many Bandish from different people and made a large collection. This collection is known as Kramik Pustak Malika. (Parts 1 -6). All these six parts are having theory of 150 ragas divided Thata-wise, with introductory chapter on the general theory of music, besides a short description of every Raga, followed by Svar-vistar. They contain about 1000 traditional compositions including Pandit Bhatkhande’s own compositions which are about 300 in notation. To know the Raga deeply, one can refer the same book and can get many Bandish, Svar-vistar, information about Ragas, their descriptions given in Sanskrit treatises, Thata (थाट), Tala, etc. Therefore, Kramik Pustak Malika of Chatur Pandit is the treasure of Indian Music.

Two centuries after the release of Chrysanthos’ Εισαγωγή εις το Θεωρητικόν και Πρακτικόν της Εκκλησιαστικής Μουσικής, this treatise remains one of the most important sources of theoretical thought in the field of Greek Orthodox Ecclesiastical Music. Moreover, it is widely known that the theoretical essays of Chrysanthos played a catalytic role regarding the structure of the modal system of Octaechia, the formulation of the new Parasemantiki notation, as well as contemporary performance practices. Indeed, Chrysanthos’ contribution to the reformation of the notation system as well as the way he attributed the theoretical content of Ecclesiastical Music, influenced the entire theoretical thought that was produced, at least until the last decades of the 19th century[1]. Therefore, despite individual disagreements that were expressed within the psaltic milieu of the 19th century[2], almost all of the theoreticians who succeeded Chrysanthos based their thought on his fundamental principles. Thus, it is worth mentioning that in treatises that followed the Reform of 1814, repetitions are frequently detected, even of Chrysanthos’ points that could be considered as scientifically problematic[3].[1] See Νίκος Ανδρίκος, Η Εκκλησιαστική μουσική της Σμύρνης (1800-1922), (2015), 124.[2] About this issue, see Αντώνιος Χατζόπουλος, Η εκκλησιαστική μουσική παιδεία στην εκκλησία της Κωνσταντινουπόλεως κατά το 19ο και 20ό αιώνα, (2000); Αχιλλεύς Χαλδαιάκης, “Η διδασκαλία της Ψαλτικής Τέχνης: Παρελθόν, παρόν και μέλλον”, Βυζαντινομουσικολογικά, Τόμος Α΄, Θεωρία, (2014), 50-52.[3] Among others, the most indicative example was the repetition of Chrysanthos’ misguided calculation-measurement of the basic scale’s size. This issue became the reason of a wide discourse between important theoreticians of the 19th century through the daily and periodical press and led to the convocation of the Music Committee of 1881. See Ανδρίκος, 135-145.    

The paper describes an example of the vector control strategy applied to five-phase two-level inverters. Two base methods are discussed. The first one is based on the standard space vector transformation, while the other uses state vectors which enable the definition of the basic physical quantities of the inverter. The proposed notation system offers an universal simplification of vector identification. It comprises a standardized proposal of notation and vector marking. This tool may be really useful for the description of inverter states and makes it possible to reach correlation between state and space vectors. All vectors are defined by use of the same digits. The proposed mathematical tool has been verified during simulation tests performed with the use of the PLECS program.

In order to prove that the simplification process for arithmetic eventually reaches a simple proof, it is necessary to measure the complexity of proofs in a more sophisticated way than for the cut-elimination theorem. There, a pair of numbers suffices, and the proof proceeds by double induction on this measure. This chapter develops the system of ordinal notations up to ε0 which serve as this more sophisticated measure for proofs in arithmetic. Ordinal notations are presented as purely combinatorial system of symbols, so that from the outset there is no doubt about the constructive legitimacy of the associated principles of reasoning. The main properties of this notation system are presented, and it is shown that ordinal notations are well-ordered according to its associated less-than relation. The basics of the theory of set-theoretic ordinals is developed in the second half of the chapter, so that the reader can compare the infinitary, set-theoretic development of ordinals up to ε0 to the system of finitary ordinal notations. Finally, Paris-Kirby Hydra game and Goodstein sequences are presented as applications of induction up to ε0.

