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This study aims to determine consumer segmentation using KMeans Clustering in the case of SDTQ Cita Mulia elementary school students. The results of the study can be useful for preparing marketing strategies and sharpening the school's competitive advantages. The process consists of grouping consumer data based on several variables, which are student's gender, distance from home to school, age of student parents, parents' occupation and income, parents' education and the curriculum used by the previous school. After grouping the data, the initialization stage is carried out by giving an initial number. Then the clustering process is carried out. The resulting cluster will be analyzed to see the current Student profile. By studying the clusters formed, it helps us to determine school development policies, especially how marketing strategies can attract consumers in the middle cluster, namely those who have not joined us much but have the potential to be interested in our products. The result of the process there are four clusters with each cluster has specific persona name as follows: The first Cluster is the reachable distance with 5-6 km distance from the school, the second cluster in The long distance with 6 up to 28 Km distance from the school, the third cluster is the neighbor with just 3-4 km from school, and the forth cluster is the have this cluster persona has the highest parents income with the distance from school is 5- 6 Km. The largest distribution of members is cluster 3 followed by cluster 4. Meanwhile, cluster 1 is not too big yet but still looks potential, and the lowest is cluster 2, so from this data the target persona is in cluster 3, the Neighbor persona. [ABSTRACT FROM AUTHOR]

In Tagalog, consonant clusters are phonologically allowed and mainly found in loanwords from Spanish and English. However, their phonetic realization has not yet been studied while previous studies (Colantoni and Steele 2005; Kilpatrick et.al. 2006; Ramírez 2006) reported that a svarabhakti vowel has been observed between consonant clusters in Spanish and French. Thus, this research note claims that a svarabhakti vowel also occurs between consonant clusters in Tagalog based on an initial acoustic analysis conducted by Kurusu (2022a, 2022b). Although this is consistent with the findings of earlier works, not much has been said about its characteristics. Therefore, finally, this research note presents issues which should be studied in the future: (1) the phonetic environment where a svarabhakti vowel appears in Tagalog; (2) perception of a svarabhakti vowel by speakers, and; (3) universality of a svarabhakti vowel that appears between consonant clusters among languages in the world. [ABSTRACT FROM AUTHOR]

The article discusses Poemage, "a visualization system for exploring the sonic topology of a poem." Topics include a computational tool that identifies and visualizes complex sonic relationships in poems; focused on sound as a poetic device that could be looked at in its own terms and might be subject to quantification and therefore computer analysis; and the poets wanted to capture the progression of sonic clusters as they repeat in evolving combinations across syllables.

For the sake of cost-effectiveness, it is a conventional wisdom to employ (k + r, k) erasure codes to archive rarely accessed replicas, i.e. erasure-coded data archival. Existing researches on erasure-coded data archival optimizations are mainly aimed to reduce archival traffic within storage clusters. Apart from archival traffic, both non-sequential reads and imbalanced loads can deteriorate archival performance. Traditional distributed archival schemes (DArch for short) for randomly distributed replicas tend to suffer from two problems: (i) non-sequential reads because underlying file systems split a data block into multiple smaller data chunks and (ii) imbalanced loads since archival tasks are assigned according to data locality of replicas. To overcome such drawbacks, we incorporate both prefetching mechanism and balancing strategy into erasure-coded archival for replica-based storage clusters, and propose three new archival schemes: a prefetching-enabled archival scheme (i.e. P-DArch), a balancing-enabled archival scheme (i.e. B-DArch) and a prefetching-and-balancing-enabled archival scheme (i.e. PB-DArch). We implement a proof-of-concept prototype, where all the four archival schemes are deployed and quantitatively evaluated. The experimental results show that both the prefetching mechanism and balancing strategy can effectively optimize archival performance of a replica-based storage cluster exhibiting a random data layout. In a (12,9) RS-coded archival scenario, P-DArch, B-DArch and PB-DArch outperform DArch by a factor of 2.95, 1.72 and 3.85, respectively. [ABSTRACT FROM AUTHOR]

In this article the author informs about mature style of Finnish composer Einojuhani Rautavaara with modernistic devices, which features such as neoromantic textures, triadic and modal harmonies, aleatoric counterpoint, clusters, and serialism. It mentions about characteristic of Rautavaara's twelve-tone practices already in his first serial period around the turn of the 1960s.

