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García, Martín Miguel. "Concerta." Universidad Nacional de Cuyo. Facultad de Ingeniería, 2016. http://bdigital.uncu.edu.ar/8427.
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A continuación, se describe la experiencia llevada a cabo por uno de los estudiantes de la Carrera de Ingeniería Civil, durante el desarrollo de las Prácticas Profesionales Supervisadas (PPS) durante el periodo febrero-julio de 2016. En la mencionada experiencia se estuvo trabajando en el Estudio de Ingeniería Estructural del Ing. Jorge Cano, el que está ubicado en el complejo privado “Club de Campo Mendoza", en Guaymallén. La labor desempeñada consistió en el diseño y cálculo estructural mediante la utilización de softwares, en particular, al cálculo y dimensionamiento de un Centro de Convenciones que se ubicará en Chacras de Coria, Luján de Cuyo.Fil: García, Martín Miguel. Universidad Nacional de Cuyo. Facultad de Ingeniería.
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Tria, Parareda Núria. "Cursant Concerta. Una aproximació etnogràfica a nens, adolescents i joves diagnosticats de TDAH." Doctoral thesis, Universitat de Barcelona, 2017. http://hdl.handle.net/10803/434476.
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La diagnosi de TDAH i la medicació amb metilfenidat o atomoxetina, junt (o no) a reeducacions cognitivo-conductuals, ha esdevingut en les darreres dècades una solució habitual que els dispositius educatiu i sanitari han ofert als nens que es considera que no progressen a l’escola adequadament. Aquesta “solució” ha generat abundant debat i controvertida literatura des de la inclusió del TDAH als anys ’80 del segle passat als manuals diagnòstics psiquiàtrics de referència, especialment als EEUU, pioner en la medicalització d’aquest àmbit de la vida dels nens i les seves famílies. Mentre uns afirmen que es tracta d’una malaltia “inventada” d’altres defensen “l’evidència científica” de la seva ubicació cerebral i el pes de la genètica en la seva aparició.
A la present recerca pretenc explorar per mitjà del treball de camp etnogràfic el fenomen social del TDAH estudiant-lo a un context local format per dues unitats d’anàlisi: un Centre de Salut Mental infanto-juvenil (CSMIJ) i el meu propi centre de treball, un Institut d’Ensenyaments Secundaris (IES), ambdós ubicats a Barcelona.
La recerca l’he plantejat en dos temps, i des de dos angles diferents, reflectits a les dues parts de que consta l’etnografia. A la primera part i amb l’objectiu de copçar el fenomen del TDAH en conjunt, l’he considerat un “fet social total” i he utilitzat les nocions de “joc” i “institució” per a preguntar-me i descriure, tant al CSMIJ (capítol I) com a l’IES (capítol II) els processos de construcció i institucionalització de la nosologia mèdica TDAH i la seva administració a nens, adolescents i joves. A la segona part (capítol III) m’he apropat a l’experiència particular d’alguns nois que han estat, en algun moment de la seva vida, designats com a TDAH i medicats. He escoltat la seva veu i m’he preguntat què significa “esdevenir TDAH”, posant el focus en els processos de subjectivació, d’internalització, de la taxonomia biomèdica així com del que anomenarem “lògica del diagnòstic”.
La reflexió final gira entorn la configuració de la persona, de la identitat, d’aquests nens, adolescents i joves que han estat diagnosticats de TDAH i medicats, entenent aquesta identitat com una construcció en procés i en diàleg permanent, al frec del joc institucional i les particularitats biogràfiques individuals. Em pregunto si podem parlar d’identitats medicalitzades i, finalment, procuro explicar què significa per a mi, “cursar Concerta”, una expressió que, sobre el terreny, sentia plena de significatA diagnosis of ADHD and treatment with methylphenidate (Ritalin) or atomoxetine (Strattera), combined with cognitive-behavioral therapies (though not always), has emerged in recent decades as the solution that education and health professionals customarily provide to children who are considered not to make adequate progress at school. This “solution” has generated intense debate and produced controversial literature ever since the 1980s when ADHD was included in clinical psychiatric diagnostic manuals, especially in the US, a pioneer in pathologizing this area of children’s and families’ lives. While some maintain that ADHD is an “invented” disease, others point to the “scientific evidence” of its location in the brain and the genetics involved in its presentation. In this study, I aim to explore the social phenomenon of ADHD through ethnographic field- work, specifically by studying a local context comprised by two sites of analysis, both located in Barcelona: a Childhood & Juvenile Mental Health Center (CSMIJ, in Catalan) and my own workplace, a Secondary Education Institute, (IES, in Catalan). I have planned the research to take place in two periods, from two different angles, reflected in the two parts that make up the ethnography. In the first part, in order to better grasp the phenomenon of ADHD in its totality, I approach it as a “global social fact,” using the concepts of “interplay” and “institution” to inquire and describe the processes of construction and institutionalization of the medical classification of ADHD and its management in children, adolescents and young adults at both the CSMIJ (Chapter 1) and the IES (Chapter 2). In the second part (Chapter 3), I approach the personal experience of certains youths who at some point in their lives have been diagnosed with ADHD and medicated. I have listened to their voices and considered what it means to “develop ADHD” by focusing on the processes of subjectivation and internalization of the biomedical taxonomy, as well as what I call the “logics of diagnosis.” The final reflection centers on the configuration of the personhood and identity of these children, adolescents and young adults who have been diagnosed with ADHD and medicated. I understand “identity” as a construction-in-process and in constant dialogue, between institutional interplay[1] and individual biographical particularities. I venture to ask if we could be dealing with “medicalized identities,” and finally, I attempt to explain what the expression “cursant Concerta[2]” (one that I felt charged with meaning on the ground) means to me.
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Qaderi, Josef. "Den töjbara gränsen mellan läkemedel och drog : En analys av massmedias skildring av Ritalin, Concerta och Strattera." Thesis, Mälardalens högskola, Akademin för hälsa, vård och välfärd, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:mdh:diva-31317.
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Syftet med föreliggande uppsats är att undersöka hur ADHD-medlen Ritalin, Concerta och Strattera skildras i massmedia. Specifikt studeras den töjbara gränsen mellan läkemedel och drog med avseende på ADHD-medlen. Uppsatsen tar sin utgångspunkt i socialkonstruktionismen och den kritiska diskursanalysen. Sammanlagt analyserades 183 tidningsartiklar som förekom mellan 2002-2015 i åtta av de största svenska dags- och kvällstidningar. Resultatet visar att Ritalin, Concerta och Strattera konstrueras som läkemedel i massmedia genom att; 1) benämna dessa som läkemedel; 2) tilldela förespråkare för en ökad förskrivning av medlen plats på nyhetssidorna medan kritiker förläggs till debattsidorna; 3) tilldela framförallt psykiatriker som intar en biomedicinsk diskurs större massmedialt utrymme; och 4) underrapportera om biverkningar. Konstruktionen av Ritalin, Concerta och Strattera som läkemedel ska ses som en bidragande orsak till den ökade förskrivningen av ADHD-medel.
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Anderson, Stephen Reg. "Aesthetic models and structural features in Concerto for solo percussion and concert band." Thesis, connect to online resource, 2005. http://www.unt.edu/etd/all/Dec2005/anderson%5Fstephen%5Freg/index.htm.
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Steward, Janet Gail. "The encore piece for piano from 1920-1990 : historical overview and programing patterns." Virtual Press, 1991. http://liblink.bsu.edu/uhtbin/catkey/833670.
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The encore piece for piano is viewed both as an historical study and an investigation of current programing trends. Data from the New York Times, music reviews and questionnaires completed by distinguished American pianists provided information that was compiled and charted.A study of the years 1920 through 1990 showed a discernible move away from extended encore segments, with a shift toward a single encore offering. Spontaneous rushing of the stage by theaudience and demanded immediate re-hearings of works faded shortly after 1940.Questionnaires revealed present-day artists are most influenced by length and character of the work, as well as the ending program piece in selecting encores. Two additional influences are the desire for contrast in succeeding encores and spontaneity in encore choice. Questionnaire answers reaffirmed that fewer encores are given in the 1990's; also noted were the facts of encores becoming shorter, more substantial, and less virtuosic. An inclusion of lesser-known works from the twentieth century was indicated.Research indicates that selecting the appropriate encore is both an art and a science. The importance of the intuitive art of judging audience response and spontaneity of encore choice is matched only by the role of the analytical in studying past successful encore models and programing an effective encore sequence. A successful encore is determined as much by what precedes and follows its performance as by its own character.School of Music
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Foster, Thomas K. "Program-building : an investigation of the design of graduate and artist piano recitals." Virtual Press, 1993. http://liblink.bsu.edu/uhtbin/catkey/897484.
