Establishing an accurate inverse model is a key problem in the design of adaptive inverse controllers. Most real objects have nonlinear characteristics, so mathematical expression of an inverse model cannot be obtained in most situation. A Takagi–Sugeno(T-S)fuzzy model can approximate real objects with high precision, and is often applied in the modeling of nonlinear systems. Since the consequent parameters of T-S fuzzy models are linear expressions, this paper firstly uses a fuzzy c-regression model (FCRM) clustering algorithm to establish inverse fuzzy model. As the least mean square (LMS) algorithm is only used to adjust consequent parameters of the T-S fuzzy model in the process of parameter adjustment, the premise parameters are fixed and unchanged in the process of adjustment. In this paper, the back propagation (BP) algorithm is applied to adjust the premise and consequent parameters of the T-S fuzzy model, simultaneously online. The simulation results show that the error between the system output controlled by proposed adaptive inverse controller and the desired output is smaller, also the system stability can be maintained when the system output has disturbances.
{"title":"Adaptive Inverse Controller Design Based on the Fuzzy C-Regression Model (FCRM) and Back Propagation (BP) Algorithm","authors":"Shixiang Zhong","doi":"10.3390/INFO10120377","DOIUrl":"https://doi.org/10.3390/INFO10120377","url":null,"abstract":"Establishing an accurate inverse model is a key problem in the design of adaptive inverse controllers. Most real objects have nonlinear characteristics, so mathematical expression of an inverse model cannot be obtained in most situation. A Takagi–Sugeno(T-S)fuzzy model can approximate real objects with high precision, and is often applied in the modeling of nonlinear systems. Since the consequent parameters of T-S fuzzy models are linear expressions, this paper firstly uses a fuzzy c-regression model (FCRM) clustering algorithm to establish inverse fuzzy model. As the least mean square (LMS) algorithm is only used to adjust consequent parameters of the T-S fuzzy model in the process of parameter adjustment, the premise parameters are fixed and unchanged in the process of adjustment. In this paper, the back propagation (BP) algorithm is applied to adjust the premise and consequent parameters of the T-S fuzzy model, simultaneously online. The simulation results show that the error between the system output controlled by proposed adaptive inverse controller and the desired output is smaller, also the system stability can be maintained when the system output has disturbances.","PeriodicalId":50362,"journal":{"name":"Information-An International Interdisciplinary Journal","volume":"11 1","pages":"377"},"PeriodicalIF":0.0,"publicationDate":"2019-11-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74418820","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-11-22DOI: 10.7577/information.3596
Jeanette Eek Jensen
«Inn i bildet» er et praksisledet formidlingsprogram som er utformet ved Nasjonalmuseet i Oslo (NM). Innen dette programmet er det utviklet en metode basert på estetiske prosessorienterte tilnærmingsmåter der møtet med et kunstverk starter en aktiv prosess hos betrakteren. «Inn i bildet» viser hvordan kunstbasert læring kan fungere som verktøy for trening av refleksjonsevnen, noe som igjen kan gi forståelse og innsikt både individuelt og som gruppe. Metoden er spesielt egnet for områdene utdanning, arbeidsliv og psykisk helse. Denne artikkelen er en analyse av hvordan arbeidet med et fritt valgt kunstverk bearbeides videre i eget personlig uttrykk. Deltagerne eksperimenterer med ulike teknikker i atelieret, veiledet av kunstpedagoger / Teaching Artist (TA). TA er en profesjonell kunstner som arbeider med kunst i utdanning eller i tilknytning til samfunnsorganisasjoner, i denne sammenheng ved Nasjonalmuseet. Hensikten med artikkelen er å løfte fram formidlingsmetoden, slik at leseren steg for steg får ta del i selve arbeidsprosessen. Relevant teori fra pedagogikk, kunstdidaktikk, antropologi og kunstterapi anvendes for å betrakte praksisledet arbeid med kunstformidling i lys av fenomenologiske og hermeneutiske perspektiv.
