Academic literature on the topic 'Quintets (Bassoon'

<p class="IsiAbstrakIndo"><span lang="EN-GB">Inculturation of Church music in an experiment of creating this arrangement aims to bring a different form of musical ordinarium accompaniment form of <em>Dolo-Dolo</em> Mass from Flores, with a different media that uses the woodwind quintet (flute, oboe, clarinet, French horn, and Basson). The experiment took one of the ordinary songs from <em>Madah Bakti</em> “<em>Tuhan Kasihanilah Kami</em>”. The harmonization fine-tunes to the chorus arrangement composed by Mateus Weruin. The literature study was conducted through collecting references on the art of <em>Dolo-Dolo</em> and woodwind quintet so it can be used to create an idea for </span><span lang="EN-GB">this arrangement. The result shows that a rhythmic character that characterizes the traditional Flores music lies in a dotted sixteenth pattern. The richness of sounds and agile characters coming from each instrument creates a percussive atmosphere of Flores folk music. The result of the arrangement experiment can be used to enrich the reference of accompaniment music to the general public and specifically, the Catholic Church. </span></p>

Ear cannals of 145 domestic goats including the breeds Saanen, Toggenburg, Anglobian, Alpine, Moxoto (native) and crossbred goats from 10 smallholder farms were examined by flushing for the presence of ear mites. Prevalence of Raillietia caprae Quintero, Bassols and Acevedo, 1980 was much more higher than Psoroptes ovis (Hering, 1838) in the studied area, respectively 62% ( 90/145) and 4% ( 6/145). The youngest animal parasitized was eight months old and the oldest was 10 years old. Subclinical otitis is a common feature of infestation by both species but increase of wax and the presence of pus were detected in the flushed material in approximately 10% of the goats examined.

MARGARET BROUWER: Lament for violin, clarinet, bassoon and percussion12,4,6,10; Light for soprano, harpsichord, flute, clarinet, violin, cello and percussion1,7,2,5,13,14,11; Under the Summertree for piano8; Skyriding for flute, violin, cello & piano3,13,14,9; Demeter Prelude for string quartet15. 1Sandra Simon (sop), 2Sean Gabriel (fl), 3Alice Kogan Weinreb (fl), 4Jean Kopperud (cl), 5Amitai Vardi (cl), 6Donald McGeen (bsn), 7Jeanette Sorrell (hpschd), 8Kathryn Brown (pno), 9Mitsuko Morikawa (pno), 10Dominic Donato (perc), 11Scott Christian (perc), 12Laura Frautschi (vln), 13Gabriel Bolkosky (vln), 14Ida Mercer (vlc), 15Cavani String Quartet. New World 80606-2.CHEN YI: Momentum; Chinese Folk Dance Suite for violin and orchestra1; Dunhuang Fantasy for organ and chamber wind ensemble3; Romance and Dance for 2 violins and string orchestra1,2; Tu. 1Cho-Liang Lin (vln), 2Yi-Jia Susanne Hou (vln), 3Kimberley Marshall (org), Singapore SO c. Lan Shui. BIS-CD-1352.SADIE HARRISON: The Light Garden for mixed quintet1; The Fourteenth Terrace for clarinet and ensemble2; Bavad Khair Baqi! for solo violin3. Traditional Afghan Music4. 1Tate Ensemble, 2Andrew Spalding (cl), Lontano c. Odaline de la Martinez, 3Peter Sheppard Skærved (vln), 4Ensemble Bakhtar. Metier MSV CD92084.MISATO MOCHIZUKI: Si bleu, si calme1; All that is including me for bass flute, clarinet and violin1,2,3; Chimera; Intermezzi I for flute & piano1,4; La chamber claire. 1Eva Furrer (fl, bass fl), 2Bernhard Zachhuber (cl), 3Sophie Schafleitner (vln), 4Marino Formenti (pno), Klangforum Wien c. Johannes Kalitzke. Kairos 0012402KAIONUTE NARBUTAITE: Symphony No. 2; Liberatio for 12 winds, cymbals & 4 strings; Metabole for chamber orchestra. Lithuanian National SO c.Robertas Fervenikas. Finlandia 0927-49597-2.ALLA PAVLOVA: Symphony No. 1, Farewell Russia1,3,4; Symphony No.32,3,5. 1Leonid Lebedev (fl), Nikolay Lotakov (picc), Mikhail Shestakov (vln), Valery Brill (vlc), Mikhail Adamovich (pno); 2Olga Verdernikova (vln), 3Russian PO c. 4Konstantin D. Krimets, 5Alexander Vedernikov. Naxos 8.557157.‘APPARENZE: Collana di Nuove Musiche 1997’. Works by SILVIA DELITALA, RITA PORTERA, CATERINA DE CARLO, BEATRICE CAMPODONICO, PAOLA CIAR-LANTINI, JANET MAGUIRE, MARCO SANTAM BROGIO, PAOLO MINETTI, FEDERICO MONTAGNER, RINALDO BELLUCCI and BIAGIO PUTIGNANO. Maria Vittoria Vallese (sop), Pia Zanca, Fiametta Facchini, Rinaldo Bellucci (pnos), Duo Soncini-Flückiger, Italian Guitar Quartet, Ensemble Paul Klee, Fabrizio Fantini, Gianluca Calonghi (cls), Giuseppe Giannotti (ob). Radio Onda d'Urto E.F.B 001.

