title: Effect of contextual information on object tracking

authors: Hedayati, Mohammad

subjects: video analysis

abstract: Local object information, such as the appearance and motion features of the object, are useful for object tracking in videos provided the object is not occluded by other elements in the scene. During occlusion, however, the local object information in the video frame does not properly represent the true properties of the object, which leads to tracking failure. We propose a framework that combines multiple cues including the local object information, the background characteristics and group motion dynamics to improve object tracking in challenging cluttered environments. The performance of the proposed tracking model is compared with the kernelised correlation filter (KCF) tracker. In the tested video sequences the proposed tracking model correctly tracked objects even when the KCF tracker failed because of occlusion and background noise.

text: Effect of contextual information on object tracking Local object information, such as the appearance and motion features of the object, are useful for object tracking in videos provided the object is not occluded by other elements in the scene. During occlusion, however, the local object information in the video frame does not properly represent the true properties of the object, which leads to tracking failure. We propose a framework that combines multiple cues including the local object information, the background characteristics and group motion dynamics to improve object tracking in challenging cluttered environments. The performance of the proposed tracking model is compared with the kernelised correlation filter (KCF) tracker. In the tested video sequences the proposed tracking model correctly tracked objects even when the KCF tracker failed because of occlusion and background noise.

year: 2017

title: František Jiránek and the Italian connection:  A study of the influence of Antonio Vivaldi on the  bassoon concertos of František Jiránek

authors: Bradfield, Craig Anthony

abstract: The concertos of Antonio Vivaldi rapidly transformed not only Venetian and Italian music but influenced composers across the rest of Europe as well. The older generation of composers felt the need to integrate at least some of the features of the new and malleable Vivaldian ritornello model into their own works, and the younger generation simply fell completely under the inspiring composer's spell. Vivaldi's influence relied on his reputation as a virtuoso performer, Venice's cultural standing and, in particular, the rapid dissemination of his publications throughout Europe. 
Vivaldi scholar Michael Talbot and musicologist Václav Kapsa have accrued a large amount of research on Vivaldi and Jiránek's lives, works and influence but have not spent a lot of time on the composer's bassoon concertos specifically. Inspired by their work, I have been able to create a clear image of both composers' surroundings, influences, and possible motivations to extrapolate my theories regarding the Jiránek bassoon concertos and his relationship with his teacher Vivaldi.
This thesis is presented in six chapters, alongside performance editions of Jiránek's four extant bassoon concertos (including the two incomplete works) and a recording of a performance of the two complete concertos (KapM Jiranek 18 in F major and KapM Jiranek 21 in G minor), and two by Vivaldi (RV 496, and RV 501). 
Chapter 1 sites the study in the well-traversed area of Vivaldi scholarship, surveys the literature and introduces the purpose and processes of the thesis. Chapter 2 provides a detailed overview of the musical life of Bohemian composers of the early eighteenth century, the esteemed musical court of Count von Morzin, and Vivaldi's connection with it. Chapter 3 introduces František Jiránek and highlights his time as a student of Vivaldi. Chapter 4 considers the dominant galant aesthetic of the Bohemian courts and provides a discussion of rhetorical elements. Chapter 5 is a descriptive analysis, after John White, of the first movements of four bassoon concertos, each by Vivaldi and Jiránek. Chapter 6 presents findings and conclusions.
During the 1720s, Vivaldi moved away from the earlier 'classic' concerto form of the 1710s creating a more flexible and inventive model. Unlike many of Vivaldi's followers who were influenced by the composer's earlier concertos, it is clear by the information gathered in this research that Jiránek followed his master's lead and composed in a similarly flexible way. The specific formal and motivic characteristics that have been identified here show that Jiránek used a vast array of these Vivaldian traits (such as compositional frameworks, orchestration, and phrasing) effortlessly, which he combined with an impressive working knowledge of the instruments he was writing for, comparably to his teacher, in a very idiomatic way.