{"title":"Inn i bildet","authors":"Jeanette Eek Jensen","doi":"10.7577/information.3596","DOIUrl":"https://doi.org/10.7577/information.3596","url":null,"abstract":"«Inn i bildet» er et praksisledet formidlingsprogram som er utformet ved Nasjonalmuseet i Oslo (NM). Innen dette programmet er det utviklet en metode basert på estetiske prosessorienterte tilnærmingsmåter der møtet med et kunstverk starter en aktiv prosess hos betrakteren. «Inn i bildet» viser hvordan kunstbasert læring kan fungere som verktøy for trening av refleksjonsevnen, noe som igjen kan gi forståelse og innsikt både individuelt og som gruppe. Metoden er spesielt egnet for områdene utdanning, arbeidsliv og psykisk helse. Denne artikkelen er en analyse av hvordan arbeidet med et fritt valgt kunstverk bearbeides videre i eget personlig uttrykk. Deltagerne eksperimenterer med ulike teknikker i atelieret, veiledet av kunstpedagoger / Teaching Artist (TA). TA er en profesjonell kunstner som arbeider med kunst i utdanning eller i tilknytning til samfunnsorganisasjoner, i denne sammenheng ved Nasjonalmuseet. Hensikten med artikkelen er å løfte fram formidlingsmetoden, slik at leseren steg for steg får ta del i selve arbeidsprosessen. Relevant teori fra pedagogikk, kunstdidaktikk, antropologi og kunstterapi anvendes for å betrakte praksisledet arbeid med kunstformidling i lys av fenomenologiske og hermeneutiske perspektiv.","PeriodicalId":50362,"journal":{"name":"Information-An International Interdisciplinary Journal","volume":"8 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-11-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85067736","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-05-02DOI: 10.7577/information.v7i1.2630
Tarja Karlsson Häikiö
This article focuses on how children's rights in society can be manifested with cultural tools and through cultural participation. The article discusses cultural participation for, with and by children based on the core ideas of a Swedish governmentally initiated strategy implemented in the 1970s. The right for children to take part in cultural activities, to be culturally active and to express themselves is based on the UN Convention on the Rights of the Child (1989). Art education and visual activities for children in formal and informal cultural environments and the use of contemporary art will be discussed. An art-based project in collaboration between a cultural institution and preschool and younger children is described. The main purpose of the article is to analyse what impact the use of cultural participation and cultural tools has on children's collective experience and learning, as well as to discuss and contextualise the relationship between culture, preschool and school as it is influenced by global and societal changes, particularly the increasing visual impact in society through the use of digital media and multimodality. The results show how an art gallery visit and the use of cultural narratives, such as art educational activities at a preschool based on work with a picture book, create visual knowledge and contribute to children’s agency and understanding of equity as one of the aims in the early childhood education curriculum.
{"title":"Cultural participation for, with and by children – Enhancing children’s agency through art pedagogy, visual knowledge-building and learning","authors":"Tarja Karlsson Häikiö","doi":"10.7577/information.v7i1.2630","DOIUrl":"https://doi.org/10.7577/information.v7i1.2630","url":null,"abstract":"This article focuses on how children's rights in society can be manifested with cultural tools and through cultural participation. The article discusses cultural participation for, with and by children based on the core ideas of a Swedish governmentally initiated strategy implemented in the 1970s. The right for children to take part in cultural activities, to be culturally active and to express themselves is based on the UN Convention on the Rights of the Child (1989). Art education and visual activities for children in formal and informal cultural environments and the use of contemporary art will be discussed. An art-based project in collaboration between a cultural institution and preschool and younger children is described. The main purpose of the article is to analyse what impact the use of cultural participation and cultural tools has on children's collective experience and learning, as well as to discuss and contextualise the relationship between culture, preschool and school as it is influenced by global and societal changes, particularly the increasing visual impact in society through the use of digital media and multimodality. The results show how an art gallery visit and the use of cultural narratives, such as art educational activities at a preschool based on work with a picture book, create visual knowledge and contribute to children’s agency and understanding of equity as one of the aims in the early childhood education curriculum.","PeriodicalId":50362,"journal":{"name":"Information-An International Interdisciplinary Journal","volume":"51 1","pages":"19-19"},"PeriodicalIF":0.0,"publicationDate":"2018-05-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83678395","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-02-09DOI: 10.7577/information.v7i1.2619
Gry Olsen Ulrichsen
Working from the perspective of art didactics, this research project aims to examine how a relational and socially engaged art practice can be developed which would improve the care and management of elderly patients who are suffering from dementia. The research is conducted in two institutions, both of which are dedicated facilities for the care of elderly dementia sufferers. The project examines how narrative and poetic documentation influences didactic choices in a process-oriented practice. The study interprets the term ‘art-practice’ as being a catalyst for communication between the artist, the patient and the caregiver. The term ‘poetic documentation’ is a central didactic component which enables applied art qualities such as affective encounters through different material; the integration of lived experience and the participants’ life possibilities to be understood from a unified perspective. The strategies for documenting the artistic process will examine ethical issues concerning the obtaining of consent from participants with a reduced intellectual capacity. The methods applied in the research process are arts-informed enquiry and practice-led research using visual methods. The article argues for the development of more comprehensive theoretical perspectives on the problems encountered. Strategies developed in the course of the study will be communicated through workshops for healthcare workers and students, which will focus on the need for cooperation between the healthcare institutions involved, the researcher and the artist.
