著者

米谷 均

出版者

北大史学会

雑誌

北大史学 (ISSN:04410874)

巻号頁・発行日

no.55, pp.88-111, 2015-12-20

著者

村上 枝彦

出版者

日本教科教育学会

雑誌

日本教科教育学会誌 (ISSN:02880334)

巻号頁・発行日

vol.2, no.1, pp.123-132, 1977-10-31

---

Investigatng Science with ChildrenはNSTA(合衆国理科教育連合体)がNASAのもとにプロジェクトチームを作り,初等教育における理科教育の進歩のために編さんされたもので,1. Living Thing, 2. The Earth, 3. Atoms and Molecules, 4. Motion, 5. Energy in Waves, 6. Spaceの全6冊からなり,それぞれA-4版90〜100ページのものである。本論文はその即成の基本理念を紹介するとともに,特に化学と関係の深いAtoms and Moleculesにある64の単元(実験例)から各章ごとに1単元を選び,4単元について紹介する。

著者

AIDA Takeshi

出版者

GRIPS Policy Research Center

雑誌

GRIPS Discussion Papers

巻号頁・発行日

vol.16-02, 2016-05

---

This study investigates how pesticide use by neighboring farmers affects a given farmer’s pesticide use. Although it is common knowledge that pesticide use has spatial externalities, few empirical economic studies directly analyze this issue. Applying the spatial panel econometric model to the plot-level panel data in Bohol, the Philippines, this study shows that the pesticide use, especially for herbicides, is spatially correlated although there is no statistically significant spatial correlation in unobserved shocks. This implies that farmers apply pesticides by mimicking neighboring farmers’ behavior rather than rationally responding to the intensity of infestation.

著者

上田 知寿子 UEDA Chizuko

出版者

日本医学図書館協会

雑誌

医学図書館 (ISSN:04452429)

巻号頁・発行日

vol.62, no.4, pp.251-253, 2015-12 (Released:2016-04-07)

---

Since 2013,Nagoya University have been borne part of the ILL cost. While it have changed the contract of e-journal of Elsevier from package to individual title base in 2014. Due to the change,the number of request of literature has been significantly increased at Nagoya University Medical Library. This document is the research and analysis for the impact of e-journal contract change to the request frequency for ILL.

著者

山中 速人

出版者

日本社会学会

雑誌

社会学評論 (ISSN:00215414)

巻号頁・発行日

vol.66, no.4, pp.553-555, 2015

著者

山岡 武邦

出版者

日本理科教育学会

雑誌

日本理科教育学会四国支部会報 (ISSN:09152768)

巻号頁・発行日

no.29, pp.24-25, 2010-12-11

著者

東田 範子

出版者

北海道大学スラブ研究センター

雑誌

スラヴ研究 (ISSN:05626579)