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This study was conducted to ascertain and report attitudes of faculty-artist piano teachers at NASM-accredited music units with graduate programs concerning the diverse aspects of designing graduate student and artist piano recitals. A second objective was to compare and contrast the principles which govern program-building practices of graduate and artist piano recitals.The study consists of five chapters. Chapter 1 presents background information and the purpose, delimitations, and significance of the study. Chapter 2, a review of related literature, reveals that discontent toward program-building practices began as early as the middle of this century.Chapter 3 delineates the methods and procedures employed to collect the data. Responses collected from the questionnaire are reported in Chapter 4. Four recital types--graduate recitals, faculty-artist recitals, artist recitals in major cultural centers, and artist recitals in outlying areas are examined in terms of program length, format, content, and balance. Chapter 5 provides a summary of the study as well as comparisons and conclusions.It was found that graduate student and artist recitals enjoy few program-design commonalities. Analysis of the data revealed that only four commonalities were shared by all four recital groups: 1) Consider the respective moods of the repertory "Almost Always" or "Often" when determining the construction of a program, 2) a program's format should be chronological "Sometimes," 3) the "First Half" of a recital should be longest, and 4) lengthy works may be placed in "Both Halves" of a program.Respondents gave "Performer's Security" top priority when selecting the opening work for all recital types. Four criteria considered very important when selecting closing works were: 1) Mood, 2) Intensity, 3) Effectiveness, and 4) Performer's Security.Challenging the notion that there is one correct way to design a recital, participants offered a variety of strategies and formats. Finally, lists of suggested opening and closing works, works generally considered difficult for audiences and works composed post-1950 which have found favor with audiences are appended to the study.School of Music
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Baczewski, Philip. "Vox Organalis." Thesis, University of North Texas, 1989. https://digital.library.unt.edu/ark:/67531/metadc331310/.
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Vox Organalis is a concerto for organ and orchestra. It employs an ensemble comprising the compliment of wind, percussion, and string instruments normally available within a contemporary symphony orchestra with augmented brass and woodwind sections. It is intended to be performed with a large organ such as might be found in a symphony hall or large church. The work is in two movements, and its intended performance time is twenty-five minutes.
Use of the concerto format within Vox organalis results in a new approach to organizing the interaction between the solo part and the orchestral accompaniment. The organ part is notated in traditional metered notation, but the orchestral notation is organized in units of clock time (seconds). The horizontal spatial arrangement of the orchestral notation corresponds to the timing of the metered organ part.
Pitch organization in Vox Oraanalis is derived from a twelve-tone row based upon the natural harmonic series. Several techniques of serial composition were used to organize and select elements of the tone row for use in the construction of the work. Use of the tone row for horizontal and vertical pitch structures provides unity to the pitch organization of the work.
Vox Organalis is constructed in 12 sections which help define the formal shape of the work. Four of these sections comprise Movement I, and eight are contained by Movement II. The length of the formal sections are based upon the series of natural harmonic numbers from which the tone row was derived.
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Call, Casadesús M. Teresa. "La frontera en l’ensenyament i aprenentatge de les ciències socials. La construcció de conceptes en l’alumnat de secundaria des d’una anàlisi i interpretació d’entorns geogràfics i històrics." Doctoral thesis, Universitat Autònoma de Barcelona, 2018. http://hdl.handle.net/10803/664686.
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Pensar en un ensenyament de les ciències socials que apropi l’alumnat a temes de l’actualitat i a la pròpia realitat demanda un plantejament que incorpori situacions rellevants i significatives que li permeti interpretar el present i participar en la construcció del futur. Aquesta premissa suposa un replantejament de la pràctica docent cap a una adequació dels continguts curriculars, des d’una perspectiva crítica i controvertida. Així com, convertir el treball dels nois i noies a l’aula en un instrument per a la construcció de coneixement social amb la incorporació de temes que els ajudin en la construcció de conceptes. La frontera, concepte propi de les ciències socials, esdevé l’objecte de la nostra recerca que vam iniciar amb un estudi del fenomen fronterer a partir de les aportacions d’experts en la frontera. El disseny del marc metodològic ens va servir per l’elaboració de seqüencies didàctiques centrades en la seva explicació i per arribar-ne a la comprensió a partir de situacions problema, donant-li significat amb la inclusió de conceptes relacionats. En tractar-se d’una recerca de l’àmbit de la Didàctica de les Ciències Socials vam optar per un paradigma sociocrític i una metodologia mixta, tot i que, ha estat la qualitativa on hem sustentat, fonamentalment, l’anàlisi i interpretació de les dades obtingudes per identificar de quina manera els problemes socials rellevants i la controvèrsia social intervenen en la conceptualització de la frontera. Per a la recollida d’evidències que ens ajudessin a corroborar les preguntes, els objectius i els supòsits de la recerca vam optar per la utilització de tres instruments: el qüestionari semiestructurat, l’elaboració de textos i el focus group. La combinació d’aquests instruments ens va permetre obtenir dades en tres moments de la investigació: abans d’iniciar l’aplicació de la proposta didàctica, durant la implementació a l’aula de les seqüències didàctiques i un any després. Aquesta estructura ens servia per conèixer de quina manera l’alumnat anava incorporant coneixement social en l’explicació de la frontera i, a més, ens permetia determinar la persistència de la conceptualització en el temps. La proposta didàctica, també, incorporava un model metodològic on els nois i noies esdevinguessin els protagonistes del
propi aprenentatge a partir de la combinació de treball individual, per parelles, en grup col·laboratius i amb el grup classe. En definitiva, es tractava de analitzar i interpretar situacions problema de temes de l’actualitat on hi és present la frontera a partir de la reflexió personal i el diàleg i el debat amb els companys fent ús del coneixement social adquirit.To think in a Social Studies teaching that approaches the students to topical issues and the current reality, an approach which includes relevant and significant situations that allows to the students to interpret the present and to participate in the construction of the future is necessary. This premise suppose a reassessment of the teaching activity towards curriculum adaptation contents, from a critical and controversial perspective. Also to transform the students class work in an instrument for the social studies knowledge construction incorporating topics that help them to construct concepts. The border, own concept on the social studies, became the aim of our research that we have started with an study of the border phenomenon from the contributions of border experts. The methodological frame drawing served us to elaborate teaching sequences focused in their own explanation and to achieve its understanding since the problem-situation giving meaning including related concepts. Because it is a research based on Social Studies Teaching field we chose a socio-critical paradigm and mixed methods, even the qualitative has been the one where we have supported the most, the analysis and the interpretation of the figures obtained to identify in which way the relevant social problems and the social controversy take part in the border conceptualization. In order to collect evidences which help us to corroborate the research questions, aims and assumptions we decided to use three resources: semi-structured survey, text elaboration and focus group. The combination of these tools allowed us to obtain figures in three different moments of the investigation: before to start the teaching proposal, during the class application and after a year. This structure serve us to know how the students have been incorporating the social knowledge in the border explanation and moreover, it allows us to determine the persistence of the time conceptualization. The didactic proposal also incorporates a methodological model where the students became the protagonist of their own learning based on the combination of independent work, work in couples, collaborative groups and class group work. To sum up, it deals with the analysis and interpretation of problem situation topics of interest where the border topic appears from the self-reflection, dialogue and debate between colleagues making use of the social knowledge acquired.
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Lopez, Richard C. "The piano concertos of Carl Maria von Weber : precursors of the romantic piano concerto." Connect to resource, 1989. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1228836117.
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Zhang, Yu. "Contribution to concept detection on images using visual and textual descriptors." Thesis, Ecully, Ecole centrale de Lyon, 2014. http://www.theses.fr/2014ECDL0014/document.
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Pas de résuméThis thesis is dedicated to the problem of training and integration strategies of several modalities (visual, textual), in order to perform an efficient Visual Concept Detection and Annotation (VCDA) task, which has become a very popular and important research topic in recent years because of its wide range of application such as image/video indexing and retrieval, security access control, video monitoring, etc. Despite a lot of efforts and progress that have been made during the past years, it remains an open problem and is still considered as one of the most challenging problems in computer vision community, mainly due to inter-class similarities and intra-class variations like occlusion, background clutter, changes in viewpoint, pose, scale and illumination. This means that the image content can hardly be described by low-level visual features. In order to address these problems, the text associated with images is used to capture valuable semantic meanings about image content. Moreover, In order to benefit from both visual models and textual models, we propose multimodal approach. As the typical visual models, designing good visual descriptors and modeling these descriptors play an important role. Meanwhile how to organize the text associated with images is also very important. In this context, the objective of this thesis is to propose some innovative contributions for the task of VCDA. For visual models, a novel visual features/descriptors was proposed, which effectively and efficiently represent the visual content of images/videos. In addition, a novel method for encoding local binary descriptors was present. For textual models, we proposed two kinds of novel textual descriptor. The first descriptor is semantic Bag-of-Words(sBoW) using a dictionary. The second descriptor is Image Distance Feature(IDF) based on tags associated with images. Finally, in order to benefit from both visual models and textual models, fusion is carried out by MKL efficiently embed. [...]
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Pickering, Jennifer Mary. "Polite or commercial concerts? : concert management and orchestral repertoire in Edinburgh, Bath, Oxford, Manchester and Newcastle, 1750-1799." Thesis, University of Oxford, 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.359743.
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Macura, Nebojsa S. "Concerto for Piano and Wind Ensemble." University of Cincinnati / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1305645223.
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Butler, Deborah Lynne. "The role of expectations in the feature integration process." Thesis, University of British Columbia, 1985. http://hdl.handle.net/2429/25360.