{"title":"Møter gjennom mønster i filt. Narrativ og poetisk dokumentasjon som utgangspunkt for og pådriver i kunstdidaktisk praksis i en helsekontekst","authors":"Gry Olsen Ulrichsen","doi":"10.7577/information.v7i1.2619","DOIUrl":"https://doi.org/10.7577/information.v7i1.2619","url":null,"abstract":"Working from the perspective of art didactics, this research project aims to examine how a relational and socially engaged art practice can be developed which would improve the care and management of elderly patients who are suffering from dementia. The research is conducted in two institutions, both of which are dedicated facilities for the care of elderly dementia sufferers. The project examines how narrative and poetic documentation influences didactic choices in a process-oriented practice. The study interprets the term ‘art-practice’ as being a catalyst for communication between the artist, the patient and the caregiver. The term ‘poetic documentation’ is a central didactic component which enables applied art qualities such as affective encounters through different material; the integration of lived experience and the participants’ life possibilities to be understood from a unified perspective. The strategies for documenting the artistic process will examine ethical issues concerning the obtaining of consent from participants with a reduced intellectual capacity. The methods applied in the research process are arts-informed enquiry and practice-led research using visual methods. The article argues for the development of more comprehensive theoretical perspectives on the problems encountered. Strategies developed in the course of the study will be communicated through workshops for healthcare workers and students, which will focus on the need for cooperation between the healthcare institutions involved, the researcher and the artist.","PeriodicalId":50362,"journal":{"name":"Information-An International Interdisciplinary Journal","volume":"21 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-02-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90905635","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Lightweight cryptographic solutions are required to guarantee the security of Internet of Things (IoT) pervasiveness. Cryptographic primitives mandate a non-linear operation. The design of a lightweight, secure, non-linear 4 × 4 substitution box (S-box) suited to Internet of Things (IoT) applications is proposed in this work. The structure of the 4 × 4 S-box is devised in the finite fields GF (24) and GF ((22)2). The finite field S-box is realized by multiplicative inversion followed by an affine transformation. The multiplicative inverse architecture employs Euclidean algorithm for inversion in the composite field GF ((22)2). The affine transformation is carried out in the field GF (24). The isomorphic mapping between the fields GF (24) and GF ((22)2) is based on the primitive element in the higher order field GF (24). The recommended finite field S-box architecture is combinational and enables sub-pipelining. The linear and differential cryptanalysis validates that the proposed S-box is within the maximal security bound. It is observed that there is 86.5% lesser gate count for the realization of sub field operations in the composite field GF ((22)2) compared to the GF (24) field. In the PRESENT lightweight cipher structure with the basic loop architecture, the proposed S-box demonstrates 5% reduction in the gate equivalent area over the look-up-table-based S-box with TSMC 180 nm technology.
