Journal articles: 'Bandas Militares'

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Araya Quesada, Mauricio. "Música militar en Costa Rica durante la primera mitad del Siglo XX: distribución de conocimiento, valores estéticos y patriotismo." Revista Herencia 31, no. 1 (July 20, 2018): 123–56. http://dx.doi.org/10.15517/h.v31i1.34074.

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En dos artículos publicados se discutió sobre la importancia de las bitácoras de trabajo de la Banda Militar de Alajuela y los datos suministrados por ellas. El primero, introductorio, con resultados preliminares; el segundo, con un marco histórico de referencia y resultados estadísticos extraídos del repertorio ejecutado. Esta tercera entrega ampliará la discusión sobre el significado “banda militar” en Costa Rica y su papel en la distribución de conocimiento musical y valores estéticos. El texto pondrá disponible más información sobre personajes ligados a las bandas; además, algunos documentos utilizados como ilustraciones aportaran datos sujetos a un análisis que permitirá saber más sobre la música en Costa Rica entre 1938 y 1946, la labor de sus Bandas Militares, alcance y su contacto con la población.

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Méndez, Edwin Alexander Castro. "La transformación de las bandas de viento en el caribe colombiano: un paso de la estética europea a la banda como fiesta." Revista académica estesis 4, no. 4 (July 10, 2018): 72–81. http://dx.doi.org/10.37127/25393995.25.

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Las bandas de viento, en el escenario colombiano, se comprenden como un fenómeno artístico que permite el encuentro alrededor de las celebraciones locales donde se tejen interrelaciones corporales, visuales, y sonoras desde diferentes formas de goce. Sus acompañantes de más relevancia en los pueblos: el desfile y la retreta, llaman al encuentro cuando pasan por las calles o se apropian de un parque. La fiesta -intrínseca en cualquiera de estos eventos-, cuando el estallido de metales, maderas y percusión se toman la calle; es fruto del diálogo que logró darse entre las músicas tradicionales colombianas y los instrumentos propios de las bandas militares europeas con el propósito de propiciar, en el escenario local, una estética con sello propio.

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Soncini, Fabiana, and Maristela Júlio Costa. "Efeito da prática musical no reconhecimento da fala no silêncio e no ruído." Pró-Fono Revista de Atualização Científica 18, no. 2 (August 2006): 161–70. http://dx.doi.org/10.1590/s0104-56872006000200005.

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TEMA: o treinamento auditivo melhora a percepção de sinais acústicos complexos como a fala. OBJETIVO: verificar se o treinamento auditivo proporcionado pela prática musical é um fator que exerce influência na habilidade de reconhecer a fala no silêncio e no ruído. MÉTODO: participaram do estudo 55 indivíduos sem experiência musical (não músicos) e 45 indivíduos que atuavam como músicos profissionais em bandas militares há, no mínimo, 5 anos (músicos). Todos os voluntários eram militares, do sexo masculino, destros, normo-ouvintes e com idades variando entre 25 e 40 anos. Utilizando o teste Listas de Sentenças em Português (LSP), realizou-se a pesquisa do limiar de reconhecimento de sentenças no silêncio (LRSS) e do limiar de reconhecimento de sentenças no ruído (LRSR), a partir do qual foi calculada a relação sinal/ruído (S/R). As sentenças e o ruído (fixo a 65 dB NA) foram apresentados monoauralmente, por fones auriculares. RESULTADOS: ao serem comparados os desempenhos dos grupos estudados, a análise estatística dos resultados não evidenciou diferença significante entre os valores médios obtidos para os LRSS. No entanto, foi constatada diferença estatisticamente significante entre os valores médios obtidos para as relações S/R. CONCLUSÃO: no silêncio, músicos e não músicos apresentaram desempenhos semelhantes, porém, em tarefas de reconhecimento de sentenças apresentadas diante de ruído competitivo, músicos apresentaram melhores desempenhos, indicando que a prática musical é uma atividade que melhora a habilidade de reconhecimento da fala, quando esta ocorre diante de ruído.

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Rincón, Dubán. "LA POLÍTICA DE ATAQUES MILITARES CONTRA LAS BANDAS CRIMINALES EN COLOMBIA Y SU LEGITIMIDAD A LA LUZ DEL DERECHO INTERNACIONAL HUMANITARIO." Ars Boni et Aequi 13, no. 2 (2017): 11–33. http://dx.doi.org/10.23854/07192568.2017132rincon11.

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Monsálvez Araneda, Danny Golzalo. "Legitimación e institucionalización. El poder militar disciplinario en Chile: bandos y decretos ley (1973-74)." Estudios digital, no. 44 (September 4, 2020): 185–206. http://dx.doi.org/10.31050/re.vi44.30173.

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A través del Decreto Ley número 5 del 12 de septiembre de 1973 los militares chilenos especificaron que el “Estado de Sitio decretado por conmoción interna” debía entenderse como “Estado o Tiempo de Guerra”. De esa forma, y una vez consolidado el golpe de Estado del martes 11 de septiembre, la Junta Militar y las Fuerzas Armadas emprendieron un proceso institucional tendiente a legitimar la acción militar, el combate al marxismo y la eliminación del “enemigo interno”, usando para ello todos los instrumentos y mecanismo a disposición con el fin de combatir su presencia en el país. Se adaptó y adoptó una determinada legalidad y, sobre todo, una nueva institucionalidad para esa lucha total y permanente contra el marxismo y sus partidarios. Fue en este contexto de violencia política e institucional en que operaron los Bandos Militares y los Decretos Ley como dispositivos, es decir, una red de relaciones de poder que fueron estructurando un entramado legal y punitivo tendiente a justificar la represión y eliminación de los opositores al régimen.

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Ray, Daniel E. "Military Bands and Government Documents." DttP: Documents to the People 44, no. 4 (January 31, 2017): 27. http://dx.doi.org/10.5860/dttp.v44i4.6227.

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Since before the founding of the United States, musicians have been an integral part of the military. Throughout history armies have used trumpets and drums to enhance communication and assist the movement of mass forces. Over time, the military has influenced both the makeup of musical ensembles, and styles of popular music. The modern American wind band featuring brass, woodwinds and percussion, is modeled after British military bands. And the marches of John Phillip Sousa, who served as the director of the President’s Own Marine Band for twelve years, remain popular to this day. His “Stars and Stripes Forever” is considered our national march. Today, the US Army declares itself “the oldest and largest employer of musicians in the world.”