巻号頁・発行日

no.46, pp.1-32, 1999

---

Since the time of the Russian Empire, Kazak(Qazaq) music had been described as "folk music" by scholars and musicians, and under Soviet rule, it was to be developed to create a part of the Kazak national culture. The author describes the process of the formation of Kazak national music and its systematization in the first half of the Soviet period. To understand the changes in Kazak musical culture in the Soviet period, it is important to survey the course of Russian nationalism in the 19th century; which served as a model for the formation of Kazak national music. In Russia, Iike in other countries on the periphery of Europe, there had been interest in folk culture since the middle of the 18th century; and folk songs and music were transcribed in musical notation and arranged by composers and scholars. So-called Russian nationalist school w as established in the history of European music, and composers did not simply quote Russian folk music in their works with European harmonization. At that time, it became a common practice for composers to publish "collected folk songs" -- a term which was applied to their own arrangements of songs with piano accompaniment. The worth of folk songs was appreciated only when they were given arrangements or harmonization, thus transformed by composers into works of art. Folk music was always subsidiary to "art music" or "universal music" -- i.e., European Classical Music. Another source of material to be transformed into works of art in Russia was the musical traditions of foreign peoples. Their motifs were inlaid in many works by Russian composers, and they evoked not only exotic but also imperialistic and patriotic feelings for Russia. The music of foreign peoples was also considered as "folk music," whether it be their ritual music or court music. On the other hand, Russian folk music was transformed in the process of staging it. In the 1880s, V. V. Andreev "improved" Russian folk musical instruments, giving them frets and adding strings to permit the playing of more "complicated" European works. He made instruments of different sizes and registers, and these were organized into the orchestra of Russian folk musical instruments. This orchestra became instantly popular, and stimulated formation of similar ensembles. The collection of folk music and its publication was of interest not only to musicians but to Russian ethnographers. Ethnographic research institutions formed special commissions for folk music research, which included composers, musicologists, and music critics, as well as ethnographers. They undertook the systematic collection and study of Russian and foreign music, and published the results. Kazak music was also transcribed in this tradition. Beginning in the first half of the 19th century; it was recorded in linear notation. Many of the transcribers of Kazak music were professional or semi-professional musicians or ethnographers well-grounded in music, and some of them did arrangements in the manner of the Russian composers. Meanwhile, Kazaks did not write their own music into notation until 1931. Since they had transmitted tr mheiusical heritage in an entirely oral-aural w ay, the idea of visual recording of music was unfamiliar for them. It is natural that they might have come into contact with Russian music and with European music through the Russians, as a result of their long history as neighbors. A few Kazaks at that time actually read and wrote European notation. But most people simply received the music by ear, not by a European notation system, and they never attempted transcription of Kazak music. Unlike Kazak literature, which was transformed eclectically to meet the demands of the coming new age, such transformation of Kazak music was not possible without transcription. In early Soviet ideology, the culture of the Kazaks was seen not as "national culture," but as "folk culture." Folk culture was to be collected and recorded to educate and enlighten the people. They were expected to gradually adopt "universal culture," supplemented with their own folk elements. In 1920, when the Kirgiz [Kazak] ASSR was established, the government decided to undertake the collection of Kazak folk music as a state project. As the key person responsible for this task, the government appointed A. V. Zataevich, who had come from Russia. Since he once wished to be a professional composer, Zataevich had been interested in Kazak music before his offircial appointment, and he had himself already begun transcription and arrangements of the music. His personal purpose was to create new art music by using the motifs and melodies of Kazak music in his works as was done by the Russian composers whom he admired. Thus the aims of the government and those of Zataevich diverged, but they were basically in agreement on the ultimate purpose of contributing to "universal art music" -- one by educating Kazak people, and the other by trying to bring new possibilities to art music. Another program pursued by the government and Zataevich was the "improvement" of Kazak musical instruments and the organization of ensembles according to the Russian model. Improvement meant increasing the volume of the sound of instruments for performance on stage, increasing the number of frets and strings, and so on. This program was initiated after 1928, and took shape in the 1930s. After the concept of the socialistic realism was formulated in the 1930s, folk culture was required to be "national in the form and socialistic in the content" through "development" in a Soviet socialistic way. In Kazak music, this development was to be realized through professionalization and popularization. Now Kazak musicians had to become "professional" by being educated in public institutions which were opened in rapid succession, and by playing the improved Kazak instruments in orchestras using notation. Education in institutions was conducted only by these "professional" musicians, and the traditional form of Kazak musical culture was designated as amateurism. It was only "professional folk music" that could become "Soviet-Kazak national music." The first institution of higher musical education in Kazak SSR was the Musical-Dramatic Training College, founded in 1932. The government appointed A. Jŭbanov to direct this College. Jŭbanov was the first Kazak that learned European music in Russia (Leningrad), and he was an expert in Kazak musical culture, as well. In the College, he played a leading role in the transcription and arrangement of Kazak music, in the reconstruction of Kazak musical instruments, and in musical education. He and colleagues transcribed a large number of Kazak songs and melodies into staff notation. They were arranged to create "art music", and to provide a repertoire for the Orchestra of Kazak Folk Musical Instruments which was established in 1934. Kazak instruments were "improved" by Russian masters who had previously worked with orchestras and ensembles of Russian folk musical instruments. The Orchestra of Kazak Folk Musical Instruments began to use a notation system for performing arranged European Classical pieces, but there were great difficulties for Kazak musicians both in the polyphonic performance style of the orchestra and in using the linear notation system. In this way, the professionalism of Kazak folk music was developed despite various difficulties. Furthermore, this professionalism was supported by musicological research. Jŭbanov began to write the biographies of past Kazak musicians, and formulated the concept of "the history of Kazak music." The first comprehensive work on the history of Kazak music was written by Jŭbanov, entitled "The Lives and Works of Kazak Composers." This book apparently follows the history of masters of European music in its manner of historical and biographical writing. We see that Jtibanov attempted to show the autonomous and independent worth of Kazak music -- by both denying and allowing the application of European terms to Kazak music. Simultaneously, though, this autonomy of Kazak musical culture was considered as a thing of the past, and in this regard was unlike Soviet-Kazak professional folk music. In this way, Kazak folk music was "developed" into Soviet national music through systematization and institutionalization. As national music was seen to have these indispensable characteristics, traditional forms of Kazak music were relegated to the realm of folk music, which was associated with "simplicity" and "amateurism".