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According to Treisman (Treisman and Schmidt, 1982) feature detection occurs in parallel, while the correct integration of detected features into an object requires focal attention. She has proposed that in the absence of attention, subjects will perceive "illusory conjunctions", or invented objects constructed out of features actually present in a display. The present experiments were designed to examine how the presence of expectations might affect the feature integration process and the construction of illusory conjunctions. The results of these experiments suggest that expectations do affect the perception of simple objects: subjects make more illusory conjunctions in the absence of expectations, and the perception of expected objects is the most accurate. However, the data indicate that expectations do not exert this influence by guiding the feature integration process, because subjects do not tend to construct expected objects out of features appearing in a display. As a result, it is likely that expectations are influential not by determining the construction of object files, but by speeding up the identification of the features of expected objects, so that focal attention can be applied, and object files constructed, more efficiently. As a result, the perception of expected objects can be accurately accomplished in a shorter amount of time.Arts, Faculty of
Psychology, Department of
Graduate
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Donaldson, Fiona McCallum. "Reid Concerts at the University of Edinburgh : the first 100 years, 1841-1941." Thesis, University of Edinburgh, 2018. http://hdl.handle.net/1842/33058.
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Reid Concerts began in 1841 and were defined by Donald Francis Tovey as those concerts presented by the University of Edinburgh under the auspices of the Professors of Music, based on the guidance laid down in the will and codicil of General John Reid. Reid was a major benefactor who bequeathed funds for the establishment of the Chair of the Theory of Music at The University of Edinburgh with a condition attached to the bequest that a concert be held each year in his memory. This thesis will explore the development and evolution of the first 100 years of these concerts through the contents of the available original concert programmes and related ephemera held in the Centre for Research Collections at The University of Edinburgh - a valuable historical resource which has never been fully recorded or researched. Analysis of this resource will focus on the programming, people, personalities, places, and perspectives associated with the performances and offer insight into the choices and influences of the Professors of Music charged with the organisation and implementation of the concerts over an extended timescale from 1841 to 1941. To aid this analysis a searchable online database has been designed and developed to provide outline performance details and some background information on the contents of many of these Reid concert programmes: http://www.reidconcerts.music.ed.ac.uk. The database is both a finding aid to these contents and a research tool providing a basis for future studies. This research will contribute to the history of the University and City of Edinburgh and the social and musical history of concerts in the University from 1841. The findings emphasise the usefulness of printed concert programmes in recording trends in concert presentation and programming and will broaden the knowledge of this use of such ephemera for academic research.
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Aronsson, Jonathan, and Adam Granstedt. "A Qualitative Look into Auditor’s Going Concern Assessment." Thesis, Jönköping University, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:hj:diva-52925.
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Introduction: The history of going concern have been surrounded by uncertainties. The concept becomes relevant in times of economic crisis. The accuracy of existing procedures concerning GCOs have been questioned, where firms file for bankruptcy without any prior indications of going concern issues. Therefore, it has been questioned if the auditors are better than anyone else to predict the future. The standards and regulations leave out large room for professional judgement, thus there is a great risk of fluctuations in the judgement process in practice. Without a complete understanding of going concern, one could question the added value of the concept, and what conclusions can be made from prior literature. Purpose: The purpose of our study is to enhance the understanding of the auditor’s going concern assessment by looking further into their application and treatment of the concept in practice. This will provide a more complete nuanced picture of auditor’s conceptualization and their process of evaluating going concern. Method: Our purpose in this study is achieved by using a qualitative research method. The empirical findings are collected through using a semi-structured interview approach. The interview guide is developed from our model (Figure 2) which is derived from previous literature in the field. Our sample consists of 6 authorized auditors from the Jönköping region. Findings: The findings indicate that the perception shifts based on the process. Going concern is a difficult assessment, which is highly influenced by subjective judgement. Auditor’s application process in practice can be identified as a step-process. Between these steps, the perception changes. The process is characterized by auditors seeking evidence to the contrary of issuing a GCO.
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Takahashi, Vanessa Fátima de Medeiros 1983. "Influência das características arquitetônicas na qualidade acústica de salas de concerto." [s.n.], 2010. http://repositorio.unicamp.br/jspui/handle/REPOSIP/258533.
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Orientador: Stelamaris Rolla BertoliDissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Engenharia Civil, Arquitetura e Urbanismo
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Resumo: A influência do desenho arquitetônico na acústica das salas de concertos é o objeto de estudo dessa pesquisa. Esse trabalho busca compreender as características físicas da sala, sua relevância e a relação de dependência entre essas características na influência da qualidade acústica. Por meio de estudos de caso foi feita uma análise de dependência entre os fatores que caracterizavam a acústica da sala utilizando a metodologia proposta por Christopher Alexander no seu livro Notes on the synthesis of form. Essa metodologia utiliza-se de princípios que orientam e organizam o desenvolvimento de projetos complexos. A aplicação dessa metodologia serviu para estruturar um contexto, que são os requisitos funcionais de cada estudo de caso, e como a forma (resultado do processo de projeto) responde a esse contexto. O estudo das relações entre os requisitos funcionais e a forma da sala ajudou a identificar elementos fundamentais no projeto arquitetônico e a hierarquizar as características da sala, a fim de descobrir a influência das decisões de projeto na qualidade acústica da sala. Os resultados dessa metodologia relativos a acústica de salas de concerto proporcionou uma otimização do processo de projeto, tornando-o mais claro e menos dependente da tentativa e erro, contribuindo para a concepção ou reforma para ajuste acústico de uma sala. A otimização do processo melhora o diálogo entre as equipes envolvidas no projeto como arquitetos e consultores acústicos
Abstract: The influence of architectural design in acoustics of concert halls is the object of study in this research. This work seeks to understand the physical characteristics of the room, its relevance and the relationship of dependence between these characteristics on the influence of acoustic quality. Through case studies was made an analysis of dependence among the factors that characterized the room using the methodology proposed by Christopher Alexander in his book Notes on the synthesis of form. This methodology presents some principles that guide and organize the development of complex projects. The application of this methodology was used to design a context, which are the functional requirements of each case study, and how the form (result of process design) responds to that context. The study of relationships between functional requirements and the form of the room helped to identify key elements in architectural design and prioritize the features of the room, to discover the influence of design decisions as the room acoustics. The results of this methodology for the acoustics of concert halls provided an optimization of the design process, making it more transparent and less dependent on trial and error, contributing to the design of a room, as well as reforms in acoustic settings. The optimization process improves the dialogue between the teams involved in the project as architects and acoustics consultants
Mestrado
Arquitetura e Construção
Mestre em Engenharia Civil
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Fonte, Ana Paula Gonçalves da. "ENSINO E APRENDIZAGEM DOS CONCEITOS DE ANÁLISE COMBINATÓRIA POR MEIO DA METODOLOGIA DE RESOLUÇÃO DE PROBLEMAS." Universidade Franciscana, 2009. http://tede.universidadefranciscana.edu.br:8080/handle/UFN-BDTD/171.
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Previous issue date: 2009-05-15Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
This paper features, as its central investigation focus the contributions that Problem Resolution methodology, allied to the building of Image and Definition Concepts, offer to the learning and teaching process of concepts of Combinative Analysis, through a qualitative research, adopting the following methodological procedures: interactive observation in the classroom and work field diary of the teacher-researcher. The research has been developed with 35 students of the sixth semester Math full licentiate course at Pontifícia Universidade Católica, Rio Grande do Sul state, (PUCRS), Uruguaiana campus, on the second semester of 2008. The activities in the classroom followed the steps of problem resolution suggested by Onuchic (1999): Set groups, reading and teacher questions about the problems, taking notes of the results on the chalk board, plenary, consensus and concept formalization. The analysis of the resolutions presented by the students proved the contributions of this teaching strategy choice, for the growing of the Math thought can be proved. That means, the merge of the resolution problem methodology to the building of the concept image and definition give the teacher a more realistic view of the knowledge acquiring process by the student, allowing the teacher to know where there should be the readjustment of the activities adopted and the beginning of new topics.
Este trabalho apresenta como foco central de investigação as contribuições que a metodologia de resolução de problemas, aliada a construção dos conceitos imagem e definição oferecem ao processo de ensino e aprendizagem de conceitos de Análise Combinatória, por meio de uma pesquisa qualitativa, adotando os seguintes procedimentos metodológicos: observação participante em sala de aula e diário de campo da professora-pesquisadora. A pesquisa foi desenvolvida com 35 alunos do sexto semestre do curso de licenciatura plena em matemática da PUCRS-Câmpus de Uruguaiana, no segundo semestre de 2008. As atividades em sala de aula seguiram os passos da resolução de problemas., sugeridos por Onuchic (1999): Formar grupos, leitura e questionamentos do professor sobre o problema, anotação dos resultados no quadro de giz, plenária, consenso e formalização do conceito. A análise das resoluções apresentadas pelos alunos comprovaram as contribuições desta escolha de estratégia de ensino, pois o crescimento do pensar matemático pode ser comprovado. Ou seja, a união da metodologia de resolução de problemas a construção de conceito imagem e definição propiciam a professora uma visão mais real do processo aquisição do conhecimento do aluno, possibilitando ao professor saber onde deveria haver a reestruturação das atividades adotadas e o início de novos assuntos. Palavras-chave: Resolu
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Kahn, Giacomo. "A structural study of lattices, d-lattices and some applications in data analysis." Thesis, Université Clermont Auvergne (2017-2020), 2018. http://www.theses.fr/2018CLFAC066/document.