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Paulo, E. G., M. S. Pinho, R. da C. Lima, M. L. Gregori, and T. Ogasawara. "Compósitos de ferrita de Ni-Zn com policloropreno para utilização como materiais absorvedores de radar para a banda S." Cerâmica 50, no. 314 (June 2004): 161–65. http://dx.doi.org/10.1590/s0366-69132004000200014.

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O objetivo deste trabalho foi a obtenção de Materiais Absorvedores de Radar (RAMs) para a faixa de freqüência de 2,6 a 4,0 GHz (banda S). A carga magnética adicionada na proporção de 80% em peso à matriz de policloropreno consistiu de uma ferrita de Ni-Zn. O compósito, com espessura de 6 mm, apresentou um bom desempenho como RAM para toda a faixa de freqüência analisada com absorção de microondas superior a 96,9% (-15 dB) e com absorção máxima de 99,5% (-25 dB) em 3,2 GHz, viabilizando sua aplicação como revestimento externo em plataformas militares, segundo o ensaio de névoa salina.

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Gamba, Sérgio Roberto Horst, Edson Eyji Sano, and Marcelo Peres Rocha. "Identificação de embarcações em imagens aerotransportadas de radar de abertura sintética (R-99 SAR) na área marítima do Brasil." Boletim de Ciências Geodésicas 17, no. 3 (September 2011): 458–75. http://dx.doi.org/10.1590/s1982-21702011000300008.

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O objetivo deste trabalho foi identificar embarcações em imagens de radar obtidas pela aeronave R-99 da Força Aérea Brasileira. Dados de amplitude, obtidas na banda L e nas polarizações HH, HV, VH e VV da região de Porto de Tubarão, ES, foram processados por meio de diferentes tipos de realces, filtros, classificadores e transformadores espectrais. As imagens com maior potencial para identificar embarcações foram ainda analisadas para diferenciar embarcações militares de mercantes, considerando-se os cinco elementos de interpretação (forma, tamanho, sombra, tonalidade e fatores associados, isto é, o contexto em que as embarcações se encontram nas imagens) e as cinco fases de interpretação de imagens (detecção, reconhecimento, análise, dedução e classificação). A combinação de processamentos mais favoráveis foi o realce com contraste 50-200, seguido de filtro abertura ou erosão e classificador SVM (Support Vector Machine) ou transformação SCI (Synthetic Color Image). Foi possível discriminar embarcações nas fases de detecção e reconhecimento, enquanto a diferenciação entre embarcações mercantes e militares foi obtida nas fases de análise e dedução. No nível de classificação, não foi possível definir o tipo de embarcação militar (e.g., fragata ou contratorpedeiro) ou o tipo de embarcação mercante (e.g., petroleiro ou graneleiro).

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Jones, Patrick M. "Media Review: Bands of Sisters: U.S. Women's Military Bands during World War II." Journal of Historical Research in Music Education 35, no. 1 (October 2013): 74–75. http://dx.doi.org/10.1177/153660061303500108.

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Gonçalves, Cláudia Giglio de Oliveira, Adriana Bender Moreira Lacerda, Bianca Simone Zeigelboim, Jair Mendes Marques, and Débora Luders. "Limiares auditivos em músicos militares: convencionais e altas frequências." CoDAS 25, no. 2 (2013): 181–87. http://dx.doi.org/10.1590/s2317-17822013000200015.

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OBJETIVO: Analisar e caracterizar os limiares auditivos tonais entre 500 Hz e 16.000 Hz de músicos profissionais, integrantes de uma banda militar. MÉTODOS: Realizou-se um estudo de coorte histórico, que comparou um grupo de 50 músicos profissionais (banda militar) com um grupo sem histórico de exposição profissional a som intenso (44 sujeitos); e homogêneos (p<0,05) em relação ao gênero (masculino) e à idade (em torno de 35 anos). Foram realizados exames de audiometria tonal limiar convencional e de altas frequências (de 9.000 a 16.000 Hz). RESULTADOS: A exposição à música desencadeou alterações auditivas permanentes. Quanto aos limiares auditivos convencionais, no grupo exposto encontrou-se 32% dos músicos com alterações auditivas neurossensoriais e no grupo não exposto encontrou-se 2,27%. Os sujeitos expostos à música tiveram 14,54 vezes mais risco de adquirir alterações auditivas neurossensoriais do que o grupo não exposto. Após 20 anos de exposição à música foram observadas pioras significativas nos limiares auditivos, principalmente nas altas frequências, e ocorreram diferenças entre os grupos a partir de 30 anos de idade. CONCLUSÃO: A exposição à música desencadeou alterações auditivas permanentes, evidenciando diferenças em relação ao grupo não exposto à música, registradas na avaliação audiológica convencional e em altas frequências.

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Newmark, Jonathan. "Military Bands as a Population for Studying Musicians' Health." Medical Problems of Performing Artists 24, no. 1 (March 1, 2009): 50. http://dx.doi.org/10.21091/mppa.2009.1011.

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The largest employer of full-time musicians in the United States is the Department of Defense. There are, within the Department, four separate full-time band programs (Army, Air Force, Marines, and Navy), of which the Army is by far the largest. Not only are these musicians employed full-time, but they have completely free health care and a uniform, electronic, world-wide health record that follows them for the length of their careers. They also have to adhere to the physical fitness standards of their services, including both height and weight standards and biannual physical fitness tests; in the Army, the latter includes pushups, sit-ups, and 2-mile runs every 6 months. It has always occurred to me that this population is uniquely suited to the sort of study that the Editorial in the September 2009 issue describes.

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Silvério, Kelly Cristina Alves, Eliane Cristina Pereira, Laiza Maia Menoncin, Cláudio Antonio Sorondo Dias, Celso Luis Gonçalves dos Santos Junior, and Paulo Prieto Y. Schwartzman. "Avaliação vocal e cervicoescapular em militares instrumentistas de sopro." Revista da Sociedade Brasileira de Fonoaudiologia 15, no. 4 (December 2010): 497–504. http://dx.doi.org/10.1590/s1516-80342010000400005.