In keeping with the spirit of this Special Issue, this article takes a retrospective view – analysing two decades of research on local, city-based cultural economies in the dominant context of the ‘creative industries’ policy paradigm. We begin by exploring our own position in the field – as early arbiters for the cultural industries – and the political and economic context which informed our own (shared) efforts to further progressive claims for culture, amidst the transforming post-industrial city of the 1990s. The subsequent rise of a creative industries discourse – in the United Kingdom and beyond – had a transformative effect on those progressive claims, not least in bringing to the fore a more economistic, capital-driven model of urban renewal which served to undermine many of the promises that had been invested in popular urban culture under social democracy. How this shift was played out in the academic literature – and its political consequences – is the theme of the remainder of the article. This article forms part of the Special Issue ‘On the Move’, which marks the 20th anniversary of the European Journal of Cultural Studies. It also heads up a special online dossier on ‘Creative Industries in the European Journal of Cultural Studies’. [ABSTRACT FROM AUTHOR]

For perpendicular magnetic recording media, integrated media noise power plotted versus linear density typically shows a linear rise at low densities, then plateaus over the mid density range, and sharply rises in a supralinear fashion at very high densities. Various proposed explanations of this behavior have been less than simple and direct. Here we give evidence and theoretical analyses to support the simple idea that granular clusters existing at low densities can be cut into smaller average cluster lengths by write heads having sufficiently high field gradients, thus accounting for the plateau behavior. Not only is the plateau noise behavior explained, along with nonlinear partial erasure, but also a new insight into the nature of noise and granular cluster results. [ABSTRACT FROM PUBLISHER]

It cannot be denied that Britain is normally seen as an awkward partner in EU affairs (George 1994), and in many ways the British have always been half-in: in the two-speed Europe slogan, Britain is seen as a slow traveller (Musolff 2004), as a member that makes slow progress, it if is at all on the European path. The purpose of this paper is to try and unveil, with evidence at hand, the sentiment of the British leaders with respect to the European Union. Interestingly, the current government includes both Conservatives and Lib-Dems leaders, and it is well known that the former have been, more often than not, against Europe whereas the latter are highly passionate about their pro-Europeanism. Interviews, statements and speeches proper are thus analysed and compared: first wordlists are generated, then keywords lists and finally key-clusters lists (Scott 2012), with the purpose of identifying "aboutgrams" (Warren 2010; Sinclair, Tognini Bonelli 2011), and see what the two governments have in common, but mostly what differentiates them with regard to the European Union, i.e. what is prioritized in one administration and was not in another, clearly signalling a change in priorities (Cheng 2004; Cheng et al. 2006; Cheng et al. 2009). The study is a diachronic analysis, in the attempt to see how previous discourses have been reinterpreted, given that forty years after joining the Union the British are still reluctant Europeans who still consider Europe "abroad", thus slowing the "ever-closer union" envisaged in the Treaty of Rome, and who still have been calling for referendums, even more so after the ratification of the Lisbon Treaty. [ABSTRACT FROM AUTHOR]

Obstruents in Russian have been claimed to assimilate in voicing in clusters when a sonorant consonant intervenes, e.g. ot mgly [dmg] ‘from the haze’. This phenomenon (‘sonorant transparency to voice assimilation’) is controversial: it is claimed to be a phonological rule of fast speech by some linguists, while its existence is denied by others. Previous studies have shown that voicing in presonorant obstruents (C1) in Russian is consistent with that of prevocalic obstruents in slow speech; however, no research has examined whether voicing in presonorant obstruents changes either as a function of the voicing of the rightmost (C2) obstruent in a cluster or in faster speech. This paper presents experimental results supporting the claim that the voicing of C2 obstruents does not affect voicing in presonorant C1 obstruents in slow or fast speech. The results suggest that obstruents do not assimilate through a sonorant in obstruent–sonorant–obstruent clusters in Russian. [ABSTRACT FROM AUTHOR]

The article discusses the use of chordal identification which can be used in both pop-rock music and classical music theory. The author describes a method in which every sonority should be considered a genuine chord and covered the various levels enabling difference between sonorities. He suggests categorizing chordal identification based on temporal location, color, Roman numeral, function and hierarchical position.

The article provides an overview of student repertoire integrating non-traditional notation and unconventional playing techniques. It discusses tone clusters, indeterminacy, unmeasured notation, sympathetic vibrations, inside-the-piano techniques, and auxiliary sounds. It illustrates notational practice in artist-level literature and compares it to notational tendencies in student literature and their pedagogical worth.