著者

水津 嘉克 佐藤 恵

出版者

日本社会学会 ; 1950-

雑誌

社会学評論 = Japanese sociological review (ISSN:00215414)

巻号頁・発行日

vol.66, no.4, pp.534-551, 2016

著者

櫻井 泉 下野 学 今野 繁基 水野 勝彦 成田 伝彦

出版者

公益社団法人日本水産学会

雑誌

日本水産学会誌 (ISSN:00215392)

巻号頁・発行日

vol.70, no.1, pp.1-7, 2004-01-15

---

垂下養殖したホタテガイの成長に及ぼす流向・流速の影響を北海道鹿部町沖と増毛町沖で調べた。鹿部では前縁を北北西に向けて垂下した貝の成長が最も大きく,後縁を北北西に向けて垂下した貝の成長が最も小さい値を示した。増毛では前縁を南西と北西に向けて垂下した貝の成長が最も大きい値を示した。一方,鹿部では南東〜南流,増毛では北東〜東南東流が卓越し,流速は両海域とも概ね10cm/s以下で占められた。以上の結果から,特定方向の卓越流が存在すれば,垂下の向きによって養殖貝の成長に差が生ずることが示唆された。

著者

藤原 勝紀

出版者

日本教育心理学会

雑誌

日本教育心理学会総会発表論文集

巻号頁・発行日

no.41, 1999-07-15

著者

松島 敏春

出版者

一般社団法人 日本内科学会

雑誌

日本内科学会雑誌 (ISSN:00215384)

巻号頁・発行日

vol.91, no.10, pp.2965-2969, 2002-10-10 (Released:2008-06-12)

著者

倉片 憲治

出版者

The Institute of Noise Control Engineering of Japan

雑誌

騒音制御 (ISSN:03868761)

巻号頁・発行日

vol.25, no.1, pp.13-16, 2001-02-01 (Released:2009-10-06)

参考文献数

7

著者

鈴木 恵祐 塚本 充紀 永井 二郎

出版者

一般社団法人日本機械学会

雑誌

熱工学コンファレンス講演論文集

巻号頁・発行日

vol.2013, pp.329-330, 2013-10-18

---

A new type of heat pipe, called BACH (Bubble-Actuated Circulating Heat pipe), was revised so as to be capable of both top-heat mode and bottom-heat mode by valve switching. In this research, heat transport characteristics of the BACH between underground and ground surface were measured experimentally. The working fluid was R134a. The obtained results show that at bottom-heat mode, BACH can transport heat of 200W maximum, while it can transport heat of 300W maximum at top-heat mode. The heat transport characteristics were affected by underground length and cooling method of intermediate cooled section, and in general the underground length 4m was optimal.

出版者

MOA美術館

巻号頁・発行日

1994

著者

木村 明史

出版者

歴史教育史研究会

雑誌

歴史教育史研究 = Journal for Historical studies in History Education (ISSN:13487973)

巻号頁・発行日

no.12, pp.1-17, 2014-12-31

著者

小菅 圭介 佐藤 規男

雑誌

情報処理学会論文誌プログラミング(PRO) (ISSN:18827802)

巻号頁・発行日

vol.2, no.3, pp.60-60, 2009-07-10

---

Python あるいは Ruby のようなスクリプト言語のデバッガは,コールバック関数指定時に,インタープリタが line,call,return などのトレースイベントを通知するために起こすコールバックを解析することにより,ブレークやステップなどのデバッグイベントを検出する.しかし,トレースイベントごとのコールバックは,デバッギの仮想マシンコードの実行速度を 2 桁あるいは 3 桁オーダで著しく低下させてしまうという欠点がある.これは,大規模プログラムの効率良いデバッグの妨げとなる.そこで,インタープリタが提供すべき新しいデバッガサポートを提案する.このサポートでは,基本的にコールバックの生成は何らかのデバッグイベントをインタープリタ内部で検出したときのみに限定する.このサポートを利用すると,デバッギコードをほぼフル速度で実行したまま,デバッグイベントを検出することができる.我々はこのサポートとデバッガを CPython インタープリタと我々がオープンソースとして提供している非同期型デバッガ Dionea に実装した.TurboGears の Depot システムで実験した結果,デバッギのほぼフルスピードの走行とデバッガ反応速度の飛躍的向上を確認した.Debuggers for scripting languages such as Python or Ruby detect the debug events such as break or step hit by analyzing the callbacks that are raised by the interpreter to report the trace events such as a new line, call and return. A drawback of the callback for each trace event is to slow down the execution speed of the debuggee virtual machine code seriously by two or three orders of magnitude. This prevents efficient debugging for large programs. We therefore propose a new debugger support that the interpreter should provide, with which the callback is raised basically when and only when some debug event is detected inside of the interpreter. Using this support, the debugger can detect the debug events while the debugged code is running almost at full speed. We have implemented the proposed support in the CPython interpreter and applied it to the asynchronous debugger Dionea which we deliver as an open source project. A measurement using test programs and a TurboGears Depot system shows almost full speed execution of the debugee and remarkable response time improvement of the debugger.