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OBJETIVO: Este estudo transversal e prospectivo objetivou avaliar qualidade vocal, respiração e região cervicoescapular em instrumentistas de sopro integrantes da Banda Musical do Exército. MÉTODOS: Foram estudados 42 sujeitos do gênero masculino, militares, com idades entre 20 e 45 anos, divididos em: Grupo Experimental, com 30 instrumentistas de sopro, e Grupo Controle, com 12 instrumentistas de percussão. Todos passaram por entrevista; avaliação vocal - registro da voz e análise perceptivo-auditiva com uso da escala GRBASI; avaliação do tipo respiratório; avaliação fisioterapêutica da região cervicoescapular - inspeção visual dos perfis anterior, lateral e posterior, palpação dos músculos trapézio fibras-superiores, esternocleidomastoídeos, escalenos e base de occipital; e testes de mobilidade cervical e de encurtamentos musculares. RESULTADOS: Não houve diferença entre Grupo Experimental e Controle quanto à presença de queixas vocais; os sujeitos do Grupo Experimental apresentaram mais sintomas laríngeos e relataram mais dor em músculo trapézio e região cervical quando comparados aos sujeitos do Controle. Os sujeitos do Grupo Experimental apresentaram maior alteração nos parâmetros vocais tensão e instabilidade do que os sujeitos do Grupo Controle. Constatou-se maior incidência da respiração costodiafragmático-abdominal no Grupo Experimental. Não houve diferença entre os grupos estudados quanto à postura, encurtamentos musculares e mobilidade cervical; porém o Grupo Experimental apresentou mais dor à palpação em músculo trapézio - fibras superiores. CONCLUSÃO: Os militares instrumentistas de sopro apresentaram alterações vocais e da musculatura cervicoescapular e necessitam de ações de promoção à saúde vocal e postural.

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Dordzro, John-Doe. "BRASS BAND MUSIC IN GHANA: THE INDIGENISATION OF EUROPEAN MILITARY MUSIC." African Music: Journal of the International Library of African Music 11, no. 2 (November 22, 2020): 141–63. http://dx.doi.org/10.21504/amj.v11i2.2318.

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Local brass bands have become an indispensable factor in weddings, processions, rituals of birth or death, at Christmas and New Year festivities in many parts of the globe. Remains of European brass bands are widely distributed throughout Africa, India, Indonesia, Latin America, and the Caribbean. )ese bands are of both military and missionary origin. They are an important component of the nineteenth and early twentieth-century colonial expressive culture. Despite their uniqueness and widespread presence across the world, brass bands have received limited attention in Ghana. )is paper aims to address this lack by offering a comprehensive account of the contemporary situation of brass band music in Ghana. I trace the history of this musical world and explore the diverse ways military and missionary activities have shaped amateur brass band musical activities in Ghana. I discuss the distribution and band formations across Ghana, viewing it in five sections that detail different types of brass bands; church, town, service, school and “sharbo” bands. I continue by looking at the beginning, development, workings and indigenisation of European military music in local popular culture and provide an account of brass band music as observed in Ghana today. I argue that indigenisation is not a straightforward process of adaptation, rather, indigenisation is a process of ongoing aesthetic tensions and differences resulting in new musical forms and new forms of socialisation organised around musical performance.

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Velasco Sánchez, José-Tomás. "Materiales especiales de la Guerra de la Independencia conservados en el Centro Documental de la Memoria Histórica (CDMH)." Titivillus 4 (October 21, 2018): 165–80. http://dx.doi.org/10.26754/ojs_titivillus/titivillus.201803171.

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Se da a conocer la existencia de un pequeño pero rico conjunto bibliográfico de la época de la Guerra de la Independencia depositado en el Archivo General de la Guerra Civil del Centro Documental de la Memoria Histórica. En él, se explica cómo pudo constituirse el conjunto bibliográfico, cómo pudo llegar a formar parte del Archivo de la Guerra Civil y qué tipo de materiales especiales bibliográficos lo conforman, libros y opúsculos, proclamas, manifiestos y exhortaciones, y sentencias judiciales, bandos e instrucciones militares, que dan lugar a las tres secciones en las que se divide este artículo. De cada una de estas obras, cuando es posible, se facilita, además de su título, lugar de impresión, año de impresión y tamaño, información sobre su autor, ediciones similares coetáneas y posteriores y las principales bibliotecas donde puede encontrarse otro ejemplar de la misma obra.

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Sullivan, Jill M. "John Philip Sousa as Music Educator and Fundraiser during World War I." Journal of Historical Research in Music Education 40, no. 2 (December 22, 2017): 143–69. http://dx.doi.org/10.1177/1536600617743013.

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This study documents the music teaching and learning that took place in the U.S. Navy band program at the Great Lakes Naval Training Station (GLNTS) near Chicago during World War I, led by Lieutenant John Philip Sousa. The following six research questions helped guide this investigation: How did Sousa organize the Navy band program? What were the details of teaching the enlisted bandsmen? What other music experiences were provided? How did the bandsmen’s work benefit the Navy and the US government? Which of the military band experiences likely influenced teaching and learning of instrumental music education after the war? What were the benefits for Sousa to volunteer near the end of his career? Findings revealed that more than three thousand bandsmen were taught by Sousa and Navy bandmasters. Bandsmen served in several ways: intact bands were sent to Navy ships to boost sailors’ morale; bands served the training regiments; bands toured the nation selling bonds; the GLNTS band program impacted the supply of band teachers after the war; and Sousa’s and the militaries’ educational and training strategies survive in today’s classrooms. The study concludes with a critique of the US government’s and Sousa’s role in commodifying the bandsmen.

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Meckna, Michael. "Battle Cry of Freedom: Military Music of Union Army Bands." American Music 3, no. 3 (1985): 371. http://dx.doi.org/10.2307/3051490.

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Gheorghiţă, Nicolae. "Military Bands in the Romanian Principalities between 1821 and 1878." Nineteenth-Century Music Review 14, no. 3 (December 2017): 367–89. http://dx.doi.org/10.1017/s1479409817000180.