The aim of this study is to analyze technical efficiency of wheat producers and identifying the sources of inefficiency in North Shewa Zone of Amhara National Region State, Central Ethiopia. A multi-stage sampling technique was used to select sample respondent households. In the first phase, three potential wheat grower districts namely, Bassona Worrana, Siyadebrna Wayu, and Moretna Jiru were selected purposively. In the second stage, six potential kebeles (lowest administrative level), two from each of the three districts were selected. In the third phase, proportionally with population size, 374 sample households were selected using simple random sampling techniques from each of the selected kebeles. Cobb-Douglas Stochastic Frontier Production (SFP) function and inefficiency function were used to estimate the technical inefficiency level of wheat producers using a one-step maximum likelihood estimation procedure. The average productivity of wheat was found to be 32.60 quintals per hectare. Land size, fertilizer, seed, labor, and oxen power were important factors of production positively and significantly affecting wheat output. Age and education level of a farmer, off-farm income, extension contact, and credit services were found negatively and significantly affecting the technical inefficiency of wheat producing farmers. The inefficiency components contributed about 70.62% of the total deviation from the best possible production output. The average technical efficiency (TE) level of wheat producers was 72%. Overall, the provision of fertilizers, credit, and extension services would make wheat producers more productive and technically efficient in the study area.

Opera Zora D., composed by Isidora Zebeljan during 2002 and 2003, and which was premiered in Amsterdam in June 2003, is the first Serbian opera that had a world premiere abroad. It is also the first Serbian opera that has been staged outside Serbia since 1935, after being acclaimed at a competition organized by the Genesis Foundation from London. Isidora Zebeljan was commissioned (granted financial backing) to compose a complete opera with a secured stage realization. The Dutch Chamber Opera (Opera studio Nederland) and the Viennese Chamber Opera (Wiener Kammeroper) were the co-producers of the first production. The opera was directed by David Pountney, the renowned opera director, while an international team of young singers and celebrated artists assisted the co-production. The opera was played three times in Amsterdam. Winfried Maczewski conducted the Amsterdam Nieuw Ensemble whereas Daniel Hoyem Cavazza conducted the Wiener Kammeroper on twelve performances. The Viennese premier of Zora D. opened the season of celebrations, thus marking the 50th anniversary of the Wiener Kammeroper. The libretto, based on the script for a TV film by Dusan Ristic, was co-written by Isidora Zebeljan, Milica Zebeljan and Borislav Cicovacki. Speaking of genre, the libretto represents a m?lange of thriller, melodrama and mystery, with elements of fiction. The opera consists of the prologue and seven scenes. The story, set in the present-day Belgrade, also goes back to the 1930?s and the periods interweave. The opera was written for four vocalists: the soprano, the baritone, and two mezzo-sopranos. The chamber orchestra has fifteen musicians. The story: One summer day in 1935, Belgrade poetess Zora Dulijan mysteriously disappears. Sixty years later, Mina, an ordinary girl from Belgrade, quite unexpectedly becomes part of an incredible story, which gradually unravels as time goes by. Led by a dream (recurring night after night, with some vague verses about poplar trees and contours of a mysterious woman with a silver scarf being all that Mina remembers) she sets out to solve the mystery that seems to haunt her for no apparent reason. Part of the secret is also an invisible force, which Mina uses to gradually piece together the story of a great love that was brutally brought to an end 60 years ago and now seeks fulfillment. At the same time, Vida, a woman in her 80s, who has just returned to Belgrade from a long exile, begins to feel tortured and haunted by ghouls from the past, the very same she has been trying to escape all those years. Mina, desperate to solve the mystery, and Vida, in search of final rest and redemption, meet to disclose to us the answer