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Nous nous intéressons à un cadre théorique de l'analyse de données : l'analyse formelle de concepts. Le formalisme de l'analyse formelle de concepts permet d'exprimer les notions centrales de la fouille de données telles que les implications ou les ensembles fermés, avec au centre la notion de treillis qui décrit la structure et les relations que ces objets ont entre eux. Pour les données multidimensionnelles, une proposition de formalisme existe en tant que généralisation de l'analyse formelle de concepts : l'analyse polyadique de concepts. Dans cette thèse, nous étudions certains problèmes de combinatoire et d'algorithmique dans le cas de l'analyse polyadique de concepts. Nous approchons aussi un cadre plus appliqué à l'analyse de données en proposant des approches de navigation conceptuelle et de classificationWe are interested in formal concept analysis, a theoretical framework for data analysis.This formalism allows to express some central notions of data mining such as implications or closed itemsets, and is centered around lattices, as the description of the relational structure that those objects can have.For multidimensional data, a formalism exists as a generalisation of formal concept analysis : polyadic concept analysis.In this document, we study some combinatorial and algorithmic problems that arose in polyadic concept analysis.We also introduce more applied data analysis techniques of conceptual navigation and classification
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Rodrigues, Raul David Sargo. "Cooperação desportiva e auto-conceito de competência : Um estudo em equipas de futebol." Master's thesis, Universidade de Évora, 2010. http://hdl.handle.net/10174/19050.
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A cooperação apresenta-se como a base de qualquer organização, mas também das equipas desportivas. O comportamento cooperativo é influenciado pela estima e confiança que o indivíduo tem em si. A confiança entre os indivíduos resulta da mediação entre o comportamento de interesse próprio e o interesse pelo outro, promovendo desta forma a cooperação entre os membros. Vários autores referem as noções de competência relacionadas com comportamentos de confiança. Desta forma estudaram-se no presente estudo as correlações entre a cooperação desportiva e o auto-conceito de competência. A amostra foi constituída por 120 atletas do sexo masculino de equipas profissionais e semi-profissionais de futebol. Os instrumentos utilizados "Questionário de Cooperação Desportiva" e "Questionário de Auto-Conceito de Competência", revelaram possuir qualidades psicométicas aceitáveis. A análise dos resultados revelou correlações estatisticamente significativas entre a dimensão de cooperação situacional e as dimensões, cognitiva, social e criativa do auto-conceito de competência, assim como a dimensão de cooperação incondicionada com as dimensões cognitiva e social do auto-conceito de competência. /ABSTRACT: The cooperation comes as the foundation of any organization but also of sports teams. The cooperative behavior is influenced by the esteem and confidence that the individual has in himself. Trust between individuals result of mediation between the behavior of self-interest and concern for others, thereby promoting cooperation among members. Several authors refer to the notions of competence-related behaviors of confidence. Thus it was studied in the present study the correlations between the sporting cooperation and self-concept of competence. The sample was composed of 120 male athletes of professional teams and semi-professional football. The instruments used "Cooperation Sports Questionnaire" and "Self-Concept Questionnaire for Competence," have revealed qualities psicométicas acceptable. The results showed statistically significant correlations between the dimension of cooperation and situational dimensions, cognitive, social and creative self-concept of ability, as well as the size of unconditional cooperation with the cognitive and social dimensions of self-concept of competence.
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Alfieri, Paul Allen III. "Stages of Concern of Defense Systems Management College Faculty about Technology-Based Education and Training." Diss., Virginia Tech, 1998. http://hdl.handle.net/10919/30593.
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The Defense Systems Management College (DSMC) is beginning a major transition from its traditional classroom training methods to technology-based education and training. Conventional classroom courses will be rewritten and restructured to a computer-based format and be delivered on-line. According to the Concerns-Based Adoption Model, the faculty will experience concerns during the process of adopting this innovation. Identification of these concerns can assist in selecting appropriate interventions to minimize problems and to ease the adoption process.
This study had two purposes. The first was to identify the Stages of Concern of the DSMC faculty toward the use of technology-based education and training by measuring faculty responses to the Stages of Concern (SoC) Questionnaire. The second was to determine appropriate interventions to assist the faculty through the change process.
The study accomplished both purposes. All teaching faculty (N=135) received the questionnaire about their concerns and issues with this innovation, and 126 responses were returned (93% response rate). A total of eighty-one respondents (64%) reported no experience with technology-based courses, and the composite faculty SoC profile correspondingly reflected the "nonuser" category. No significant differences in Stages of Concern were found between groups of faculty when divided by common demographic criteria such as years of teaching experience, civilian or military status, and experience with educational technology.
Quantitative methods of analysis included SoC profile comparison, High Stage Score and Second High Stage Score analysis, analysis-of variance (ANOVA), and multivariate analysis of variance (MANOVA). Qualitative methods were also used to analyze responses to an open-ended question on the survey instrument. Results reflected a general lack of knowledge and awareness about the innovation from the faculty and strong personal concerns about what impact it will have on them. The faculty clearly displayed a negative attitude toward this innovation and seemed unconvinced that it was the optimal solution. Written responses to the open-ended question provided key insight into faculty attitudes. The majority of concerns identified were educational issues, particularly dealing with the effectiveness of a computer-based format when teaching highly-interactive management courses.
Based on these results, recommended intervention strategies for DSMC were generated. These strategies focus on the need for better information dissemination about educational technology and for a realistic implementation plan. More importantly, interventions were recommended to provide incentives for faculty to increase proficiency with educational technology and the use of technology in their courses.Ed. D.
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Kaminski, Jennifer A. "The effects of concreteness on learning, transfer, and representation of mathematical concepts." The Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=osu1155223799.
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Lee, Jung-Eun. "Aspects of piano performance : stylistic analysis of the concerto in D, op. 13, for piano and orchestra by Benjamin Britton." Virtual Press, 2006. http://liblink.bsu.edu/uhtbin/catkey/1354643.
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The purpose of this study was to acknowledge and bring to light the undeniable significance of Benjamin Britten as a composer and his Piano Concerto in D, Op.13. This dissertation delved into the depth of the concerto with structural and harmonic analysis along with suggested pedagogical methods and performance aspects.The first chapter included an introduction of the piano-concerto genre in general, motivation for the study of Britten's Piano Concerto, review of literature on Britten and the piano concerto, and methodology of the dissertation. The second chapter continued with an overview of Britten's life, accomplishments as a pianist, and his contribution to the piano repertoire in general. The third chapter provided a stylistic analysis on each movement of the concerto. It included structural analysis based on the formal, motivic, thematic, rhythmic, melodic and harmonic elements presented throughout the concerto. Additionally, possible technical challenges and suggestions for practice methods were recommended based on the issues of phrasings, articulations, dynamics, musical expressions and styles. Since each movement has its own unique titles such as Toccata, Waltz, Impromptu, and March, the origins of the genre and Britten's association with the terminology was also examined.The dissertation not only underlined the importance of Britten as a composer for the piano, it also revealed his distinct compositional characteristics shown in the piano concerto in relation to his other significant piano repertoire. The dissertation closed with a summary of the detailed analysis of the concerto and recommended further studies on Britten and his piano concerto.School of Music
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Worlton, James Timbrel. "Systematic Composition and Intuition in a Concerto for Organ and Orchestra." Thesis, University of North Texas, 2003. https://digital.library.unt.edu/ark:/67531/metadc4278/.
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Historically, composers have used methods in addition to inspiration in writing music. Regardless of the source materials they used, composers ultimately rely on their musical sensitivity to inform the compositional decision-making. Discuses the rotational aspects of decimals that are created from certain prime-number denominators, and focuses on the prime number 17. Shows how these decimals can be transformed by converting them to different number bases. Looks at the Golden Proportion and its use in creating formal structures. Examines compositional and aesthetic issues arising from using number series to generate the pitches, rhythms, and sections in the Concerto for Organ and Orchestra. This process of composition reveals musical gestures that may not have been discovered using more intuitively based approaches to composition. Shows how musical sensitivity was necessary in shaping the numerically derived material in order to create aesthetically satisfying music.
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Quantz, Johann Joachim. "Concerto." Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2015. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-179816.
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Unter den annähernd 300 Flötenkonzerten von Johann Joachim Quantz (1697-1773) reihen sich auch einige Doppelkonzerte für zwei Flöten bzw. Flöte und Violine ein, aber nur wenige, in denen mehrere Instrumente wirklich miteinander konzertieren. Die hier vorgelegten Erstausgabe des Konzerts G-Dur für Solovioline, zwei Solo-Flöten, zwei Solo-Oboen, Solo-Fagott, Streicher und Basso continuo, QV/ /6: 6 entspricht dem Typ des Gruppenkonzerts als die Auseinandersetzung von Quantz mit dem neuen, von Vivaldi geschaffenen großbesetzten Konzerttypus mit dominierender Solo-Violine, den er während seines Aufenthaltes in Italien (1724-1726) oder kurz danach, vielleicht noch vor seiner Reise nach London im März bis Juni 1727kennengelernt hatte. Das Konzert war sicherlich für Aufführungen mit der königlichen Hofkapelle komponiert worden, als deren Konzertmeister um diese Zeit Johann Georg Pisendel (1687-1755) fungierte.