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The abandonment in the early nineteenth century of the Ottoman military bands (mehterhâne and tabl-khāne) that had provided ceremonial music for the Romanian princes, and the establishment of Western-style military bands in the newly formed army, brought about a radical shift in the cultural paradigm that was to have an effect upon the entire spectrum of musical life in the capitals of the Romanian provinces of Wallachia and Moldavia. This change occurred at two levels: on the one hand, musicians and the repertory current in noble salons were imported from the West, and, on the other, a native ethnic element was activated in a series of works and orchestrations based on folk themes. The present study examines the emergence, development and organization of the modern military bands in the Principalities of Wallachia and Moldavia in the context of native musical practices and the transition of Romanian society from an oriental mentality to an outlook and behaviour specific to Western Europe, in the period from the nineteenth century to the War of Independence (1877).

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Baek, Young Ki, and Young Sik Kim. "The Effect of Cultural Activities in Military Bands on Organizational Performance." Journal of Arts and Cultural Management 11, no. 2 (December 31, 2018): 91–111. http://dx.doi.org/10.15333/acm.2018.12.30.91.

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Harvey, James F., Michael B. Steer, and Theodore S. Rappaport. "Exploiting High Millimeter Wave Bands for Military Communications, Applications, and Design." IEEE Access 7 (2019): 52350–59. http://dx.doi.org/10.1109/access.2019.2911675.

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Queiroz, Viviana Oliveira, and Gustavo Bittencourt Camilo. "Aspectos de imagem de ressonância magnética das lesões relacionadas à corrida no treinamento físico militar." EsSEx: REVISTA CIENTÍFICA 2, no. 3 (December 17, 2019): 36–51. http://dx.doi.org/10.46848/900020.

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O Treinamento Físico Militar (TFM) tem como um de seus objetivos o desenvolvimento, manutenção ou recuperação da aptidão física necessária para o desempenho das atividades militares. São realizados treinamentos neuromuscular e cardiopulmonar, sendo a corrida principal representante deste último. A realização dos exercícios de maneira excessiva pode levar ao surgimento de lesões, o que ocorre com muita frequência no meio militar. Este trabalho tem como objetivo identificar as lesões mais frequentes decorrentes da prática da corrida, caracterizando-as através da análise de imagens de Ressonância Magnética. Foi realizada uma pesquisa bibliográfica em diferentes bases de dados científicos a cerca do tema proposto. As lesões musculoesqueléticas mais comuns, decorrentes da corrida, são as de membros inferiores, destacando-se a síndrome de estresse tibial medial, tendinopatia de Aquiles, síndrome da banda iliotibial, fascite plantar, fratura de estresse nos metatarsos e tíbia. A Ressonância Magnética (RM) é um ótimo método para a avaliação das partes moles e óssea, sendo de fundamental importância no diagnóstico de casos duvidosos.

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Jiménez Marce, Rogelio. "Problemática sanitaria y conflictos políticos en una ciudad del centro de Veracruz: la epidemia de cólera morbus de 1833 en Xalapa." Secuencia, no. 91 (December 19, 2014): 69. http://dx.doi.org/10.18234/secuencia.v0i91.1249.

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<p>El objetivo de este trabajo es mostrar las acciones que las autoridades del Ayuntamiento de Xalapa realizaron, en materia de políticas sanitarias, para evitar que el cólera morbus provocara graves daños en la ciudad. El que el Cabildo tomara en sus manos el control de la política sanitaria preventiva evidenciaba una nueva visión de la sociedad, en la que el Estado buscaba convertirse en el eje rector de las acciones. Antes de la llegada de la enfermedad, las autoridades municipales dispusieron una serie de medidas tendentes a preservar la salubridad pública, como la publicación de bandos y la formación de comisiones tendentes a preservar la tranquilidad pública, pero una de ellas, su decisión de cambiar la ubicación de los hospitales entre ellos el militar, les generaría conflictos con las autoridades castrenses. La disputa por la posesión del Cuartel Grande, que tanto unos como otros consideraban propio, evidenciaba una lucha de poder, pues las autoridades civiles buscaban imponer sus decisiones sobre las militares.</p>

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Webb, John, Robert Garofalo, and Mark Elrod. "A Pictorial History of Civil War Era Musical Instruments and Military Bands." Galpin Society Journal 39 (September 1986): 137. http://dx.doi.org/10.2307/842144.

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Byrne, Frank, Robert Garofalo, and Mark Elrod. "A Pictorial History of Civil War Era Musical Instruments & Military Bands." American Music 5, no. 3 (1987): 323. http://dx.doi.org/10.2307/3051743.

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Nemoto, Koichi, and Hiroshi Arino. "Hand and Upper Extremity Problems in Wind Instrument Players in Military Bands." Medical Problems of Performing Artists 22, no. 2 (June 1, 2007): 67–69. http://dx.doi.org/10.21091/mppa.2007.2014.

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This study examined the medical problems, especially of the hand and upper extremity, observed in wind instrument players from the military bands of the Japan Self-Defense Forces. The bands included 235 wind instrument players (184 men, 51 women), whose ages ranged from 18 to 57 yrs (average, 35 yrs). The length of their careers ranged from 6 to 41 yrs (average, 21 yrs). Methods: A questionnaire was distributed to the subjects for the health check. Results: From 235 wind instrument players, 71 (30% of the total players, 27% of the male players, and 41% of the female players) had hand and upper extremity problems. No relationship between the problem and the age or length of career was observed. The most common complaints were pain (49%), stiffness (19%), and numbness (7%). The upper extremities accounted for 52% of the affected sites and included the shoulder (6%), elbow (11%), forearm (4%), wrist (31%) and digit (47%). Musicians who played the flute, oboe, or clarinet were most commonly affected. The right thumb pain of clarinet and oboe players and right wrist pain of French horn players were characteristic symptoms of these instruments. Conclusion: Physicians, musicians, and administrators should be conscious of the potential for musicians to develop a wide array of physical problems directly related to the repeated use of their musical instruments.