and tell us what really happened to Zora D. The leading characters of the opera, whose main attribute is illusiveness, undergo transformation that is something rarely found in opera literature. This quality of the characters and the story, as well as the absence of a real drama in the libretto, matches the specific idea of a contemporary opera. Unlike composers who insist on giving characters psychological quality, thus reducing their emotions to clich?s for reasons of clarity, Isidora Zebeljan demonstrates a need for a completely different type of opera. Her idea is to have an opera which focuses on the sensual exploits of music itself. This is the very type of opera sought after by Isidora Zebeljan. The first and most striking feature of her music is a very unique melodic invention. Opera Zora D. could be described as a necklace of thickly threaded music pearls. Microelements of the traditional music from Serbia (Vojvodina), Romania and the south of the Balkans give her melodies a very special quality. Those elements, however, have not been taken over in their entirety, nor do they exist in the form that would link this music to any particular type of folk music. Music elements of the traditional music, incorporated in the music expression of Isidora Zebeljan, provide additional distinctiveness and the colour, while being experienced as an integral part of Zebeljan?s creative being which carries within itself the awareness of the composer?s musical roots. Melodic elements of the opera expressed in such a manner give form to vocal parts, which require of performers great musicality and perfect technique without compromising the nature of their vocal expression. Specific chords with a diminished fifth, resulting from the use of folk music scales with augmented second, give the opera a distinct harmonic quality. The rhythmic and metric components of music are complex, naturally stemming from the melody and are characterized by a mixture of rhythms and changeable metrics. The rhythmic patterns of percussion are incorporated in the whole by parallel lining up of melodic and rhythmic layers, so that they produce sonorous multiplicity. Very often the rhythmic elements have characteristics of a dance. The chamber orchestra consists of flute (piccolo and alto), clarinet and bass-clarinet, saxophone (soprano and alto) bassoon, French horn, trumpet, harp, piano, percussion, and string quintet. By providing specific orchestration and coloring, Isidora Zebeljan manages to completely shift the real dramatic suspense from words to music particularly the orchestra, thus causing various emotional states to quickly change. Speaking of structure, the opera represents an infinite sequence of melodies. Although rarely, melodic entities have, in some places, the form of arias. There are no real recitatives in the entire opera. Each segment of the opera belongs to a corresponding melodic section of the stage that they are part of. The extraordinary quality of the music in Zora D. lies in the music surprise that it provides, which is an element of the composer?s language and style rarely seen in the music literature but is a symbol of a special talent. Emotional states are not merely evoked through particular musical clich?s, the unusual origin of which may be found in the exceptional parallel quality of states stemming from the very music. The listener, in his or her initial encounter with the music of the opera, will never hear dark and disconsolate music when tragic and dramatic happenings are taking place. Listening to the music will, however, help them feel the sound layer of the tragedy that is present in the offered sound. They will not follow it consciously but, instead, they will be leaded to the exact emotional stimulus that they will not be able to defy rationally. Such a music expression we call a music fiction. Artistic team involved in the first production of Zora D. has discovered a HVS technique, which helps shifting elements of scenography, from one set into the next, very efficiently and effectively. Isidora Zebeljan?s opera Zora D. represents a great success of Serbian music on the international scene, and undoubtedly the greatest success of Serbian opera. Her music liberates listeners from the compulsion of reflecting upon the content they are listening to. Instead, her music compels them to feel.