text: František Jiránek and the Italian connection:  A study of the influence of Antonio Vivaldi on the  bassoon concertos of František Jiránek The concertos of Antonio Vivaldi rapidly transformed not only Venetian and Italian music but influenced composers across the rest of Europe as well. The older generation of composers felt the need to integrate at least some of the features of the new and malleable Vivaldian ritornello model into their own works, and the younger generation simply fell completely under the inspiring composer's spell. Vivaldi's influence relied on his reputation as a virtuoso performer, Venice's cultural standing and, in particular, the rapid dissemination of his publications throughout Europe. 
Vivaldi scholar Michael Talbot and musicologist Václav Kapsa have accrued a large amount of research on Vivaldi and Jiránek's lives, works and influence but have not spent a lot of time on the composer's bassoon concertos specifically. Inspired by their work, I have been able to create a clear image of both composers' surroundings, influences, and possible motivations to extrapolate my theories regarding the Jiránek bassoon concertos and his relationship with his teacher Vivaldi.
This thesis is presented in six chapters, alongside performance editions of Jiránek's four extant bassoon concertos (including the two incomplete works) and a recording of a performance of the two complete concertos (KapM Jiranek 18 in F major and KapM Jiranek 21 in G minor), and two by Vivaldi (RV 496, and RV 501). 
Chapter 1 sites the study in the well-traversed area of Vivaldi scholarship, surveys the literature and introduces the purpose and processes of the thesis. Chapter 2 provides a detailed overview of the musical life of Bohemian composers of the early eighteenth century, the esteemed musical court of Count von Morzin, and Vivaldi's connection with it. Chapter 3 introduces František Jiránek and highlights his time as a student of Vivaldi. Chapter 4 considers the dominant galant aesthetic of the Bohemian courts and provides a discussion of rhetorical elements. Chapter 5 is a descriptive analysis, after John White, of the first movements of four bassoon concertos, each by Vivaldi and Jiránek. Chapter 6 presents findings and conclusions.
During the 1720s, Vivaldi moved away from the earlier 'classic' concerto form of the 1710s creating a more flexible and inventive model. Unlike many of Vivaldi's followers who were influenced by the composer's earlier concertos, it is clear by the information gathered in this research that Jiránek followed his master's lead and composed in a similarly flexible way. The specific formal and motivic characteristics that have been identified here show that Jiránek used a vast array of these Vivaldian traits (such as compositional frameworks, orchestration, and phrasing) effortlessly, which he combined with an impressive working knowledge of the instruments he was writing for, comparably to his teacher, in a very idiomatic way.

year: 2023

title: Ko te reo i Te Rarawa: Pēhea rainī te tūāhua reo o ngā mātua tūpuna i Pukepoto

authors: McGrath, Daniel

abstract: Ko te reo Māori, ko te reo ā-iwi, ko te mita o te reo; ko tēhea te mea nui? Mai anō tēnei tohe, ko tēhea ko runga, ko tēhea ko raro. He tinitini nei anō ngā rangahau mō te reo Māori, mō ngā rautaki whakaora i te reo Māori. Erangi pēhea mai ana te reo ā-iwi? I te mahi nui whakaharahara ki te whakaora i te reo Māori e noho ana tērā kaupapa hei aronga matua. E kite mārika ana i ngā hua o aua mahi, hoi anō te reo ā-iwi, te hanga nei, i paria ki rāhaki. Nā, i ngā tau tata nei anō, kua kitea rawatia te wheinu o ngā uri whakaheke, o ngā mokopuna o ngā iwi ki te ako i ō rātou mita, otirā i te reo ā-iwi.
Hoi anō tēnei kaupapa rangahau he mea whakapiripiri ki ngā rangahau mō te reo Māori, waihoki mō te reo ā-iwi. E āta mātai atu ana te titiro ki te reo ake anō o Te Rarawa, otirā ki te reo o ngā kaumātua i noho ai i Pukepoto. Ko ngā whāinga matua o te rangahau kia kitea pēnā rainī he patanga wō te reo i te kāinga ki te mana, ki te ahurea o te tangata, ka tahi. Ka rua, kia huraina mai ai ngā āhuatanga motuhake o te reo o Te Rarawa, otirā, o te reo i Pukepoto. I runga i tērā, ko te pātai matua o te rangahau nei, ko tēnei;
Pēhea hoki nei te tūāhua reo Māori i kōrerohia ai e ngā mātua tūpuna, e ngā wheinga i Pukepoto?
Nā, e tutuki ngā whāinga rangahau, i arohia wētahi rīpene kei te pātaka kōrero o Te Reo Irirangi Māori o Te Hiku o Te Ika e mau nei ngā reo o ngā kaumātua o te kāinga e kōrero ana mō ngā tini āhuatanga e hāngai ana ki ō rātou nā ao. E tāwharautia ana tēnei kaupapa e te Rangahau Kaupapa Māori, ā, ko ngā tikanga, ko ngā kōrero i ahua mai i Te Rarawa i Pukepoto e noho mai ana hei tāhuhu tikanga mōku. Ko ngā taupānga hou kua oti kē nei i a Te Reo Irirangi Māori o Te Hiku o Te Ika hei taputapu e nanao atu ai a hau ki te pātaka kōrero o Te Hiku o Te Ika, e pai ai taku āta wānanga i ngā kupu, i ngā kōrero kei ngā rīpene e mau ana.
Tokowhitu katoa ngā kaumātua i āta arohia e ahau i tēnei rangahau nei, katoa i noho ai i Pukepoto. Ko tāku, he āta whakataringa atu ki wā rātou kōrero, ka āta arotake ai i wētahi kupu, i wētahi kīwaha, i wētahi whakatakotoranga rerenga kōrero i kaha whakahuangia e rātou mā. Kei te puke tuaono te roanga o ngā kōrero mō ngā kitenga o te rangahau; i mārama te kite atu he tini ngā momo kupu, ngā kīwaha me ngā rerenga kōrero he tikanga kē atu wō rātou, he whakamahinga kē anō, ka mutu, arā wētahi kāhore e tino rangona ana i wēnei wā nei. Nō reira, ko tā tēnei rangahau e whai ana kia whakahokia wēnei āhuatanga o te reo ki ngā arero o ngā uri whakaheke o Pukepoto, o Te Rarawa, otirā o Te Hiku o te Ika.