著者

岡田 和夫 印南 比呂志 小杉 功

出版者

日本蘇生学会

雑誌

蘇生 (ISSN:02884348)

巻号頁・発行日

vol.34, no.1, pp.1-7, 2015-04-15 (Released:2015-05-21)

参考文献数

47

---

蘇生学の進歩は著しいが,次々と登場する新しい手法を基礎的な見地から見直してみたいと思い,Microsphere法による血流分布について我々がこれまでに行った成績から検討したのが本稿である。この研究がなされた頃は“救命の連鎖”の概念もなく,基礎的な研究に裏打ちされた手法ばかりとは限らないとの思いを持ってきた。 心拍出量の増減だけが蘇生の基本ではなく,減少した心拍出量でもshock時では重要臓器への血液配分が増える機序で,生体は侵襲に対して耐えるようになっている。このような血液配分がどのように変わっているのかについて,過換気時,心マッサージ施行時,低体温療法施行時,アドレナリンなどの血管作動薬投与時で研究した成績を血流分布という見地で横断的にまとめてみた。

著者

野崎 昭弘

出版者

京都大学数理解析研究所

雑誌

数理解析研究所講究録 (ISSN:18802818)

巻号頁・発行日

vol.270, pp.53-59, 1976-04

著者

國田 祥子 中條 和光

出版者

広島大学大学院教育学研究科心理学講座

雑誌

広島大学心理学研究 (ISSN:13471619)

巻号頁・発行日

no.9, pp.27-35, 2009

被引用文献数

1

---

携帯電話のディスプレイ上で読まれている, いわゆるケータイ小説の書式は, 改行が多く, センテンスが短めであるといった特徴があり, 一般的な小説の書式と大きく異なっている。このような書式の特徴は, 携帯電話のディスプレイで文章を読みやすくするために経験的に編み出されたと言われている。しかし, 実際にその書式が読み手に対してどのような効果を持っているのかは調べられていない。本研究では, 携帯電話のディスプレイと紙面において, ケータイ小説を模した書式(ケータイ書式)と一般的な書式(一般書式)で小説を呈示し, 読み時間測定, 読みやすさ評定, 文章の印象評定を行った。その結果, 携帯電話で読んだ場合はケータイ書式の方が読み時間が短く, 読みやすいと評定されたが, 紙面で読んだ場合は差が見られなかった。また印象評定の結果から, 携帯電話で読んだ場合はケータイ書式の方がやわらかく積極的で活発, もしくは明るく派手な印象を与えるのに対し, 紙面で読んだ場合はケータイ書式の方が消極的で静かで不活発で地味な印象を与えることが見いだされた。以上の結果から, ケータイ書式は携帯電話での文章呈示における工夫として有効であることが示された。

著者

深谷 拓吾 小野 進 水口 実 中島 青哉 林 真彩子 安藤 広志

出版者

情報処理学会

雑誌

研究報告ヒューマンコンピュータインタラクション(HCI) (ISSN:18840930)

巻号頁・発行日

vol.2011, no.3, pp.1-8, 2011-01-14

---

電化製品等のマニュアル作成業務において,文章やイラストの校正は必須の作業フローである.従来,校正は紙上で行われていたが,省資源化の観点から,電子メディア上へと移行しつつある.本研究はマニュアル作成業務における電子校正のパファーマンスについて実証的に検証する.マニュアル作成業務従事者 15 名を対象に,紙上と液晶ディスプレイ上で英語文章を他言語文章と照応する校正実験を行った.校正作業ログから,拡大操作など電子校正に特有の機能が校正ミスを誘うことが明らかになった.結果をもとに電子校正での校正率向上へ向け提案を行う.This study examined the performance of proofreading manual presented on a LCD, relative to performance with print on paper, in order to improve electronic proofreading. fifteen professional proofreaders proofread four manuals printed in Spanish, French, Portuguese and Italian, and their performances and errors were investigated in both paper condition and LCD condition. It was found that the zooming action sometimes cause a proofreader's error when the text was presented on the LCD. The implications of this for improving electronic proofreading is discussed.