Klaus Burmeister, ausgewiesener Kenner der Quantz-Konzerte, hat dieses Werk nach den Quellen der SLUB erstmals herausgegeben.
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Luyten, Peter Henri. "The concepts of growth and the cell : students' alternative conceptions and the nature of conceptual change." Thesis, University of British Columbia, 1990. http://hdl.handle.net/2429/31103.
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Learning difficulties resulting from students holding conceptions of scientific concepts which are at variance with those presented in curricular materials have been identified in the literature in a number of areas of science. In this study a number of student learning difficulties related to the concepts of growth and the cell were identified. More specifically, this study was designed to investigate whether alternative conceptions held by students prior to instruction were, in part, responsible for these learning difficulties. The study also investigated whether omissions in instruction contributed to these learning difficulties. Finally, the study examined changes in student conceptions after formal instruction.
Through concept analyses of growth and the cell, two semi-structured interview protocols were developed. The Growth Protocol was used to interview students in Grades 3, 5, and 7 and the Cell Protocol was used to interview students in Grade 10. The students in Grades 3 and 10 were interviewed both before and after instruction. The conceptions of the students identified in the transcripts were classified into a number of categories specific to the constituent concepts of growth and the cell.
Students at all grade levels were found to hold a wide variety of alternative conceptions regarding the concepts in
question. The majority of these alternative conceptions were identified in more than one student and did not reflect current scientific or curricular understandings of growth or the cell. Rather, it seemed that these alternative conceptions reflected student attempts to make sense of concrete experiences with phenomena in their surroundings. After instruction at both the elementary and secondary level, the majority of students did not incorporate most of the scientific concepts as they were presented during instruction.
The older students did not hold a conception of cell differentiation nor did the majority of students link the microscopic phenomena of cell division with the macroscopic phenomena of growth in organisms other than humans. The variability of alternative conceptions of mitosis and meiosis after instruction strongly suggested that the students experienced learning difficulties with respect to these concepts.
The results of this study imply that in order to effectively move the learner from alternative conceptions to scientific conceptions both curricular and instructional strategies must shift their emphasis from one of presenting only disciplinary knowledge to one of considering also the prior knowledge that the learner brings to the instructional setting.Education, Faculty of
Curriculum and Pedagogy (EDCP), Department of
Graduate
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Dietrich, Paulo Sérgio. "Ensino e Aprendizagem da Integral Definida: Contribuições da Engenharia Didática." Centro Universitário Franciscano, 2010. http://www.tede.universidadefranciscana.edu.br:8080/handle/UFN-BDTD/459.
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This essay presents the results of the research accomplished with students of the Course of Degree in Mathematics registered in the discipline of Calculation II of the Regiona Integrated University of High Uruguay and Missions-URI, Campus of Frederico Wesphalen-RS. The main investigation focus was the analysis of the possibilities of acquisition of the basic concepts of integral defined, through the methodology of the Didactic Engineering, under the optics of the theory of concept image and concept definition proposed by Tall and Vinner (1981). The applied methodology allied to the pedagogic procedures of the application of a didactic sequence, built with base in the results of the previous analysis composed of the analysis of text books used by the teachers of the discipline of Calculation II and the application of a test diagnosis, made possible to the students who were involved in the present study ,a meaningful assimilation of the concepts and properties of integral defined. The results of the investigation demonstrated that the didactic sequence proposed contributed to the creation of conceptual images and it favored the understanding of the concepts and properties of the integral defined, in reason of the employed methodological process to have offered to the students opportunity of working with situations that allowed the construction of the integral defined concept starting from their own experiences.
Esta dissertação apresenta os resultados da pesquisa realizada com alunos do Curso de Licenciatura em Matemática matriculados na disciplina de Cálculo II da Universidade Regional Integrada do Alto Uruguai e das Missões – URI,Campus de Frederico Wesphalen-RS. O foco principal da investigação foi a análise das possibilidades de aquisição dos conceitos básicos de integral definida, por meio da metodologia da Engenharia Didática, sob a ótica da teoria de conceito imagem e conceito definição proposta por Tall e Vinner (1981). A metodologia utilizada, aliada aos procedimentos pedagógicos da aplicação de uma sequência didática, construída com base nos resultados da análise prévia, a qual foi composta da análise de livros didáticos utilizados pelos professores da disciplina de Cálculo II e a aplicação de um teste diagnóstico, possibilitou que os alunos envolvidos no presente estudo tivessem uma assimilação significativa dos conceitos e propriedades da integral definida. Os resultados da investigação demonstraram que a sequência didática proposta contribuiu para a criação de imagens conceituais e favoreceu a compreensão dos conceitos e propriedades da integral definida, em razão de o processo metodológico empregado ter oferecido aos alunos oportunidade de trabalhar com situações que permitiram a construção do conceito de integral definida a partir de suas próprias experiências.
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Carr, Deborah Louise. "Concept mapping as an assessment tool : accessing learning in a choral ensemble /." free to MU campus, to others for purchase, 1996. http://wwwlib.umi.com/cr/mo/fullcit?p9713218.
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Tan, Wann-Dar. "Lawrence Weiner's Concerto for Guitar and Orchestra: Analysis and Performance Considerations." Thesis, connect to online resource, 2005. http://www.unt.edu/etd/all/Aug2005/tan%5Fwann-dar/index.htm.
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Thesis (D.M.A.)--University of North Texas, 2005.System requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded Apr. 10, 2000, Apr. 16, 2001, Nov. 3, 2003, and Mar. 28, 2005. Includes bibliographical references (p. 113-115).
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Ferreira, Carolina Borges. "O clássico e o streaming: a curadoria digital e a recepção dos usuários da música de concerto no ambiente on-line." Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/27/27158/tde-01022017-102919/.
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Desde que passou a ser mediatizada tecnicamente, a música de concerto serviu de modelo para avaliar as conquistas da alta fidelidade acústica tanto nas transmissões radiofônicas quanto na audição doméstica em aparelhos reprodutores. Após vários processos de mediação tecnológica pela escuta de discos e similares (LP, DVD, blu-ray etc), o consumo de música de concerto estendeu-se aos meios virtuais: as transmissões em streaming oferecem ao público a música de concerto de uma maneira inédita, uma vez que não têm como ponto de referência o objeto material. Além disso, oferecem a recepção em tempo real, ao vivo. As diversas formas de recepção nas quais esse serviço se fundamenta têm despertado o interesse de pesquisadores de áreas variadas do conhecimento. No caso da música, desdobra-se num campo de estudos na área da música - em particular da sonologia. Este trabalho pretende apresentar um estudo sobre a recepção da programação on-line de música de concerto, por meio de uma análise comparativa entre as preferências do público consumidor desse serviço e o que é efetivamente oferecido a ele por esses serviços. Dois aspectos serão analisados em detalhe: os sistemas de \"recomendação\" e a \"curadoria digital\", uma vez que constituem a maneira pela qual o serviço é gerado e gerido. Muito utilizado nas plataformas digitais para a escuta da música popular, no caso da música de concerto ainda se conhece pouco acerca do funcionamento operacional desse serviço. Esta pesquisa pretende, assim, avaliar de que maneira essa metodologia é aplicável ao repertório da música de concerto. O objetivo central desta pesquisa é esmiuçar os processos de como se dá este novo modo de ouvir, que depende da interação crítica entre assinantes que o utilizam e o provedor do serviço. Em síntese, compreender mais detalhadamente os aspectos particulares que constituem o funcionamento dos serviços streaming.Ever since becoming technically mediated, concert music served as a model to assess the achievements of high acoustic fidelity, both in radio broadcasts, as in domestic hearing in re-producers. After various processes of technological mediation, through listening to records and similar (LP, DVD, Blu-ray etc), consumption of concert music is extended to virtual environ-ments: streaming transmissions provide to the public concert music in a way unprecedented, since it does not have as a reference point the material object, aside from the fact that they offer the reception in real time, live. The different forms of reception on which this service is based have attracted the interest of researchers from different areas of knowledge. In the case of mu-sic, it unfolds in a field of study in music; specifically in sonology. This work intends to present a study on the reception of online concert music, through a comparative analysis of the prefer-ences by the consuming public of that service and what is actually offered to them by these services. Two aspects will be analyzed in detail: systems of \"recommendation\" and \"digital curation\", since they are the way in which the service is generated and managed. Frequently used in digital platforms for listening to popular music, little is known about the operational functioning of this service, in the case of concert music. This research thus aims to evaluate how this methodology is applicable to the concert music repertoire. The main objective of this research is scrutinizing the processes of this new way of listening, which depends on the critical interaction between subscribers and the service provider. In short, to understand in more detail the particular aspects that constitute the operation of streaming services.
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Fontoura, Leandro Ribeiro. "UMA SEQUÊNCIA DE ENSINO PARA O ESTUDO DE INTEGRAIS DUPLAS." Centro Universitário Franciscano, 2016. http://www.tede.universidadefranciscana.edu.br:8080/handle/UFN-BDTD/581.