text: Ko te reo i Te Rarawa: Pēhea rainī te tūāhua reo o ngā mātua tūpuna i Pukepoto Ko te reo Māori, ko te reo ā-iwi, ko te mita o te reo; ko tēhea te mea nui? Mai anō tēnei tohe, ko tēhea ko runga, ko tēhea ko raro. He tinitini nei anō ngā rangahau mō te reo Māori, mō ngā rautaki whakaora i te reo Māori. Erangi pēhea mai ana te reo ā-iwi? I te mahi nui whakaharahara ki te whakaora i te reo Māori e noho ana tērā kaupapa hei aronga matua. E kite mārika ana i ngā hua o aua mahi, hoi anō te reo ā-iwi, te hanga nei, i paria ki rāhaki. Nā, i ngā tau tata nei anō, kua kitea rawatia te wheinu o ngā uri whakaheke, o ngā mokopuna o ngā iwi ki te ako i ō rātou mita, otirā i te reo ā-iwi.
Hoi anō tēnei kaupapa rangahau he mea whakapiripiri ki ngā rangahau mō te reo Māori, waihoki mō te reo ā-iwi. E āta mātai atu ana te titiro ki te reo ake anō o Te Rarawa, otirā ki te reo o ngā kaumātua i noho ai i Pukepoto. Ko ngā whāinga matua o te rangahau kia kitea pēnā rainī he patanga wō te reo i te kāinga ki te mana, ki te ahurea o te tangata, ka tahi. Ka rua, kia huraina mai ai ngā āhuatanga motuhake o te reo o Te Rarawa, otirā, o te reo i Pukepoto. I runga i tērā, ko te pātai matua o te rangahau nei, ko tēnei;
Pēhea hoki nei te tūāhua reo Māori i kōrerohia ai e ngā mātua tūpuna, e ngā wheinga i Pukepoto?
Nā, e tutuki ngā whāinga rangahau, i arohia wētahi rīpene kei te pātaka kōrero o Te Reo Irirangi Māori o Te Hiku o Te Ika e mau nei ngā reo o ngā kaumātua o te kāinga e kōrero ana mō ngā tini āhuatanga e hāngai ana ki ō rātou nā ao. E tāwharautia ana tēnei kaupapa e te Rangahau Kaupapa Māori, ā, ko ngā tikanga, ko ngā kōrero i ahua mai i Te Rarawa i Pukepoto e noho mai ana hei tāhuhu tikanga mōku. Ko ngā taupānga hou kua oti kē nei i a Te Reo Irirangi Māori o Te Hiku o Te Ika hei taputapu e nanao atu ai a hau ki te pātaka kōrero o Te Hiku o Te Ika, e pai ai taku āta wānanga i ngā kupu, i ngā kōrero kei ngā rīpene e mau ana.
Tokowhitu katoa ngā kaumātua i āta arohia e ahau i tēnei rangahau nei, katoa i noho ai i Pukepoto. Ko tāku, he āta whakataringa atu ki wā rātou kōrero, ka āta arotake ai i wētahi kupu, i wētahi kīwaha, i wētahi whakatakotoranga rerenga kōrero i kaha whakahuangia e rātou mā. Kei te puke tuaono te roanga o ngā kōrero mō ngā kitenga o te rangahau; i mārama te kite atu he tini ngā momo kupu, ngā kīwaha me ngā rerenga kōrero he tikanga kē atu wō rātou, he whakamahinga kē anō, ka mutu, arā wētahi kāhore e tino rangona ana i wēnei wā nei. Nō reira, ko tā tēnei rangahau e whai ana kia whakahokia wēnei āhuatanga o te reo ki ngā arero o ngā uri whakaheke o Pukepoto, o Te Rarawa, otirā o Te Hiku o te Ika.

year: 2021