![]() If the key is already present, it replaces the old value with new value key - key for mapping It returns null if there is no mapping key - the key for which value mapping has to be retrieved Integer getOrDefault(Object key, Integer defaultvalue) Returns the value of the specified key if mapped, else returns the defaultvalue if there is no mapping key - the key for which we value has to be returnedĭefaultvalue - the default value to be returned when there is no mapping int hashCode() Returns the hashcode value of the map Boolean isEmpty() Returns true is the hashmap does not have any key-value pairs Set keySet() Returns the set view of the keys present in the map Integer put(String key, int value) Associates the key with value. Key and values themselves are not cloned Boolean containsKey(Object key) Returns true if there is a mapping value for the specified key key - the key for which we need to retrieve the value Boolean containsValue(Object value) Returns true if there is mapping of key for the specified value value - the value for which specified key is mapped Set entrySet() Returns a set view of the mapping of the map Boolean equals(Object o) Returns true if the object has the same mapping of the map o - the object to be compared Integer get(Object key) Returns the value of the specified key in the map. Constructor Description LinkedHashMap() Initializes a default LinkedHashMap LinkedHashMap(Map m) Initializes the LinkedHashmap with elements of Map m LinkedHashMap(int capacity) Initializes the Linkedhashmap with the specified capacity integer value LinkedHashMap(int capacity, float loadfactor) Initializes the Linkedhashmap with the specified capacity and load factor LinkedHashMap(int capacity, float loadFactor, boolean accessOrder) Initializes the LinkedhashMap with the specified capacity and load factor along with the access order mode Methods of LinkedHashMap in Java Method Description Parameter void clear() Removes all the mappings in this map which means map will be empty Object clone() Returns a shallow copy of this HashMap instance. Constructors in LinkedHashMapīelow are the constructors present in the LinkedHashMap class.
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Without the serial keys, the operating system will consider your copy as a pirated version and would not let you access the complete features.
![]() Consistent with previous studies, Cantonese language experience appeared to facilitate musical pitch perception. Essentially, an interactive effect of language and musicianship was found on musical pitch but not rhythmic perception. Cantonese and English listeners, each divided into musician and non-musician groups, completed the Musical Ear Test and the Raven's 2 Progressive Matrices. To address this research gap, I investigated the interactive effect of language and musicianship on musical pitch and rhythmic perception. However, the precise nature of this facilitation is not fully understood. Interestingly, growing evidence also suggests that language experience can facilitate music perception. Given its practical implications, the effect of musicianship on language learning has been vastly researched. In sum, online administration of the MET proved to be a reliable and valid way to measure musical ability. For the final sample (N = 608), findings were similar to those from in-person testing in many respects: (1) the internal reliability of the MET was maintained, (2) construct validity was confirmed by strong associations with Gold-MSI scores, (3) correlations with other measures (e.g., openness to experience, cognitive ability, mind-wandering) were as predicted, (4) mean levels of performance were similar for individuals with no music training, and (5) musical sophistication was a better predictor of performance on the Melody than on the Rhythm subtest. Approximately 20% of the participants were excluded for incomplete responding or failing to finish the testing session. The testing session also included the Goldsmiths Musical Sophistication Index (Gold-MSI), a test of general cognitive ability, and self-report questionnaires that measured basic demographics (age, education, gender), mind-wandering, and personality. Both subtests had 52 trials, each of which required participants to determine whether standard and comparison auditory sequences were identical. A sample of 754 participants was tested with an online version of the Musical Ear Test (MET), which had Melody and Rhythm subtests. We sought to determine whether an objective test of musical ability could be successfully administered online. An ‘L1-Modulated Domain-General Account’ is proposed to formally describe the empirical findings from these studies: individual variability in tone