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Silveira, Zuleide S., and Dinah Terra. "Educação Pública e Resistir! (Editorial)." movimento-revista de educação, no. 10 (June 30, 2019): 1–10. http://dx.doi.org/10.22409/mov.v0i10.542.

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O Editorial, intitulado "Educação pública e resistir!", analisa alguns dos instrumentos legais que se manifestam na contrarreforma da educação, implementada e aprofundada por meio de cortes de verbas, pelo recém-governo Jair Messias Bolsonaro. Neste contexto, revela que, as contradições e as lutas entre e intra classes sociais têm se acirrado. De um lado, as manifestações da “onda conservadora” ocorrem por mediação de intelectuais coletivos como o Movimento Escola sem Partido; o Movimento pela Base, o Movimento Todos pela Educação, bem como o Fomento às Escolas Cívico-Militares. De outro, a mobilização de entidades representativas de classe, como a Anped, Anfope, Andes-SN, CNTE, Frasubra, Forumdir, SBPC, SEPE, Sinasefe, entre outras, além dos movimentos estudantis e das bancadas de deputados federais e de senadores do campo progressista no Congresso Nacional que, de modo geral, têm levado às ruas seus protestos e a defesa pela educação pública, gratuita e de qualidade.Palavras-chave: Educação Pública. Resistência. Onda Conservadora.

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Reid, James J. "Irregular Military Bands and Colonies in the Balkans under Ottoman Rule, 1789-1878." Études Balkaniques-Cahiers Pierre Belon N° 3, no. 1 (1996): 131. http://dx.doi.org/10.3917/balka.003.0131.

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Gorbal, Y. M. "Professional Training of Military Musicians in Ukrainian Lands at the Turn of the XIX–XX Centuries." Culture of Ukraine, no. 71 (April 2, 2021): 75–81. http://dx.doi.org/10.31516/2410-5325.071.09.

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Abstract. The Armed Forces of Ukraine have strong traditions of musical bands that date back to princely and Cossack times. The task of their orchestras is to boost the morale of servicemen, to strengthen the power of the Ukrainian army by means of musical arts, as well as to perform at festive events (both at the local and the state level). However, despite the importance and diversity of creative and educational activities of the Military Orchestra Service of the Armed Forces of Ukraine, no comprehensive study of historical aspects of the functioning of music and military bands in national musicology has been conducted. The purpose of the article is to analyze the historical process of the formation of traditions of professional training of members of military musical bands at the turn of the XIX–XX centuries in the Ukrainian lands, as well as ceremonial and social functions of their concert activity. Research methodology. The overview is based on historical, structural and systemic methods. Results. Traditions of military orchestral training in Ukraine have deep historical roots and are based on multicultural principles. Traditions of performance and training in military musical bands of the Armed Forces of the independent Ukraine were formed on the basis of the three lines of continuation: princely and Cossack musicartistic formations and bands of the time of liberation movements (LUSR — Legion of Ukrainian Sich Riflemen, UIA — Ukrainian Insurgent Army), which represent their direct national line; Russian military orchestras with the participation of Ukrainian specialists; and multinational Austrian and Polish military music bands in Ukrainian territories. All of them together formed the basis on which the Ukrainian military and musical tradition was based, absorbing all the most relevant and productive aspects of the experience gained. Novelty. The activity of centers in which members were trained for existing military orchestral groups in the Ukrainian lands, as well as ways in which such training was performed, and the development of professional training of musicians were considered. Practical significance lies in the consideration of prospects for further detailed study of the functioning of separate bands, their repertoire, instruments, ceremonial and social functions, achievements of particular individuals in the field of performance, pedagogy and conducting. Conclusions. In the activity of military orchestras in the Ukrainian lands at the turn of the XIX–XX centuries we can see a combination of militaryceremonial and social palaceconcert functions, wide involvement of all segments of the society in concert touring, which completely dictates the rich repertoire. From LUSR schools and guilds, professional training of musicians was gradually transformed into the activities of specialized training units at the military formations, cadet schools and trumpet schools, institutions at music societies and professional music training in conservatories.

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Forján Anillo, Cristóbal. "El proceso de captación en la organización terrorista ETA." Revista Logos, Ciencia & Tecnología 13, no. 2 (June 10, 2021): 134–47. http://dx.doi.org/10.22335/rlct.v13i2.1395.

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El reclutamiento de activistas en bandas armadas, de manera general, se explica entre otras cosas por su relación con dos procesos psicosociales básicos, uno de radicalización y otro de polarización social, encaminados a disponer de militancia suficiente. Este artículo analiza desde una perspectiva empírica la captación de militantes de la organización terrorista ETA (Euskadi ta Askatasuna) en España, durante sus años de existencia, con base en la experiencia, investigación y contacto continuo con el mundo nacionalista radical, a partir del estudio de sumarios judiciales de atentados y desarticulaciones de comandos, y de diversos aportes de fuentes internas derivadas de entrevistas, así como de las posturas de expertos en el objeto de estudio, agrupando actitudes comunes no exclusivas y exponiendo limitaciones originadas especialmente en las charlas y entrevistas realizadas a vecinos y víctimas del grupo terrorista, que permiten concluir que ningún planteamiento generalista suple el desarrollo de investigaciones específicas, capaces de esclarecer las particulares causas de cada caso concreto. La mayoría de los expertos coincide en señalar la carencia de un conocimiento práctico exhaustivo del proceso de reclutamiento de terroristas y su comportamiento.

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Coffman, Don D. "Book Review: A Pictorial History of Civil War Era Music Instruments and Military Bands." Bulletin of Historical Research in Music Education 7, no. 2 (July 1986): 78–79. http://dx.doi.org/10.1177/153660068600700205.

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Pedroso, Anayara Fantinel, and Antonio José Guimarães Brito. "Vidas do sul: Identidade, Direito e Resistência na América Latina." RELACult - Revista Latino-Americana de Estudos em Cultura e Sociedade 2, no. 4 (December 31, 2016): 556. http://dx.doi.org/10.23899/relacult.v2i4.352.