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This dissertation has the aim to investigate the contribution from the application of a didactic sequence elaborated in accordance with the assumptions of Didactic Engineering and the usage of a computer application from software Maple for teaching and learning of the double integrals subject for Mathematics Degree students. The theoretical background for analysing the results was based in the Tall and Vinner (1981) theory about the image concept and definition concept and it was used the Domingos (2003) categorization in order to classify the students in three different levels of image concept: incipient image concept, instrumental image concept and relational image concept. From the preliminary studies resulted from the didactic books analysis and from results of the application of a diagnostic test, it was elaborated one didactic sequence, compounded by four activities to build the Double Integral concept and used it in applications related to volume calculations of geometric solids. The data for analyses were obtained through participant observation from the researcher’s field logbook and from documents produced by students. Participated in this research Mathematics Degree students enrolled in the course Differential and Integral Calculus IV. The results shown that the proposed didactic sequence and the usage of a computer application programmed with the software Maple facilitated the formation of image concepts about the Double Integrals subject and helped students to calculate the volume of geometric solids.
Esta dissertação tem como objetivo geral investigar as contribuições da aplicação de uma sequência didática, elaborada de acordo com os pressupostos da Engenharia Didática, e da utilização de um aplicativo computacional do software Maple, para o ensino e aprendizagem do conteúdo de integrais duplas para alunos de um curso de Licenciatura em Matemática. O referencial teórico para análise dos resultados baseou-se na teoria de Tall e Vinner (1981) sobre conceito imagem e conceito definição, e foi utilizada a categorização de Domingos (2003) para classificar os alunos em três diferentes níveis de conceito imagem: conceito imagem incipiente, conceito imagem instrumental e conceito imagem relacional. A partir dos estudos preliminares resultantes da análise de livros didáticos e dos resultados da aplicação de um teste diagnóstico, elaborou-se uma sequência didática composta de quatro atividades, para construir o conceito de integral dupla e utilizá-lo nas aplicações referentes ao cálculo do volume de sólidos geométricos. Os dados para análise foram obtidos por meio da observação participante, do diário de campo do pesquisador e dos documentos produzidos pelos alunos. Participaram desta pesquisa alunos do curso de Licenciatura em Matemática matriculados na disciplina de Cálculo diferencial e integral IV. Os resultados demonstraram que a sequência didática proposta e o emprego de um aplicativo computacional, programado com o software Maple, facilitaram a formação de conceitos imagem sobre o conteúdo de integrais duplas e auxiliaram os alunos no cálculo do volume de sólidos geométricos.
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Leit?o, Ana Let?cia Espolador. "Pol?tica P?blica para a Agricultura Familiar: o Programa Nacional de Desenvolvimento Sustent?vel dos Territ?rios Rurais (Proinf) no Territ?rio Capara?-ES." Universidade Federal Rural do Rio de Janeiro, 2009. https://tede.ufrrj.br/jspui/handle/tede/665.
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Previous issue date: 2009-11-05Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior
Although rights for the family farmers had been inserted in the 1988 Federal Constitution, what did contribute to the formulation of a public politics at this segment it was also the demand by the civilian society, through workers syndicates movements, small rural producers, joining the Agriculture Workers National Confederation (Contag), among other social movements. Adding to this, studies were performed jointly by the Food and Agriculture Organization of the United Nations (FAO) and by the National Institute for Colonization and Agrarian Reform (Incra) aiming at the making of a program that would benefit the family farming segment. The National Programme for the Strengthening of the Family Farming (Pronaf) presented itself as the first public policy nationally consolidated with such purpose. As a public politic in the making, one of its credit line, the one for infrastructure and services, does alter its range, going from municipal to territorial, entitled as National Programme for Sustainable Development of Rural Territories (Proinf). This range expansion has as one of its axioms the participation of the family farmers in the decisions processes. To better verify this change, it was elected the study of the case of the Capara? Territory in the state of Esp?rito Santo, where there had been conflict and attempt to the social concertation, above all the family farmers who were not previously Proinf participants.
N?o obstante os direitos para os agricultores familiares inseridos na Constitui??o Federal de 1988, o que propiciou a formula??o de uma pol?tica p?blica destinada para esse segmento foi tamb?m a reivindica??o da sociedade civil, por meio de movimentos sindicais de trabalhadores, pequenos produtores rurais, reunindo a Confedera??o Nacional dos Trabalhadores na Agricultura (Contag), entre outros movimentos sociais. Ademais, estudos foram realizados conjuntamente pela Organiza??o das Na??es Unidas para a Agricultura e a Alimenta??o (FAO) e pelo Instituto Nacional de Coloniza??o e Reforma Agr?ria (Incra) visando ? elabora??o de um programa que beneficiasse o segmento da agricultura familiar. O Programa Nacional de Fortalecimento da Agricultura Familiar (Pronaf) se apresenta como a primeira pol?tica p?blica consolidada nacionalmente, com esse prop?sito. Como pol?tica p?blica em constru??o, uma de suas linhas de cr?dito, a de infraestrutura e servi?os, altera sua escala, passando de municipal para territorial, nomeando-se Programa Nacional de Desenvolvimento Sustent?vel de Territ?rios Rurais (Proinf). Um dos preceitos dessa amplia??o de escala ? a participa??o de agricultores familiares na tomada de decis?es. Para melhor verificar essa mudan?a, foi escolhido o estudo de caso do Territ?rio Capara?, no Esp?rito Santo, onde houve conflito e busca pela concerta??o, envolvendo os atores sociais, sobretudo os agricultores familiares, que anteriormente n?o eram protagonistas do Proinf.
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Howard, Christopher Eugene. "Piano concerto." Thesis, University of British Columbia, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0032/NQ27166.pdf.
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Wong, Kei Hong. "Piano Concerto." Thesis, University of Oregon, 2014. http://hdl.handle.net/1794/18334.
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This thirteen-minute concerto explores the concept of the "third-stream" style, a genre prevalent from the early twentieth century onward that explores the fusion of classical and the popular idioms. The piano writing, especially in the cadenza, is greatly influenced by George Gershwin's Piano Concerto in F, one of the most representative works in this style due to its jazzy syncopated rhythms and romantic pianistic writing. In addition to the traditional orchestral instrumentation, this piece includes several drum set solos, recalling some of the percussive passages from Leonard Bernstein's West Side Story, a musical theater work evoking jazz and Latin styles. This piece also draws influence from the contemporary group Bad Plus Trio, embracing the avant-garde jazz style apparent in 1972 Bronze Medalist from the album "These Are the Vistas."
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Conceição, Hevelyn Rosa Machert da. "De soslaio para a saúde coletiva: o causo do conceito de saúde." Niterói, 2015. https://app.uff.br/riuff/handle/1/4892.
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Prefeitura da Cidade do Rio de Janeiro. Secretaria Municipal de Saúde
A investigação que toma corpo nessa dissertação ocupa-se do debate sobre o conceito de saúde no nascimento da Saúde Coletiva no Brasil. A partir da desnaturalização da saúde, colocamos em evidência o campo de forças a que se liga o conceito de saúde em seu plano de constituição. A fim de armar o terreno onde habita nosso problema, aliamo-nos a Foucault, Nietzsche, Deleuze, Castañeda e Graciliano Ramos construindo o instrumental metodológico da pesquisa. A genealogia, proposta fundamental para a análise empreendida, faz-se presente desde a passagem pela história da emergência da Saúde Coletiva até o percurso através do debate sobre saúde, cujo estudo dá-se em função de dois eixos complementares – a definição de saúde e as vizinhanças conceituais. É por meio da análise dos diferentes sentidos conferidos à saúde na emergência da Saúde Coletiva que entramos em contato com o intricado jogo de forças acionado pelo debate. Por fim, diante dos problemas levantados pelas distintas definições de saúde, enfrentamos os efeitos das disputas de sentido analisadas e refletimos sobre o papel desempenhado pelo campo da Saúde Coletiva no debate sobre o conceito de saúde
The investigation wich gains form in this master thesis is concerned with the debate about health concept in the birth of Collective Health in Brazil. Begging with the denaturalization of health, we put in evidence the strength field connected to the health concept in it’s establishment level. In order to build the ground where lies our question, we create alliance with Foucault, Nietzsche, Deleuze, Castañeda and Graciliano Ramos, building the methodological tools of this research. Essential for the analisis, the proposal of genealogy is present since the passage trough Collective Health history until the way into the health debate. The study about the health concept is given according to two complementary lines: definition of health and conceptual neighborhood. It’s trough the analisis of the different meanings given to health in the birth of Collective Health that we approach the strength field activated by the debate. Finally, in front of the problems raised by the various health definitions, we face the effects of the meanings quarrels analyzed and reflect about the role played by Collective Health field on the debate of health concept
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Ayres, Michelle Elizabeth. "Crossover Genres, Syncretic Form| Understanding Mozart's Concert Aria "Ch'io mi scordi di te," K. 505, as a Link between Piano Concerto and Opera." Thesis, The University of North Carolina at Greensboro, 2019. http://pqdtopen.proquest.com/#viewpdf?dispub=10977683.