learning facility is best captured by extralinguistic factors, but the relative effect of these factors may be modulated by a learner’s language background. Both L1-specific and extralinguistic factors explain why some individuals learn tones with more ease than others do, but these factors interact with one another in dynamic ways to determine tone learning facility. The findings from these empirical studies show that individuals differ greatly in the ease with which they learn non-native tones, particularly at a lexical level of tone processing. Chapter 6 provides a general discussion and conclusions. Chapter 5 reports a web-based study which involved 114 speakers from typologically different languages (Dutch, Swedish, Japanese, and Thai) and which reassesses the degree to which L1-specific and extralinguistic factors determine tone perception and lexical processing. Chapter 4 provides a comparative analysis between the perception and production tasks to discuss differences and similarities between performance in the listening and speaking modalities. Chapter 3 reports two further lab-based studies to investigate pre-lexical and lexical tone processing in the spoken modality to zoom in on individual variability in production. Chapter 2 reports a lab-based study in which 41 Mandarin and English speakers took part in a tone categorization and word identification task to investigate individual variability in pre-lexical and lexical tone perception. Chapter 1 provides a general introduction. ![]() The core of this dissertation consists of four empirical data chapters in the shape of journal manuscripts, which each zoom in on non-native tone learning through different lenses. In doing so, I aim to provide a novel and integral account of the multiplicity and diversity of factors that influence non-native tone learning facility. I examine the extent to which individual variability in tone learning facility depends on factors attributable to a learner’s first language, namely the function of pitch for lexical distinctions (‘L1 tonal status’) and the shapes of native tonal and intonational contrasts (‘tone type’), as well as extralinguistic factors, namely musical experience, working memory, and pitch perception aptitude. In this dissertation, I investigate how and why adults differ in the ease with which they learn tone in a non-native language. ![]() ![]() With the tools in Magic Bullet Suite, your footage can instantly have cinematic contrast and the sophisticated color palettes of big-budget movies. Give your footage the look of a Hollywood film. Then, go beyond color correction, with accurate simulations of lens filters and film stocks. “Magic Bullet Suite is a complete set of plugins that gives you everything you need to make your footage look great, right on your editing timeline.īalance out your shots with powerful color adjustments. Users include the BBC, CBS, MTV, and more.” TUTORIAL FINAL CUT PRO X TORRENT PRO“ CrumplePop – high-quality Final Cut Pro X and Adobe Premiere Pro plugins and effects for video editors. “NewBlue empowers video editors and broadcasters with proven post-production and live broadcast toolkits that simplify processes and deliver superior results.” Crumplepop … The rest happens behind the scenes, with FxFactory responsible for installing and updating plugins for compatible host applications, including Final Cut Pro X, Motion 5, Adobe After Effects CC, and Adobe Premiere Pro CC.” NewBlueFX Glows, light spills, and distortions.įxFactory is the rare application you’ll rarely need to launch. “FxFactory Pro offers a visual effects toolbox with unmatched features. Let’s jump in and look at the best Final Cut Pro plugins out there! FxFactory Pro ![]() So, without further ado, let’s get into the list of the top Final Cut Pro plugins you can get your hands on for any project you can imagine. So what I hope to have assembled here is a real knowledge base of FCP plugins. The world of Final Cut Pro plugins is an ever-evolving space with new plugins coming out all the time. With the right plugin, you can create gorgeous video that will wow the audience. (You’re going to want to print this out, bookmark it, share it with your friends, etc). Whether you’re an indie filmmaker, a video production company owner, or any other kind of freelancer, this is the list you want! Whether you’re looking for a way to add some fun effects, a slicker font, or just a way to make your video look as good as possible, one of these plugins is sure to become your new favorite thing!Īnd remember: it’s not about what tools you have available, but how you use them! We know how hard it can be to find the right tools - that’s why we put together this quick list of the top Final Cut Pro plugins out there today. ![]() ![]() You want the best tools, the best plugins, so that your edit is the best it can be. I’ve been working on a list of what I consider the top FCP plugins out there.