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Os Charruas habitavam o Uruguai, Argentina e parte do território do Rio Grande do Sul, no Brasil antes da chegada dos colonizadores europeus, no século XVI. Durante muito tempo foram rotulados como bárbaros e demonizados, por resistir à cultura ocidental colonialista e eurocêntrica. Considerados uma ameaça, sofreram perseguições, principalmente no que diz respeito à formação dos Estados Nacionais, uruguaio e argentino. Entre 1701-1702 houve conflito na banda oriental onde 500 Charruas foram mortos. Tido como infiéis, em 1750 surgiram campanhas militares contra os indígenas, e no ano de 1831, os Charruas foram traídos e massacrados pelas tropas do General Rivera, onde a etnia Charrua foi dizimada, genocídio denominado Massacre de Salsipuedes.Devido às políticas anti-indigenistas instauradas, essa etnia foi dada como desaparecida. Acredita-se que houve uma resistência silenciosa por parte dos indígenas enquanto as condições políticas e sociais não os favoreciam. No Brasil, em 1970 houve o ressurgimento dos direitos indígenas e um fortalecimento das articulações, visando principalmente a questão da demarcação dos territórios, as retomadas, que ganhou força internacionalmente. Examina-se questões como a Identidade, Direito e Resistência dos Charruas na América Latina através de pesquisas bibliográficas, documentais e ida a campo na aldeia Polidoro, localizada em Porto Alegre e Tacuarembó-UY.

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Robertson, A. G., and T. S. Weeramanthri. "(A40) Military and Civilians in Australian Disaster Medical Assistance Teams." Prehospital and Disaster Medicine 26, S1 (May 2011): s12. http://dx.doi.org/10.1017/s1049023x11000525.

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The Australian Government first started to deploy civilian medical teams internationally in the aftermath of the 2004 Tsunami to Banda Aceh, the Maldives, and Sri Lanka. Historically, Australia had relied upon the Australian Defence Force (ADF) to provide overseas medical assistance, but, in this instance, the volunteers deployed were civilian staff, predominantly from tertiary hospital environments. Civilian Australian Medical Assistance Teams (AUSMATs), particularly in Banda Aceh, interacted closely with the ADF after the tsunami and have had a close liaison with the ADF in subsequent disasters, particularly where ADF assistance was required for aeromedical evacuation of patients. This has included assistance after the 2005 Bali bombing, the 2009 Ashmore Reef explosion, the 2009 Samoa tsunami, and the 2010 Pakistan floods. In the latter, Australia deployed a joint military-civilian medical taskforce to provide care to the affected people in Kot Addu in central Pakistan. Having had extensive experience in both military and civilian disaster responses, the authors in this presentation will look at the lessons that can be shared between civilian and military teams in the Australian context. The military brings particular proficiency in command and control, information gathering, security, communications, general logistics, aeromedical evacuation and living in the field. The civilian AUSMATs bring specialized medical expertise, experience in operating in small teams in a range of disaster conditions, health logistics, surveillance, and public health measures in a disaster setting. Learning how to blend these skill sets will be critical in ensuring effective and collaborative international deployments in the future.

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Granet, Christophe, and Graeme L. James. "Smooth-walled spline-profile Ka-band horn covering both the full commercial and military bands." Microwave and Optical Technology Letters 50, no. 8 (2008): 2119–21. http://dx.doi.org/10.1002/mop.23551.

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Pattieu, Sylvain. "Souteneurs noirs à Marseille, 1918-1921: Contribution à l’histoire de la minorité noire en France." Annales. Histoire, Sciences Sociales 64, no. 6 (December 2009): 1361–86. http://dx.doi.org/10.1017/s0395264900027530.

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RésuméAlors que l’historiographie a privilégié intellectuels et militants, l’espace marseillais permet d’aborder l’histoire des populations noires par les milieux populaires. Le cas d’un petit groupe de navigateurs, devenus proxénètes à la faveur de la guerre, permet en effet de tester à la fois la portée et les limites d’une approche de leur trajectoire sociale par la « condition noire ». Ces souteneurs, éloignés de la culture légitime, marginaux par rapport à la norme sociale, sont toutefois très intégrés dans le milieu populaire localisé du port. Si la couleur de peau compte dans leur constitution en bandes, leur trajectoire ne diffère cependant pas significativement de celle des souteneurs blancs (et notamment corses) de Marseille: c’est surtout par l’appartenance à une même profession que s’explique ces carrières déviantes. Cette étude de cas interroge la portée sociale de la couleur de peau dans l’ensemble des facteurs sociaux dans les milieux populaires français et les luttes de classement en leur sein.

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Lee, Kyungmee, Michiyo Nomura, Jisoo Lee, and Minjung Lee. "A Study on the Historical Research and Design of the 1901 Daehan Empire Military Band’s Uniform." Journal of the Korean Society of Costume 68, no. 5 (August 31, 2018): 128–42. http://dx.doi.org/10.7233/jksc.2018.68.5.128.

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Sullivan, J. M. "Music for the Injured Soldier: A Contribution of American Women's Military Bands During World War II." Journal of Music Therapy 44, no. 3 (September 1, 2007): 282–305. http://dx.doi.org/10.1093/jmt/44.3.282.

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Bowles, E. A. "The impact of Turkish military bands on European court festivals in the 17th and 18th centuries." Early Music 34, no. 4 (November 1, 2006): 533–60. http://dx.doi.org/10.1093/em/cal103.

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VARTAVARIAN, MESROB. "Warriors and States: Military labour in southern India, circa 1750–1800." Modern Asian Studies 53, no. 2 (August 24, 2018): 313–38. http://dx.doi.org/10.1017/s0026749x17000038.

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AbstractThe consolidation of numerous regional polities in the aftermath of Mughal imperial decline presented favourable socioeconomic opportunities for South Asian service communities. Protracted armed conflicts in southern India allowed a variety of mercenaries, soldiers, and war bands to accumulate resources in exchange for mobilizing manpower on behalf of states with weak standing armies. This article focuses on British imperial efforts to obtain sufficient quantities of military labour during its struggle with the Mysore sultanate. As the sultanate assumed an increasingly hostile attitude towards independent warrior power, local strongmen sought more amenable arrangements with alternate entities. The British East India Company received crucial support from autonomous warrior groups during its southern wars of conquest. Warriors in turn utilized British resources to consolidate local sovereignties. Thus, the initial British intrusion into peninsular Indian society further fragmented the political landscape by patronizing petty military entrepreneurs.