Objetivo: Describir los conocimientos sobre transmisión, sintomatología, acciones de prevención y control frente a dengue en la región Piura, Perú. Material y métodos: Análisis secundario de la sección 700 (salud) de la Encuesta Nacional de Programas Estratégicos 2014, realizada por el Instituto Nacional de Estadística e Informática a 113 073 habitantes de ≥14 años a nivel nacional (5 131 en Piura). Se analizaron las preguntas 701 al 704 sobre conocimientos de dengue. Las respuestas fueron analizadas según características demográficas y provincia de residencia. Además, se comparó los resultados de toda la región frente al promedio nacional. Resultados: En Piura, el 78,4% refirió que la transmisión de dengue es por la picadura de un mosquito, (solo 54,5% a nivel nacional). Hubo diferencias entre zonas urbana (84%) y rural (58,2%), y entre provincias. Los síntomas más recordados fueron fiebre (79,7%), cefalea (56,4%), dolor de huesos/articulaciones (30,3%) y escalofríos (28,7%). 96,9% acudiría a un establecimiento de salud si presentara síntomas (97,8% a nivel nacional). Conocimiento sobre control de mosquito fue menor del 50% de medidas adecuadas. Conclusiones: El conocimiento sobre algunos aspectos del dengue es aún limitado en la región Piura, siendo ésta la más endémica a nivel nacional. Se debe enfatizar en educación sanitaria a nivel poblacional para frenar el avance alarmante de este problema. 1. Guzman MG, Harris E. Dengue. Lancet. 2015;385(9966):453-65.2. Rey JR, Philip Lounibos P. Ecología de Aedes aegypti y Aedes albopictus en América y transmisión enfermedades. Biomédica. 2015;35:177-85. 3. Bouyer J, Chandre F, Gilles J, Baldet T. Alternative vector control methods to manage the Zika virus outbreak: more haste, less speed. Lancet Glob Health. 2016;4(6):e364. 4. Hermann LL, Gupta SB, Manoff SB, Kalayanarooj S, Gibbons RV, Coller BA. Advances in the understanding, management, and prevention of dengue. J Clin Virol. 2015;64:153-9. 5. Bhatt S, Gething PW, Brady OJ, Messina JP, Farlow AW, Moyes CL, et al. The global distribution and burden of dengue. Nature. 2013;496:504–507. 6. Quintero J, Brochero H, Manrique-Saide P, Barrera-Pérez M, Basso C, Romero S, Petzold M, et al. Ecological, biological and social dimensions of dengue vector breeding in five urban settings of Latin America: a multi-country study. BMC Infect Dis. 2014;21:14:38. 7. Kroeger A, Lenhart A, Ochoa M, Villegas E, Levy M, Alexander N, et al. Effective control of dengue vectors with curtains and water container covers treated with insecticide in Mexico and Venezuela: cluster randomised trials. BMJ. 2006;332:1247–1252. 8. Paz-Soldán VA, Morrison AC, Cordova Lopez JJ, Lenhart A, Scott TW, Elder JP, et al. Dengue Knowledge and Preventive Practices in Iquitos, Peru. Am J Trop Med Hyg. 2015;93(6):1330-7. 9. Cáceres-Manrique FM, Vesga-Gómez C, Perea-Florez X, Ruitort M, Talbot Y. Conocimientos, Actitudes y Prácticas sobre Dengue en Dos Barrios de Bucaramanga, Colombia. Rev. salud pública. 2009;11(1):27-38. 10. Santos SL, Parra-Henao G, Silva MB, Augusto LG. Dengue in Brazil and Colombia: a study of knowledge, attitudes, and practices. Rev Soc Bras Med Trop. 2014;47(6):783-7. 11. Egedus VL, Ortega JM, Obando AA. Knowledge, perceptions, and practices with respect to the prevention of dengue in a mid-Pacific coastal village of Costa Rica. Rev Biol Trop. 2014;62(3):859-67. 12. Wong LP, AbuBakar S. Health beliefs and practices related to dengue fever: a focus group study. PLoS Negl Trop Dis. 2013;7(7):e2310. 