Butoh-Fu (Notasi Butoh) telah diciptakan oleh pengasas butoh, Hijikata Tatsumi (1928-1986) dan disusun oleh pelajarnya, Yukio Waguri (1952-2017) secara retrospektif. Butoh-Fu digunakan sebagai satu kaedah koreografi. Kaedah tersebut telah diperkenalkan kepada penari tempatan oleh Yukio Waguri sejak akhir tahun 2000-an. Artikel ini menerangkan perkembangan seni butoh khususnya di Semenanjung Malaysia dan menjelaskan peranan Butoh-Fu dalam pengkaryaan, melalui kajian kes produksi Reminiscence, The World of the Strange Tales (2013), di mana penulis terlibat sebagai penari. Data yang diperolehi melalui kaedah pemerhatian ikut serta, temu bual kumpulan dan refleksi kendiri telah diwacanakan untuk mengisi kekosongan mengenai perkembangan butoh dalam penyelidikan seni tari tempatan. Artikel ini turut mencadangkan bahawa memiliki satu sistem notasi yang dicipta dan diguna khas oleh komuniti pengamalan sendiri adalah berkesan dalam mempercepatkan pengenalan sesuatu genre tari, serta relevan dalam perakuan autoriti professionalisme.   Butoh-Fu (Butoh Notation) was created by the founder of butoh, Hijikata Tatsumi (1928-1986) and compiled by his student, Yukio Waguri (1952-2017) retrospectively. Butoh-Fu is used as a choreographic method. The method has been introduced to the local dancers by guru Yukio Waguri (1952-2017) since the late 2000’s. This article describes the development of butoh especially in peninsular Malaysia, and explains the role of Butoh-Fu in dance creation and performance, through stage production Reminiscence, The World of the Strange Tales (2013) as a case study, which I was involved as a dancer. Data obtained through the methods ofparticipant observation, group interviews and self-reflection were made as a discourse tofill in the absence of butoh’s development in local dance research. This article also suggeststhat a notation system that was created and used by its community of practitioners, isindeed effectively speed up the circulation of the dance genre and relevant to enhanceits authority of professionalism.

Vibrotactile stimulation can be used as a substitute for audio or visual stimulation for people who are deaf or blind. In order to do this, new tools must be developed and evaluated that support the creation and experience of vibration on the skin. In this paper, a vibrotactile composition tool, the “Beadbox”, along with the results of a user study will be described. Beadbox is a vibrotactile notation system and software tool, which helps users to create and record a vibrotactile art composition. It allows users to control the four essential vibrotactile technical elements: (1) frequency; (2) intensity; (3) temporal information; and (4) spatial information consists of how the vibrotactile signal is distributed on the human body. A user study designed to evaluate the usability and support for creative expression of Beadbox. Results from the user study indicate that the Beadbox is easy to use, and viable for vibrotactile composition.

Vibrotactile stimulation can be used as a substitute for audio or visual stimulation for people who are deaf or blind. In order to do this, new tools must be developed and evaluated that support the creation and experience of vibration on the skin. In this paper, a vibrotactile composition tool, the “Beadbox”, along with the results of a user study will be described. Beadbox is a vibrotactile notation system and software tool, which helps users to create and record a vibrotactile art composition. It allows users to control the four essential vibrotactile technical elements: (1) frequency; (2) intensity; (3) temporal information; and (4) spatial information consists of how the vibrotactile signal is distributed on the human body. A user study designed to evaluate the usability and support for creative expression of Beadbox. Results from the user study indicate that the Beadbox is easy to use, and viable for vibrotactile composition.

This study attempts to uncover what the recurring patterns of interaction in informal conversations are. It is also interested in finding out which recurring patterns of interaction dominate in informal conversations and how these recurring patterns of interaction play out in informal conversations. Data used in the study includes only recordings of naturally occurring conversations of close friends in informal settings. The researcher meticulously transcribed the data using the conventions proposed in the Jefferson Notation System. In Conversation Analysis (CA), transcription is part of data analysis. The transcription/analysis reveals that four main recurring patterns characterize informal conversations among friends: Adjacency Pairs, Topic Change, Figurative Language and Dysfluency. The study further reveals the fact that Adjacency pairs is a very dominant recurring pattern in friendly informal conversations. As a form of turn-taking, Adjacency pairs largely characterized the conversations compared to the other three recurring patterns. Finally, the study underscores the fact that friendly informal conversations stay focused on selected topics with very little or no change of topic. Mid-way between the little or no topic change and the dominance of Adjacency pairs are dysfluencies and rhetorical questions. Keywords: conversation analysis, recurring patterns, informal conversations, Jefferson notation system