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De la Torre Curiel, José Refugio, and Isabel Pérez González. "“Nada les hemos cumplido”: negociaciones de paz entre apaches y españoles en la Nueva Vizcaya en 1787." Historia Mexicana 69, no. 3 (January 1, 2020): 1023. http://dx.doi.org/10.24201/hm.v69i3.4018.

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Desde fines del siglo XVI, distintas fuentes de primera mano registraron la presencia de grupos identificados como apaches a lo largo de la frontera norte novohispana. Conforme el poblamiento español avanzó hacia el norte en el siglo XVII y conforme estos grupos clasificados como apaches fueron desplazados hacia el sur, las confrontaciones violentas entre ambos bandos se hicieron recurrentes. Los estudios clásicos sobre estos temas, producidos por autores estadounidenses y españoles, han mostrado que la corona española transitó de manera errática entre las políticas de guerra y negociación para hacer frente a la amenaza apache, y que el punto crítico en la definición de una política firme con respecto de estos grupos indígenas se daría hacia 1786, en la época del virrey Bernardo de Gálvez. Como argumenta este artículo, las mudanzas entre la guerra (ofensiva o defensiva) y los tratados de paz (mediante regalos y el establecimiento de apaches cerca de los presidios) no solamente obedecieron a los cambios en la diplomacia española a gran escala, sino que también estuvieron relacionadas con la distancia que separaba a los altos mandos militares de las experiencias que apaches y españoles vivían en el ámbito local. El caso del fallido intento de pactar la paz con los mezcaleros en 1787 en la Nueva Vizcaya muestra la forma en que las fisuras en las líneas de mando españolas, y la distancia cultural entre los apaches y la jerarquía militar, dificultaron la construcción de una paz duradera entre ambosbandos a fines del siglo XVIII.

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Singh, Ravindra, Nagarajan R., Karuna Poonia, Hari Mohan, and Jagdish Prasad Mangalhara. "High Temperature Calibration of Thermal Imagers for Infrared Measurements on Military Platforms." Defence Science Journal 67, no. 2 (March 11, 2017): 188. http://dx.doi.org/10.14429/dsj.67.9979.

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<p>Calibration of thermal imaging system is not a straight forward process and hence manufacturers suggest re-calibration at factory itself. However, it is time consuming and expensive. A few research papers refer various approaches to perform low temperature calibration considering the wide requirement of low temperature measurements (typically less than 150 °C). However, no reference is available in open literature about high temperature calibration of thermal imagers. Hence, the possibility of high temperature calibration of thermal imaging systems has been explored using high temperature blackbody sources available at laboratory. With the use of neutral density filters, calibration has been performed in mid-wave (3.7 μm - 4.8 μm) and long-wave (7.7 μm - 9.5 μm) bands of imagers for IR measurements. The developed calibration has also been tested for field measurements.</p>

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KEISTER, JAY, and JEREMY L. SMITH. "Musical ambition, cultural accreditation and the nasty side of progressive rock." Popular Music 27, no. 3 (October 2008): 433–55. http://dx.doi.org/10.1017/s0261143008102227.

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AbstractProgressive rock of the early 1970s has been demonised as a nadir in the history of rock primarily because of the ambitions of progressive rock musicians. Critics have interpreted these ambitions as attempts to elevate rock music to the level of high art in order to gain cultural accreditation from an unspecified cultural elite. This interpretation is further compounded by the common notion that progressive rock’s subject matter is dominated more by individualistic quests for spirituality than by socio-political critique, resulting in a stereotype of progressive rock as apolitical, pretentious and conventionally upwardly mobile. Critics who have propagated this stereotype – including some musicologists – have misunderstood the countercultural politics of young musicians during this era and have overlooked the highly developed musical poetics of progressive rock that were in fact highly politicised. This paper examines four of the leading progressive rock bands of the early 1970s – Emerson, Lake and Palmer, King Crimson, Genesis and Yes – and reveals the nasty side of progressive rock: a scathing criticism of rampant militarism and social conformity that runs counter to the prevailing narrative in which the genre is dismissed as an escapist fantasy with an elitist agenda.

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Lee, Jung-hee. "A Study on Military Bands 軍樂隊 at the Age of the Daehan Empire 大韓帝國." STUDIES IN KOREAN MUSIC 44 (December 30, 2008): 165–94. http://dx.doi.org/10.35983/sikm.2008.44.165.

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Hunter, Justin R. "Brass Bands of the World: Militarism, Colonial Legacies, and Local Music Making ed. by Suzel Ana Reily and Katherine Brucher." Notes 71, no. 3 (2015): 504–7. http://dx.doi.org/10.1353/not.2015.0028.

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Sullivan, Jill M. "Women Music Teachers as Military Band Directors during World War II." Journal of Historical Research in Music Education 39, no. 1 (January 18, 2017): 78–105. http://dx.doi.org/10.1177/1536600616665625.

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The purpose of this study was to determine how women music teachers became the United States’ first female military band directors. Interviews with seventy-nine World War II military bandswomen revealed that seven of the ten chosen female directors were music teachers prior to their enlistment in the Army, Coast Guard, or Marines—band and orchestra teachers, music supervisors, and a college professor. Six of those seven directors are included in this study. Research questions pertained to their childhood music education, formal schooling, music-teacher employment, why they quit teaching to enlist, military education, military leadership and performance experiences, how they continued music making after the war, and the meaning of this experience for their lives. Corroboration of interview responses with primary and secondary sources—census data, school records, city directories, social security index, newspaper articles, photographs, diaries, military documents, military and WWII books—revealed that these music educators had accurate memories, outstanding music education and performance backgrounds, substantial leadership experiences, and diverse musical backgrounds that made them good choices for leading military bands and ensembles. All were part of significant firsts for women in the military. Near the end of their lives, they believed that their service as a military band director and musician had substantial impact on their lives and in some cases valued as “the most important” experience of their lives.

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Shansky, Carol L. "Book Review: Suzel Ana Reily and Katherine Brucher, eds, Brass Bands of the World: Militarism, Colonial Legacies, and Local Music Making." Journal of Historical Research in Music Education 38, no. 2 (January 15, 2017): 213–16. http://dx.doi.org/10.1177/1536600616688762.