13. Van Benthem BH, Khantikul N, Panart K, Kessels PJ, Somboon P, Oskam L. Knowledge and use of prevention measures related to dengue in northern Thailand. Trop Med Int Health. 2002;7(11):993- 1000. 14. Sala de Situación de Salud – Semana Epidemiológica N° 11 2017 [Internet]. Lima: Centro Nacional de Epidemiología, Prevención y Control de Enfermedades - Ministerio de Salud; 2017 [citado el 10 de octubre de 2017]. Disponible en: http://www.dge.gob.pe/portal/docs/vigilancia/sala/2017/salaSE11.pdf. 15. Ferreira MC. Geographical distribution of the association between El Niño South Oscillation and dengue fever in the Americas: a continental analysis using geographical information system-based techniques. Geospat Health. 2014;9(1):141-51. 16. Encuesta Nacional de Programas Estratégicos 2011-2014 [Internet]. Lima: Instituto Nacional de estadística e Informática; 2015 [citado el 10 de octubre de 2016]. Disponible en: https://www.inei.gob. pe/media/MenuRecursivo/publicaciones_digitales/Est/Lib1291/libro.pdf 17. Palma-Pinedo H, Cabrera R, Yagui-Moscoso M. Factors behind people's reluctance towards dengue vector control actions in three districts in northern Peru. Rev Peru Med Exp Salud Publica. 2016;33(1):13-20. 18. OMS habla de una epidemia por dengue en región Piura [Internet]. Lima: CMP noticias; 2016 [citado el 10 de octubre de 2016]. Disponible en: https://cmp.org.pe/oms-habla-de-una-epidemiapor- dengue-en-la-region-piura/ 19. Gyawali N, Bradbury RS, Taylor-Robinson AW. Knowledge, attitude and recommendations for practice regarding dengue among the resident population of Queensland, Australia. Asian Pac J Trop Biomed. 2016;6(4):360–366. 20. Malhotra G, Yadav A, Dudeja P. Knowledge, awareness and practices regarding dengue among rural and slum communities in North Indian city, India. Int J Med Science and Public Health. 2014;3(3):295-299. 21. Hairi F, Ong CH, Suhaimi A, Tsung TW, Sundaraj C, Soe MM, et al. A knowledge, attitude and practices (KAP) study on dengue among selected rural communities in the Kuala Kangsar district. Asia Pac J Public Health. 2003;15(1):37-43. 22. Dhimal M, Aryal KK, Dhimal ML, Gautam I, Singh SP, Bhusal CL, et al. Knowledge, attitude and practice regarding dengue fever among the healthy population of highland and lowland communities in central Nepal. PLoS One. 2014;9(7):e102028.

Painel 1 - Glicerofosfato de cálcio impregnado com nanopartículas de prata sintetizadas pela romã: potencial antimicrobiano e toxicicidade celular. Fernandes GL, Fernandes RA, Amaral JG, Monteiro DR, Souza JAS, Delbem ACB, Barbosa DBPainel 2 - Influência da terapia fotodinâmica na resistência de união de pinos de fibra de vidro à dentina radicular. Silva PP, Sahyon HBS, Gallego J, Dos Santos PH, Araujo GSPainel 3 - Análise microbiológica de secreções conjuntivais de cavidades anoftálmicas, olhos contralaterais e próteses oculares: estudo in vivo. Catanoze IA, Cunha BG, Goiato MC, Santos DM, Turcio KHL, Malavazi EM, Freitas EV, Andreotti AM, de Almeida MTG, Guiotti AMPainel 4 - Influência de diferentes protocolos de aplicação do remineralizante MI Paste Plus no tecido pulpar de molares de ratos submetidos a procedimento clareador. Barbosa JG, Benetti F, Briso ALF, Cintra LTAPainel 5 - Estudo preliminar da biocompatibilidade e capacidade de biomineralização do novo MTA de alta plasticidade. Louzada LM, Benetti F, Lopes JMA, Gomes-Filho JE, Cintra LTAPainel 6 - Análise da aPDT e do uso de amoxicilina/metronidazol como coadjuvantes ao tratamento periodontal: estudo clínico controlado randomizado. Cláudio MM, Nuernberg MAA, Lopes AB, Ferro Alves ML, Duque C, Garcia VG, Theodoro