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Mozart’s concert aria Ch’io mi scordi di te K. 505 bridges the genres of piano concerto and opera seria aria by combining elements of sonata rondo, sonata concerto, and ritornello. Mozart’s experimentation with Classical form emerging in the late eighteenth-century is characterized by unique transitions and retransitions, surprising modulations to secondary keys, and polarization of tonic and dominant tonalities. K. 505, a two-tempo rondo for soprano with piano obbligato, is the only one of its type in Mozart’s oeuvre and shares many of the same ritornello form and dialogue between the soloist and the orchestra found in Mozart’s piano concerti. Composed as a duet for himself, an accomplished pianist, and his close friend Nancy Storace, a highly regarded opera singer, as part of her farewell concert in Vienna, K. 505 highlights their virtuosic abilities celebrating artistic kinship.
After establishing the historic contexts for its composition, this study applies the theories and models developed by James Hepokoski and Warren Darcy (2006), Martha Feldman and Rosa Cafiero (1993), John Irving (2003), and Simon P. Keefe (2001) in order to analyze K. 505 as a work in a composite genre utilizing compositional techniques later associated with more conventional applications of sonata-form. K. 505 is one of several compositions rooted in Mozart’s tonally adventurous Idomeneo (1781/1786). An analytical comparison of K. 505 with related works—the concert aria Non piu tutto ascoltai…non temer amato bene K. 490 for soprano and violin obbligato, a replacement aria in the revised Idomeneo (1786) and the Viennese piano concerto no. 25 in C Major K. 503 (1786) demonstrate how Mozart’s syncretic genres played a part in the creation and expansion of the maturing conventions of sonata-form in the late eighteenth-century.
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Parys, Marcin. "Tchaikovsky's Piano Concerto No. 1 In B-Flat Minor, Op. 23: A Newly Arranged Edition of the Orchestral Reduction." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1609138/.
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As it stands, only one arrangement of Tchaikovsky's Piano Concerto No. 1, Op. 23 orchestral reduction exists, which is by Tchaikovsky himself. A number of critical editions of the piece exist, but none of them cover the subject of the material within the orchestral reduction. Tchaikovsky wrote the reduction from a compositional rather than a pianistic perspective, thus some passages present awkward technical challenges. The purpose of this dissertation is ultimately to contribute to the repertoire of accompanists by producing a new edition of Tchaikovsky's Piano Concerto No. 1. I created my arrangement through a process of practical trial and error as well as observing the strategies used by other arrangers of orchestral reductions. Through a series of carefully selected omissions, note rearrangements, visual adjustments, and editorial changes, I simplified the reduction as a whole. I sought to improve the readability of the music by reducing accidentals as much as possible and also incorporating small-print cues into the main staves. Each minor adjustment or major revision contributes cumulatively to the ease of execution of the accompanimental part as a whole. Although Tchaikovsky's reduction is authentic and authoritative, a newly revised and simplified version would be useful for collaborative pianists. Thus, I have chosen to create an alternative version of Tchaikovsky's reduction, while still retaining as much of the original material as possible. This edition focuses solely on the collaborative pianist's part.
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Yoon, Cho-Hee. "The role of children's collaboration in developing scientific reasoning skills : a Vygotskian perspective /." Thesis, Connect to this title online; UW restricted, 1999. http://hdl.handle.net/1773/7675.
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Buzzo, Ricardo Santos. "O conceito de sociedade civil na \"American Historical Review\" na segunda metade do século XX." Universidade de São Paulo, 2011. http://www.teses.usp.br/teses/disponiveis/8/8138/tde-19062012-122935/.
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Após levantar um breve histórico do conceito de sociedade civil na tradição filosófica ocidental, com especial atenção para as obras dos jusnaturalistas (Hobbes, Locke e Rousseau), Hegel e Gramsci, buscando identificar quais transformações sofreu este conceito ao longo do tempo, apresentamos um panorama do cenário historiográfico norte-americano, apresentando suas principais escolas, com ênfase em três momentos: a tensão entre amadores e profissionais, que estabelece o campo profissional; a hegemonia progressista da nova história (década de 1930), e a transição do consensualismo para o período multifacetado em que surge a história das minorias. Por último, analisamos 41 artigos da American Historical Review, de 1947 a 1992. O objetivo do trabalho foi compreender quais os sentidos atribuídos a este termo, pensando qual sua relação com os clássicos que pensaram este conceito, bem como com os interesses ideológicos em jogo no cenário intelectual norte-americano.After a brief review of the concept of civil society in the Western philosophical tradition, with special attention to the works of natural law philosophers (Hobbes, Locke and Rousseau), Hegel and Gramsci, and seeking to identify how this concept has changed over time, we present an overview of North American historiography and its main schools, with emphasis on three points: the tension between amateur and professional historians establishing the professional field, the hegemony of the progressive \"new history\" (1930s), and the transition period from consensualism to the appearance of multi-faceted history of minorities. Finally, we analyze 41 American Historical Review articles from 1947 to 1992. The aim is to understand the meanings attributed to the expression civil society, reflecting upon their relationship with the classics that forge this concept, as well as with the ideological interests within the American intellectual scene.
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Sinha, Aditya. "Formal Concept Analysis for Search and Traversal in Multiple Databases with Effective Revision." University of Cincinnati / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1245088303.
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Stoeckle-Schobel, Richard Volker Johannes. "Concept learning challenged." Thesis, University of Edinburgh, 2014. http://hdl.handle.net/1842/9840.
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In my thesis, I argue that the philosophical and psychological study of concept-learning mechanisms has failed to take the diversity of learning mechanisms into account, and that consequently researchers should embrace a new way of thinking about concept learning: `concept learning' as a class of psychological mechanisms is not a natural kind lending itself to unified study and should be eliminated. To arrive at this, I discuss several concept-learning models that attempt to overcome Jerry Fodor's challenge and base my judgement on the plurality of feasible concept-learning mechanisms and on criteria for theoretical notions from the philosophy of science. Chapter 1 serves as an introduction to the topic `concept learning' and highlights its importance as a research topic in the study of the mind. I argue that a mechanistic understanding of the shape of concept learning is best suited to explain the phenomena, in line with the recent resurgence of mechanism-based explanation in the philosophy of mind. As the main challenge to the idea that concepts can be learnt, I proceed to set up Fodor's challenge for concept learning in Chapter 2. This challenge is the idea that concepts cannot be learnt given the logically possible mechanisms of concept learning. I lay out the argumentative structure and background assumptions that support Fodor's argument, and propose to scrutinise his empirically based premise most closely in my thesis: this empirically based premise is that the only possible mechanism of concept learning is the process of forming and testing hypotheses. As replies to Fodor's challenge, I discuss Perceptual Learning (R. Goldstone), Perceptual Meaning Analysis (J. Mandler), Quinean Bootstrapping (S. Carey), pattern-governed learning (W. Sellars), joint-attentional learning (M. Tomasello), and the Syndrome-Based Sustaining Mechanism Model (E. Margolis and S. Laurence). I argue that almost every mechanism I discuss has some leverage against Fodors argument, suggesting that there may be a wide variety of non-hypothesis-based concept-learning mechanisms. The final chapter of my thesis, Chapter 7, takes a step back and reviews the fate of the notion of concept learning in light of the diverse set of learning mechanisms brought up in my thesis. My first and main worry is that it is questionable whether the previously discussed mechanisms of concept learning share many scientifically relevant properties that would justify seeing them as instances of the natural kind 'concept learning mechanism'. I argue that the substantiation of this worry would necessitate the elimination of 'concept learning' and 'concept-learning mechanism' as terms of the cognitive sciences. The chapter lays out the argumentative structure on which Concept Learning Eliminativism (CLE) rests, along with a discussion of questions about natural kinds and pragmatics in theory construction. This is inspired by Edouard Machery's argument for the elimination of 'concept', but independent of Machery's own project. With this in place, I go on to give a conclusive argument that supports CLE, based on the claims that 'concept learning' is not a natural kind and that there are pragmatic advantages to eliminating 'concept learning'. In this final chapter, I also raise pragmatic considerations that support the argument for CLE, and propose new research directions that could pro t from the eliminativist position.
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Hart, Shawn Michael. "An analysis of Joseph Schwantner's Concerto for percussion and orchestra." Thesis, connect to online resource, 2008. http://digital.library.unt.edu/permalink/meta-dc-9772.
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Costa, Acylena Coelho. "Conhecimentos de estudantes universitários sobre o conceito de função." Pontifícia Universidade Católica de São Paulo, 2004. https://tede2.pucsp.br/handle/handle/11158.