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Hsing-Yi Chen, I. Y. Tarn, and Yeou-Jou Hwang. "Infrared extinction of the powder of brass 70Cu/30Zn calculated by the FDTD and turning bands methods [military smoke screening applications]." IEEE Transactions on Geoscience and Remote Sensing 33, no. 6 (1995): 1321–24. http://dx.doi.org/10.1109/36.477188.

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Chacón Serrano, Fernando. "Estamos en guerra." ECA: Estudios Centroamericanos 75, no. 763 (December 31, 2020): 71–96. http://dx.doi.org/10.51378/eca.v75i763.3284.

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El conflicto armado de El Salvador (1980-1992) ha sido uno de los más largos y sangrientos de la historia reciente de Latinoamérica. Entre sus particularidades destaca la devastación de comunidades enteras por operativos militares que obligaron a su población a desplazarse, para luego ser reconstruidas al término de este. Ya han transcurrido 28 años de su fin formal, tiempo en el cual han emergido nuevas generaciones que no vivieron tal acontecimiento, pero que se han socializado dentro de las comunidades afectadas, en interacción con las víctimas directas (familiares y vecinos). A partir del contexto anterior, se realizó una investigación que tuvo por objetivo comprender la construcción de memorias del conflicto armado en jóvenes de una comunidad desplazada y explorar la forma en que sus memorias son un marco para interpretar las exigencias de su presente y su futuro. Mediante metodología cualitativa, se utilizaron las técnicas de relatos de vida y fotoelicitación con diez jóvenes, quienes crecieron después de 1992 en la comunidad Nueva Trinidad (Chalatenango), territorio reconstruido por exrefugiados. En general, se observa que los/as jóvenes, pese a no haber vivido la guerra, construyen memorias propias. En esa construcción emerge una trama narrativa que sigue un esquema de conflicto/guerra (bandos encontrados en constante disputa), no solo en referencia al pasado, sino también al presente y al futuro. La trama se alarga más allá del fin formal del conflicto, y sigue tejiéndose hasta alcanzar su vida actual. La memoria de la guerra les permite, entonces, examinar su presente y aseverar la continuidad de esta situación bélica, aunque con otras modalidades y personajes; además les sirve como orientación ética y política en la vida, desde la cual critican el mal proceder de sus gobernantes locales. A futuro, relatan que esta memoria les servirá para saber qué hacer si se repite otra guerra como la pasada. ECA Estudios Centroamericanos, Vol. 75, No. 763, 2020: 71-96.

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Herbert, Trevor. "Public Military Music and the Promotion of Patriotism in the British Provinces, c. 1780-c. 1850." Nineteenth-Century Music Review 17, no. 3 (April 14, 2020): 427–44. http://dx.doi.org/10.1017/s1479409819000594.

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The role and importance of military musicians changed and intensified in the late eighteenth century through two important processes. The first was the culture of display that took root in both the home-based army and units in the colonies. The second was the result of successive militia acts which effectively ensured that military units with bands would be systematically placed in every corner of the British Isles.It became evident that music as a component of military display served an important diplomatic purpose. Music performed in public spaces was heard by a population deeply sceptical of the army and with an essentially local sense of identity. The experience of the sight and sound of military music raised entirely new perceptions of nation and of the state as a benign power.Two important and related themes emerge here. The first is the historical process that led, almost accidentally, to a realization that music as part of military display had potential to influence populations across the country and in the colonies. The second, more challenging, theme concerns the nature of the evidence for this idea and how it is to be treated. It is an idea that is totally convincing if the experience of hearing and seeing military spectacle by the mass of the people can be shown to have had impact. What is the evidence of listening to music by those people at whom it was targeted, how robust is it and what can be made of it?

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Bethke, Andrew-John. "Brass Bands of the World: Militarism, Colonial Legacies, and Local Music Making. Suzel Ana Reily and Katherine Brucher, eds. 2013. Surrey: Ashgate, illus., index. 268pp." African Music: Journal of the International Library of African Music 10, no. 1 (2015): 206–8. http://dx.doi.org/10.21504/amj.v10i1.1233.

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Bae, Taewuk, Youngchoon Kim, and Sangho Ahn. "IR-Band Conversion of Target and Background Using Surface Temperature Estimation and Error Compensation for Military IR Sensor Simulation." Sensors 19, no. 11 (May 29, 2019): 2455. http://dx.doi.org/10.3390/s19112455.

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Military infrared (IR) imaging systems utilize one or more IR wavelength-bands, among short wavelength IR (SWIR), middle wavelength IR (MWIR), and long wavelength IR (LWIR) band. The IR image wavelength-band conversion which transforms one arbitrary IR wavelength-band image to another IR wavelength-band image is needed for IR signature modeling and image synthesis in the IR systems. However, the IR wavelength-band conversion is very challenging because absorptivity and transmittance of objects and background (atmosphere) are different according to the IR wavelength band and because radiation and reflectance characteristics of the SWIR are very different from the LWIR and MWIR. Therefore, the IR wavelength-band conversion in this paper applies to only IR targets and monotonous backgrounds at a long distance for military purposes. This paper proposes an IR wavelength-band conversion method which transforms one arbitrary IR wavelength-band image to another IR wavelength-band image by using the surface temperature estimation of an object and the error attenuation method for the estimated temperature. The surface temperature of the object is estimated by an approximated Planck’s radiation equation and the error of estimated temperature is corrected by using the slope information of exact radiance along with the approximated one. The corrected surface temperature is used for generating another IR wavelength-band image. The verification of the proposed method is demonstrated through the simulations using actual IR images obtained by thermal equipment.

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Schenquer, Laura, and Julia Risler. "Opinion polls and surveys in the BANADE archives: a productive use of governmental technologies by the last military dictatorship in Argentina (1976–1983)." Canadian Journal of Latin American and Caribbean Studies / Revue canadienne des études latino-américaines et caraïbes 44, no. 2 (May 4, 2019): 225–42. http://dx.doi.org/10.1080/08263663.2019.1602937.

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Journal articles on the topic 'Bandas Militares'

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