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ABSTRACT Leonid Sabaneyev attested that Skryabin's compositions contained within them 'a science of tonal love', and Skryabin himself described his two Op. 57 pieces - Désir and Caresse dansée- as 'new ways of making love'. But what makes this music so erotic in nature? The composer theorised about the nature of desire and sexuality in his writings, but this discussion rarely spills over into analysis of his compositional system. Given that Skryabin was so steeped in psychology throughout his life, I appeal to the work of Freud and Jacques Lacan, and particularly to their distinction between drive and desire (essentially, the fundamental instinct of the id versus its imaginary representation), a distinction found in Skryabin's own philosophical writings. But the progression between these two states bears comparison with both his philosophy and his harmonic processes, and I thus focus on the function of the dominant chord, exploring ways in which it can replicate the structures of drive and desire. In so doing, I scrutinise several piano miniatures to show that part of Skryabin's method of embodying drive in music lays out ambiguous chord structures which bear simultaneous tendencies to move in a number of different directions, as multivalent as the drive in the human subject. Further, I attempt to show that, out of mystical sonorities, Skryabin temporally unfolds a dialogue of different dominant 'drives', and eventually selects and nurtures a single one at the expense of others, a motion equivalent to desire. [ABSTRACT FROM AUTHOR]

This work assessed relationships among intraoral pressure (IOP), electropalatographic (EPG) measures, and consonant sequence duration, in the following obstruents, clusters, and affricates of German: /t/, /[sh]/, /[sh]t/, and /&teshlig;&ligtieb;/. The data showed significant correlations between IOP and percentage of articulatory contact (PC) for all speakers, whereas duration and place of articulation (measured by the EPG center of gravity) contributed less to IOP changes. Speakers differed in the strength of this relationship, possibly reflecting differences in vocal tract morphology or degree of laryngeal abduction. Single-point EPG and IOP measures in fricatives showed consistent correspondences across consonantal contexts, but the relationships for the stops were more complex and reflected positional effects. Temporal compression was observed for both members of the cluster, but only the fricative portion of the affricate. Conversely, coarticulation was observed for both the stop and fricative portion of the affricate, but only for the stop portion of the cluster, possibly reflecting biomechanical constraints. No clear differences were observed in coarticulatory resistance for stops and fricatives. These data contribute to a limited literature on articulatory-aerodynamic relationships in voiceless consonants and consonant sequences, and will provide a baseline for considering longer combinations of obstruents. [ABSTRACT FROM AUTHOR]

The evidence that cochlear implant listeners routinely experience stream segregation is limited and equivocal. Streaming in these listeners was explored using tone sequences matched to the center frequencies of the implant’s 22 electrodes. Experiment 1 measured temporal discrimination for short (ABA triplet) and longer (12 AB cycles) sequences (tone/silence durations = 60/40 ms). Tone A stimulated electrode 11; tone B stimulated one of 14 electrodes. On each trial, one sequence remained isochronous, and tone B was delayed in the other; listeners had to identify the anisochronous interval. The delay was introduced in the second half of the longer sequences. Prior build-up of streaming should cause thresholds to rise more steeply with increasing electrode separation, but no interaction with sequence length was found. Experiment 2 required listeners to identify which of two target sequences was present when interleaved with distractors (tone/silence durations = 120/80 ms). Accuracy was high for isolated targets, but most listeners performed near chance when loudness-matched distractors were added, even when remote from the target. Only a substantial reduction in distractor level improved performance, and this effect did not interact with target-distractor separation. These results indicate that implantees often do not achieve stream segregation, even in relatively unchallenging tasks. [ABSTRACT FROM AUTHOR]

The article elaborates the Italian vowel clusters and clusters at the phrasal level in singing. The clusters of more than two vowels and clusters at the phrasal level are viewed as combinations or extensions of categories including falling diphthong, rising diphthong, hiatus, unstressed diphthong, and orthographic clusters that result in a single pure vowel. It discusses the music of Wolfgang Amadeus Mozart to illustrate the spirit and method involved when deciding upon specifics of text underlay with lexical and phrasal vowel clusters.