{"title":"Lightweight S-Box Architecture for Secure Internet of Things","authors":"A. Prathiba, V. S. K. Bhaaskaran","doi":"10.3390/INFO9010013","DOIUrl":"https://doi.org/10.3390/INFO9010013","url":null,"abstract":"Lightweight cryptographic solutions are required to guarantee the security of Internet of Things (IoT) pervasiveness. Cryptographic primitives mandate a non-linear operation. The design of a lightweight, secure, non-linear 4 × 4 substitution box (S-box) suited to Internet of Things (IoT) applications is proposed in this work. The structure of the 4 × 4 S-box is devised in the finite fields GF (24) and GF ((22)2). The finite field S-box is realized by multiplicative inversion followed by an affine transformation. The multiplicative inverse architecture employs Euclidean algorithm for inversion in the composite field GF ((22)2). The affine transformation is carried out in the field GF (24). The isomorphic mapping between the fields GF (24) and GF ((22)2) is based on the primitive element in the higher order field GF (24). The recommended finite field S-box architecture is combinational and enables sub-pipelining. The linear and differential cryptanalysis validates that the proposed S-box is within the maximal security bound. It is observed that there is 86.5% lesser gate count for the realization of sub field operations in the composite field GF ((22)2) compared to the GF (24) field. In the PRESENT lightweight cipher structure with the basic loop architecture, the proposed S-box demonstrates 5% reduction in the gate equivalent area over the look-up-table-based S-box with TSMC 180 nm technology.","PeriodicalId":50362,"journal":{"name":"Information-An International Interdisciplinary Journal","volume":"63 1","pages":"13"},"PeriodicalIF":0.0,"publicationDate":"2018-01-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74805351","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This paper develops an offset free tracking model predictive control based on a dynamic partial least square (PLS) framework. First, state space model is used as the inner model of PLS to describe the dynamic system, where subspace identification method is used to identify the inner model. Based on the obtained model, multiple independent model predictive control (MPC) controllers are designed. Due to the decoupling character of PLS, these controllers are running separately, which is suitable for distributed control framework. In addition, the increment of inner model output is considered in the cost function of MPC, which involves integral action in the controller. Hence, the offset free tracking performance is guaranteed. The results of an industry background simulation demonstrate the effectiveness of proposed method.
{"title":"Offset Free Tracking Predictive Control Based on Dynamic PLS Framework","authors":"Jin Xin, Wang Yue, Luo Lin","doi":"10.3390/INFO8040121","DOIUrl":"https://doi.org/10.3390/INFO8040121","url":null,"abstract":"This paper develops an offset free tracking model predictive control based on a dynamic partial least square (PLS) framework. First, state space model is used as the inner model of PLS to describe the dynamic system, where subspace identification method is used to identify the inner model. Based on the obtained model, multiple independent model predictive control (MPC) controllers are designed. Due to the decoupling character of PLS, these controllers are running separately, which is suitable for distributed control framework. In addition, the increment of inner model output is considered in the cost function of MPC, which involves integral action in the controller. Hence, the offset free tracking performance is guaranteed. The results of an industry background simulation demonstrate the effectiveness of proposed method.","PeriodicalId":50362,"journal":{"name":"Information-An International Interdisciplinary Journal","volume":"39 1","pages":"121"},"PeriodicalIF":0.0,"publicationDate":"2017-10-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73431591","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2017-09-27DOI: 10.7577/INFORMATION.V6I2.2278
John Vinge
This article outlines and discusses various aspects of quality and value in children’s music. Quality is defined as something performative—that is, characteristics within the aesthetic object that gain significance and value through interaction with listening subjects. The article argues that the judgment of quality in music is always relative, depending on the listener and the criteria in play, and when it comes to children’s music, a variety of participating subjects and possible criteria could be involved. This pluralistic, relativistic concept of quality allows the author to theoretically examine quality perceptions of children’s music by employing different sets of criteria significant to the aesthetic object and its various functions and, philosophically, through the viewpoints of different agents in the field of children’s music. Through this analytical exercise, the article contributes to the categorization and understanding of various logics underpinning normative judgments of children’s music.
{"title":"What Is Good and Bad Children’s Music? Exploring Quality and Value in Music for Children","authors":"John Vinge","doi":"10.7577/INFORMATION.V6I2.2278","DOIUrl":"https://doi.org/10.7577/INFORMATION.V6I2.2278","url":null,"abstract":"This article outlines and discusses various aspects of quality and value in children’s music. Quality is defined as something performative—that is, characteristics within the aesthetic object that gain significance and value through interaction with listening subjects. The article argues that the judgment of quality in music is always relative, depending on the listener and the criteria in play, and when it comes to children’s music, a variety of participating subjects and possible criteria could be involved. This pluralistic, relativistic concept of quality allows the author to theoretically examine quality perceptions of children’s music by employing different sets of criteria significant to the aesthetic object and its various functions and, philosophically, through the viewpoints of different agents in the field of children’s music. Through this analytical exercise, the article contributes to the categorization and understanding of various logics underpinning normative judgments of children’s music.","PeriodicalId":50362,"journal":{"name":"Information-An International Interdisciplinary Journal","volume":"60 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2017-09-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77749257","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2017-09-27DOI: 10.7577/INFORMATION.V6I2.2274
Ingeborg Lunde Vestad
This special issue is about children’s music (barnemusikk). Children’s music is a broad term and may include music produced by adults for children (culture for children), music and musical practices that children and adults engage in together (culture with children), and the music children themselves make and how they engage with it in their own networks and relations (culture by children) (see Mouritsen, 2002, for a discussion of children’s culture in general). The three threads of the definition of children’s culture and, thus, of children’s music, are arguably closely connected. For instance, consider a young child listening to a pop song for children on an iPad while walking rhythmically around the room and singing along to the music. This imagined scene involves music produced for a child audience. Moreover, the scene is taking place in a social setting in which adults have provided the child with a technological device that enables the child to listen to music. This means that both parties—child and adult—contribute to this scene of contemporary musical children’s culture. Hence, one can describe the situation as culture with children. Finally, if the child’s musical engagement is focused (moving and singing along with the music), the scene may be described as music by children.