īut editing is tough. Do you ever feel overwhelmed with the amount of Final Cut Pro plugins out there? Do you ever feel like you could do with a list of the best Final Cut Pro plugins all in one place? ![]() ![]() ![]() In addition to being less prone to spoilage, blind taste tests reveal that frozen fish many times tastes better than “fresh, never frozen” fish. If you care about sustainable seafood management, consider the many pros of frozen fish. 1/4 of fish caught means very roughly 2.2 billion pounds of fish per year or to put it in salmon terms, very roughly 200 million salmon, is literally wasted. There are frozen fish that have been out of the water for three years that can be much better than what you get in a “fresh” case at the supermarket.Īnother reason that frozen fish is superior to “fresh, not frozen” fish is the fact that one-quarter of fish in supermarkets and restaurants is wasted. Catch methods, boat sanitation, processing methods, freezing methods, temperature control, all play an important role in the quality of the fish. Firstly, you have to start with a good fish. There’s no hard and fast rule-a fish’s quality is going to depend on a number of factors. Smart consumers are seeing that fish in the frozen case can be many times “fresher” than what’s in the “fresh” case. Also, it’s really disappointing when fishermen walk by the seafood department in the supermarket and watch (and smell) fish dying. With freezing technologies and good vigilance, frozen fish can be kept for quite some time. We wish more consumers would realize that frozen fish is superior to “fresh never frozen” fish. Flash frozen seafood has become the best option. But that is not the case with the state-of-the-art freezing process employed by our co-op and other Alaska seafood processors. Unsurprisingly, frozen seafood gained a negative stigma with consumers and chefs requesting never-been-frozen seafood. Many harvesters would reserve their older fish to be canned or frozen. In the past, before on-board refrigeration, the quality of seafood quickly declined once the fish was landed. We take great pride in the quality of our seafood. The Alaska Gold Difference is paying attention to all of these details–catch method, landing method, cuts, bleeding, sanitation, state of the art freezing technologies. Pressure bleeding the fish with a micro-pipette also makes a big difference. ![]() Properly cutting and gutting the fish is also really important. Our line-caught fish is handled One Fish At A Time. Line-caught salmon, for example, are harvested on the open ocean when the salmon are in their peak state. ![]() What’s essential is starting with a fresh, high-quality product. Our co-op sells a good amount of its fish to restaurants and retailers fresh, never frozen, yet we sell a larger amount of our fish frozen because more and more buyers understand that frozen fish, when handled correctly, can be “fresher than fresh.” Because the headaches in logistics are made much simpler once a fish is frozen, frozen fish also has a much smaller carbon footprint than a fresh fish. According to Ecotrust, the results were telling: “not only did consumers prefer the frozen fish, but the flash-frozen products also rated higher in quality and freshness, as measured by the CQR.” A recent blind taste test with Oregon State University, Ecotrust, and Seafood Analytics, a firm that has developed a Certified Quality Seafood Recording (CQR) device that uses an electric current to measure freshness, allowed home consumers to compare “fresh” and “frozen” seafood. Smoked King Salmon Bellies | Alaska Gold Seafoodīlind taste tests have shown that frozen fish many times taste better than “fresh, never frozen” fish. Traditional Smoked King Salmon | Alaska Gold Seafood Sitka Wild Seafood Pack: Alaska Gold Seafood Variety Pack with Halibut | Alaska Gold Seafoodĭungeness Crab Clusters | Alaska Gold SeafoodĬanned Ivory King Salmon | Alaska Gold Seafood ![]() Wild Ivory King Salmon portions | Alaska Gold SeafoodĪlaska Gold Canned Sockeye Salmon | Alaska Gold SockeyeĪlaska Gold™ Halibut Portions | Alaska Gold SeafoodĪlaskan Sablefish (Black Cod) portions | Alaska Gold Seafood Marbled Wild King Salmon Portions | Alaska Gold SeafoodĮasy Salmon Wild Salmon Burger Meat | Alaska Gold Seafood Wild Keta Salmon Portions | Alaska Gold Seafood Wild Coho Salmon Portions | Alaska Gold Seafood Wild King Salmon Portions | Alaska Gold Seafood Alaska Gold Standard Variety Pack | Alaska Gold Seafood ![]() |
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