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Previous issue date: 2004-11-05Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
The present thesis concerns to a study of diagnosis character, which intention was to investigate the knowledge of universitary students about the function concept. The data analysis was based in Tall and Vinner theory about image and definition concepts constituted in the formation of the student scientific thought. It was analyzed the knowledge of eight students of the Mathematics course, who study at Universidade do Estado do Pará, enrolled in the discipline Calculo I. The data, obtained by the application of a questionary and by carrying out some interventions, were compared with others of similar researches (national and international ones). It was indicated that there were elements compounding image and definition concepts of researched subjects about function concept, which were not coherently related to the formal concept and with some similarity with those of the subjects investigated in the other researches
O presente trabalho apresenta um estudo de caráter diagnóstico, cujo intuito foi investigar conhecimentos de estudantes universitários sobre o conceito de função. A análise dos dados norteou-se pela teoria de Tall e Vinner sobre conceitos imagem e definição constituídos na formação do pensamento científico do estudante. Foram analisados os conhecimentos de oito estudantes do curso de Licenciatura em Matemática de uma Universidade pública do Estado do Pará, que cursavam a disciplina Cálculo I. Os dados foram obtidos pela aplicação de um questionário e realização de intervenções e foram confrontados com os de pesquisas similares (nacionais e internacionais). Houve indicações de que havia elementos compondo os conceitos imagem e definição dos sujeitos pesquisados sobre o conceito de função, não coerentemente relacionados ao formal e, com alguma similaridade com os dos sujeitos investigados nas outras pesquisas
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Michael, Kristine Treece. "Instructional Coaching and its Impact on Teachers’ Stage of Concern about a Curricular Initiative." Miami University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=miami1594071214292475.
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Daussat, David M. "Birth of a Modern Concerto: An Explication of Musical Design and Intention in Journey: Concerto for Contrabass Tuba and Orchestra." Thesis, University of North Texas, 2008. https://digital.library.unt.edu/ark:/67531/metadc6116/.
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John Stevens was commissioned by the Chicago Symphony Orchestra (CSO) and the Edward F. Schmidt Family Commissioning Fund to compose a concerto for its principal tubist, Gene Pokorny. The piece began with multiple conversations between composer and performer and from these meetings actualized the influences that shaped the work. The most important influences that the performer mentioned were his passions for American steam locomotives and the Three Stooges, both of which were used by Stevens in his rendering of the composition. This concerto was designed to be played on the famous CC York tuba that was played by the former principal tubist of the CSO, Arnold Jacobs, the same instrument used today. Insight into the history of the York tuba will be given as well as their influence on contemporary manufacturing and design. Focus is given to how Stevens writes the piece idiomatically to the CC tuba and potential performance problems when a performer uses tubas of a different key. Conversations with both gentlemen will display the non-musical influences on Journey and how this effects the composition. Stevens' compositional language is explored and discussed in respect to the challenges and idiosyncrasies within the work. Collegiate tuba professors provide explanation for works level of interest within their respective schools and experiences.
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Adamson, Daniel. "A Comparative Analysis of Haydn's Horn Concerto and Trumpet Concerto." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc862771/.
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Among the existing solo instrumental concertos of Joseph Haydn's oeuvre are two concertos for brass instruments. These are the Horn Concerto in D Major (Hob. VIId: 3) and Trumpet Concerto in E-flat Major (Hob. VIIe: 1). In addition to their standing as the only two concertos for solo brass instruments written by Haydn in existence, the two concertos provide a unique opportunity for insight into the history of the concerto genre and Haydn's change in compositional style. This is because of their chronological position within Haydn's oeuvre; the Horn Concerto was composed in 1762 during the early years of Haydn's employment with the Esterházy family and the Trumpet Concerto in 1796 as the last known concerto written by Haydn. Significant changes had occurred during that thirty four year time-span, not only in Haydn's life, but also within the field of music. This dissertation examines some of these changes and provides a comparative analysis of these two pieces. More specifically, it employs Schenkerian analysis of the voice-leading and structure of both concertos to examine the transformation in Haydn's compositional style and show the evolution of concerto form. This evolution in style between the Horn Concerto and Trumpet Concerto is most prominently marked by a loosening of compositional constraints, including freer formal procedures, instrumentation, harmonic structures, and an increase in chromaticism (aided by the new chromatic abilities of the trumpet). This document provides an in-depth comparative analysis within an often overlooked genre of music and gives insight into changes in Haydn's compositional style and the concerto genre.
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Stewart, Brandon (Brandon Gregory). "Horn Concerto in E-flat Major (C41) by Antonio Rosetti: A Critical Edition." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1609216/.
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This project delivers to the scholar and performer a critical edition of a little-known horn concerto by Antonio Rosetti. Standing in contrast to performance or practical editions, critical editions demand that the editor exerts a non-trivial measure of authority over the state of the text. Performers often find this fact to be uncomfortable given the normal tendency to revere the perceived intent of the composers based upon the text that they set down. When engaging with sources, it is rarely clear what that intent is, or which of the available sources most closely represents that intent. Those available sources often disagree with one another, even those in the composer's own hand. It is vital for the editor to know, as precisely as is possible, who created the source material, when they created these sources, and why they created these sources. At that point the editor must decide which sources will best fit his or her framework for the creation of the critical edition. At that point the editor will grapple with numerous inconsistencies and ambiguities within those sources, and then use his or her own authority to fix the text of the composer's work into a single version for today's use. The Horn Concerto in E-flat Major (C41) by Rosetti presents a unique case to the editor, scholar, and performer, in that it exists in two versions that carry substantial differences in the solo part. These differences are so great that it is often difficult to consider them as representative of the same work. This edition presents both versions, as each have different original purposes, and edits them in parallel so that the performer may determine which usage is most appropriate for his or her needs.
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Viotti, Leonardo Teixeira. "Pirateando o caminho para o show business: os efeitos da pirataria sobre o mercado de apresentações ao vivo." Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/12/12138/tde-05042016-162140/.
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Este trabalho busca mensurar os efeitos do compartilhamento de arquivos na internet sobre o mercado de shows, importante canal de remuneração para músicos. São utilizados dados retirados do Guia da Folha, uma das principais publicações especializadas em cultura na cidade de São Paulo. A especificação principal adota um estimador de diferença em diferenças tendo shows como grupo de tratamento e peças teatrais como grupo de controle. As estimações indicam que a pirataria provocou um choque positivo de oferta, reduzindo os preços de ingressos em até 8,2% e aumentando a quantidade em 14 apresentações por semana. Além disso, a capacidade média foi reduzida, e a diversidade de apresentações e de casas de show aumentou. Esses resultados apontam para a ocorrência de um processo de pulverização do mercado, onde artistas menores fazem shows menores e mais baratos. Artistas muito famosos, entretanto, subiram os preços em torno de 10% e reduziram em até 2,5 o número de apresentações semanaisThis dissertation measures the effects of file-sharing on the market for music concerts, an important source of income for most musicians.We use information published by Folha de São Paulo, one of the most popular Brazilian newspapers. The main analysis consists of using a differences-in-differences estimator with music concerts as treatment group and theatrical plays as control group.We find evidence that music piracy had a positive effect on the supply of concerts with an up to 8.2% reduction of ticket prices and an increase of 14 weekly performances.We also find a decrease in the mean capacity of venues; an significant increase in the variety of music venues and of unique musicians performing. These results indicate an increasingly competitive market with less popular musicians performing at lower prices for smaller audiences. Famous musicians however have risen ticket prices up to 10% and reduced their number of concerts at around 2.5 weekly performances
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Michal, Joshua Paul. "The Expressive Phrasing Concepts of Marcel Tabuteau Applied to Concerto in Eb Major for Horn and Orchestra, K. 417 by W.A. Mozart." The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1406050637.
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Cabezas, Barra Domingo. "El laberinto de la identidad personal en la filosofía de David Hume." Doctoral thesis, Universitat de Barcelona, 2016. http://hdl.handle.net/10803/398034.
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En esta tesis analizaremos la filosofía de la identidad personal elaborada por Hume. Para ello, partiremos del análisis de los principios expuestos en el Tratado de la Naturaleza Humana. Distinguiremos detalladamente lo que los estudiosos de Hume han llamado los primeros y los segundos pensamientos sobre la identidad personal, profundizando en el crucial momento en el que en los segundos pensamientos, Hume confiesa que "todas mis esperanzas se desvanecen" al intentar explicar los principios que enlazan nuestras sucesivas percepciones. Ello nos sugiere que se siente frustrado al intentar explicitar, desde sus principios epistemológicos, las conexiones reales que enlazarían las percepciones y que son necesarias para el funcionamiento de la memoria.
Encontraremos a Hume ante un dilema imposible, pues o bien ha de renunciar a la identidad personal y a la memoria o bien tiene que renunciar a los principios de su filosofía. Por ello, Hume se encontrará perdido dentro del laberinto de la identidad personal, de tal manera que la única salida posible es sentarse en el banco de escepticismo.In this thesis we will discuss the philosophy of personal identity developed by Hume. Starting from the analysis of the principles outlined in the Treatise of Human Nature, we will thoroughly describe what the experts in the work of Hume have called the first and second thoughts about personal identity. Then we will delve in the crucial moment when, while discussing second thoughts, Hume confesses that "all my hopes vanish" when trying to explain the principles that link our successive perceptions. This implies that he feels frustrated when trying to explain, from its epistemological principles, the real connections that would link perceptions and that are necessary for the functioning of memory. Here we find Hume facing an impossible dilemma, since he has to give up either his personal identity and memory or the principles of his philosophy. Therefore, Hume will be lost in the maze of personal identity, until the only way out is to sit on the bench of skepticism.
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Garcia, Teurel Daniel. "Halmstad Concerts Hall." Thesis, Halmstad University, School of Business and Engineering (SET), 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:hh:diva-1076.
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