MUSIC THEORISTS OFTEN PRESUME that the sections of a musical masterwork match organically, enhancing unity and value. This "inner form" should be distinguished from coherence associated with inter-opus constraints, such as conventional forms. Studies indicate that violating inter-opus constraints hardly affects listeners' aesthetic judgments. Here we examine how violating inner form affects such judgments. Musically trained and untrained listeners heard the intact opening movements of Mozart's piano sonatas, K. 280 and 332, as well as hybrids mixing sections from these two movements while maintaining overall form and tonal structure. Participants rated originals and hybrids on aesthetically relevant scales (e.g., liking, coherence, interest), after a single hearing and following extended exposure. Results show no significant preference for originals, even after repeated hearings. Music training tended to enhance preference for hybrid over original. Thus, inner form and its supposed organic unity, presumed tenets of musical genius, may not affect listeners' evaluation. [ABSTRACT FROM AUTHOR]

The article provides information on consonant clusters in German language. The author notes that many consonant clusters surpass syllable and word boundaries in which lengthy clusters are encountered particularly in German language. She stresses that the tendency for compound words in German language creates various combinations within polysyllabic words wherein some of them replicate the phoneme combinations of syllable-interior clusters. Furthermore, German consonants have the ability to express strong emotional states and dramatic moments while German opera and poetry contain articulative challenges in singing.

The article reports on the use of uniform triadic transformations (UTTs) as a technique in analyzing the twelve-tone music of Anton Webern. UTTs are formulated to act on triads. They have two signs namely mode-preserving or positive sign and the mode-reversing or negative sign. They describe the relationships among the row labels and the transformational labels appearing in multiple coordinate systems or tones. They are also made up of eight isomorphism classes describe as K-groups containing 12-cycles.

The goal of this paper is twofold. First, it discusses the tonal systems of several Chinese languages within the framework of the Theory of the Contrastive Hierarchy (Dresher et al. Toronto Working Papers in Linguistics 13:3–27, 1994; Dresher Talk Presented at Meeting of the Canadian Linguistics Association, University of Ottawa, 1998, Toronto Working Papers in Linguistics 20:47–62, 2003a, Asymmetry in grammar: Morphology, phonology, acquisition. Amsterdam, Netherlands: Benjamins, Vol. 2, pp. 239–257, 2003b). In particular, this paper demonstrates that disparities between phonetic characteristics of tones and their phonological activity can be understood as a kind of underspecification that the Contrastive Hierarchy affords. The second goal of this paper is to propose an analysis in which contour tones in Chinese languages generally are represented as unitary entities rather than as a concatenation of level tones (Tone Clusters). This contrasts with the tonal systems found in African languages, in which contour tones are demonstrably composed of level tones. Thus, this paper argues for the existence of two types of contour tones in natural language: unitary contour tones and Tone Clusters. [ABSTRACT FROM AUTHOR]

This article discusses the historical antecedents and developing descendants of the bell chords. Bell chords refer to the dominant-seventh chords whose roots are separated by multiples of interval 3, the minor third. Bell chord is considered as the most ambiguous of the essential tonal resources in classical harmonic progression. The two kinds of harmony are the diminished-seventh cord and the family of augmented sixth relationship.

In this paper, a new method, using the Sammon map, is proposed for visualizing room responses and room response equalization. Specifically, the map provides an important perspective on the formation of clusters of acoustic room responses when cluster validity measures are unable to clearly identify the number of clusters. Additionally, the Sammon map can also be used for displaying the uniformity of the equalized responses at multiple positions. Furthermore, the map does not impose significant computational requirements, when the number of measured responses is reasonably small, and hence can be readily implemented for analyzing multiple position (viz., multiple listener) room equalization performance. [ABSTRACT FROM AUTHOR]

In this article, the author looks at how choral works of Eric Whitaker are constructed. The author asserts that the composer's choral compositions defy traditional harmonic analysis because of the frequent use of altered and embellished triads, tone clusters, and non-traditional voice leading into and out of dissonant sonorities. The author created 10 rules that he applies to Whitaker's music, to determine the vertical figures whose density can then be isolated and measured.

The article examines the works of musical composer Johann Sebastian Bach, particularly his keyboard music. It explains such topics as acciaccaturas or crushed stroke, broken chords, and inverted mordents. Among the featured works of Bach are "A-Minor English Suite," "Goldberg Variations," and the "Italian Concerto." Also cited is the book "The Interpretations of Bach's Keyboard Works," by Erwin Bodky.

Western musicians traditionally classify pitch sequences by disregarding the effects of five musical transformations: octave shift, permutation, transposition, inversion, and cardinality change. We model this process mathematically, showing that it produces 32 equivalence relations on chords, 243 equivalence relations on chord sequences, and 32 families of geometrical quotient spaces, in which both chords and chord sequences are represented. This model reveals connections between music-theoretical concepts, yields new analytical tools, unifies existing geometrical representations, and suggests a way to understand similarity between chord types. [ABSTRACT FROM AUTHOR]

The article reviews the music release "Clusters," by Hubert Howe.