{"title":"Introduction: Children’s music—an emerging field of research","authors":"Ingeborg Lunde Vestad","doi":"10.7577/INFORMATION.V6I2.2274","DOIUrl":"https://doi.org/10.7577/INFORMATION.V6I2.2274","url":null,"abstract":"This special issue is about children’s music (barnemusikk). Children’s music is a broad term and may include music produced by adults for children (culture for children), music and musical practices that children and adults engage in together (culture with children), and the music children themselves make and how they engage with it in their own networks and relations (culture by children) (see Mouritsen, 2002, for a discussion of children’s culture in general). The three threads of the definition of children’s culture and, thus, of children’s music, are arguably closely connected. For instance, consider a young child listening to a pop song for children on an iPad while walking rhythmically around the room and singing along to the music. This imagined scene involves music produced for a child audience. Moreover, the scene is taking place in a social setting in which adults have provided the child with a technological device that enables the child to listen to music. This means that both parties—child and adult—contribute to this scene of contemporary musical children’s culture. Hence, one can describe the situation as culture with children. Finally, if the child’s musical engagement is focused (moving and singing along with the music), the scene may be described as music by children.","PeriodicalId":50362,"journal":{"name":"Information-An International Interdisciplinary Journal","volume":"20 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2017-09-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83016913","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2017-09-27DOI: 10.7577/INFORMATION.V6I2.2276
Petter Dyndahl, Ingeborg Lunde Vestad
This is an Open Access article licenced under an Attribution 4.0 International (CC BY 4.0) licence. The original article can be found on publisher's homepage by following this link: http://www.artandresearch.info/
这是一篇基于国际署名4.0 (CC BY 4.0)许可的开放获取文章。原文可以通过以下链接在出版商的主页上找到:http://www.artandresearch.info/
{"title":"Decades of recorded music for children. Norwegian children’s phonograms from World War II to the present","authors":"Petter Dyndahl, Ingeborg Lunde Vestad","doi":"10.7577/INFORMATION.V6I2.2276","DOIUrl":"https://doi.org/10.7577/INFORMATION.V6I2.2276","url":null,"abstract":"This is an Open Access article licenced under an Attribution 4.0 International (CC BY 4.0) licence. The original article can be found on publisher's homepage by following this link: http://www.artandresearch.info/","PeriodicalId":50362,"journal":{"name":"Information-An International Interdisciplinary Journal","volume":"16 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2017-09-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75498106","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2017-09-27DOI: 10.7577/INFORMATION.V6I2.2279
Ingeborg Lunde Vestad, Petter Dyndahl
This is an Open Access article licenced under an Attribution 4.0 International (CC BY 4.0) licence. The original article can be found on publisher's homepage by following this link: http://www.artandresearch.info/
这是一篇基于国际署名4.0 (CC BY 4.0)许可的开放获取文章。原文可以通过以下链接在出版商的主页上找到:http://www.artandresearch.info/
{"title":"“This one Grandma knew, too, exactly this one!” Processes of Canonization in Children’s Music","authors":"Ingeborg Lunde Vestad, Petter Dyndahl","doi":"10.7577/INFORMATION.V6I2.2279","DOIUrl":"https://doi.org/10.7577/INFORMATION.V6I2.2279","url":null,"abstract":"This is an Open Access article licenced under an Attribution 4.0 International (CC BY 4.0) licence. The original article can be found on publisher's homepage by following this link: http://www.artandresearch.info/","PeriodicalId":50362,"journal":{"name":"Information-An International Interdisciplinary Journal","volume":"18 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2017-09-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74497427","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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