LHPainel 7 - Resinas acrílicas associadas ou não ao acetato: resistência flexural e microdureza de superfície. Caxias FP, Carvalho KHT, Filho HG, Zuim PRJ, Santos DMPainel 8 - Frequência de prótese dentária em portadores de hepatite C. Oliveira LM, Barbosa DBPainel 9 - Ação antimicrobiana de diferentes concentrações de HMP em solução ou associado a cimento de ionômero de vidro. Gonçalves SC, Hosida TY, Morais LA, Camargo ER, Duque C, Delbem ACB, Pedrini DPainel 10 - Avaliação da adição do TMP no CIV na desmineralização do esmalte: estudo in vitro. Cavazana TP, Abreu VM, Camargo ER, Oliveira LQC, Souza JAS, Danelon M, Hosida TY, Delbem ACB, Pedrini DPainel 11 - Síntese e atividade antimicrobiana de polifosfatos de sódio com nanopartículas de prata e fluoreto em baixa concentração. Mendes-Gouvêa CC, Amaral JG, Fernandes GL, Fernandes RA, Gorup LF, Camargo ER, Delbem ACB, Barbosa DBPainel 12 - Avaliação de um cimento de ionômero de vidro contendo clorexidina e nanopartículas de trimetafosfato de sódio na redução da desmineralização do esmalte. Silva MER, Danelon M, Souza JAS, Delbem ACB, Duque CPainel 13 - Comparison of in vitro erosive protocols for dentine to non-carious cervical lesions: analysis of mechanical properties and surface gloss. Moda MD, Fagundes TC, Bresciani E, Dos Santos PHPainel 14 - Síntese e avaliação de formulações utilizando nanometal, extrato vegetal e sua associação. Fernandes RA, Berretta AA, Fernandes GL, Souza Neto FN, Buszinki AFM, Aguiar AFCL, Barbosa DBPainel 15 - Eficácia do tratamento com tirosol sobre biofilmes pré-formados em superfície acrílica. Vieira APM, Delbem ACB, Arias LS, Fernandes RA, Barbosa DB, Monteiro DRPainel 16 - Síntese fitoquímica de nanopartículas de prata: uma revisão. Sauvesuk L, Berretta AA, Camargo ER, Delbem ACB, Fernandes RA, Fernandes GL, Gorup LF, Barbosa DBPainel 17 - Efeito de um dentifrício com concentração reduzida de fluoretosuplementado com nanopartículas de trimetafosfato de sódio sobre a desmineralização do esmalte: estudo in situ. Paiva MF, Coclete GEG, Souza MDB, Pessan JP, Lodi CS, Souza JAS, Camargo ER, Souza Neto FN, Delbem ACBPainel 18 - Melhoria de processos na produção de implantes dentários. Lima GMF, Moraes EP, Alves Rezende MCRPainel 19 - Influência da intensidade luminosa de fotopolimerizadores na microdureza de resinas compostas. Chrisostomo DA, Sahyon HBS, Seloto CB, Danieletto CF, Dos Santos PHPainel 20 - Influência da adição de hexametafosfato de sódio em um gel com reduzida concentração de fluoreto sobre lesões iniciais de cárie. Gonçalves FMC, Delbem ACB, Pessan JP, Nunes GP, Garcia LSG, Danelon MPainel 21 - Influência da adição de nanopartículas de fosfato em dentifrícios fluoretados sobre o desgaste erosivo do esmalte: estudo in vitro. Cavazana TP, Danelon M, Pessan JP, Souza Neto FN, Camargo ER, Delbem ACBPainel 22 - Avaliação da desmineralização do esmalte após tratamento com hexametafosfato de sódio nanoparticulado através da microdureza e microtomografia computadorizada. Nunes GP, Delbem ACB, Pessan JP, Dalpasquale G, Souza Neto FN, Camargo ER, Danelon MPainel 23 - Efeito do PRP sobre o processo de reparo alveolar e expressão de defensinas no sítio de extração dental em ratas senistratadas com zoledronato. Mello-Neto JM, Santos FFV, Ferreira LC, Rocha TE, Toro LF, Almeida JM, Nagata MJH, Theodoro LH, Garcia VG, Ervolino EPainel 24 - A influência do beta fosfato tricálcico no processo de reparação óssea em ratos alcoolizados. Pomini KT, German IJS, Cestari TM, Andreo JC, Buchaim DV, Rosso MPO, Mizael M, Okamoto R, Buchaim RLPainel 25 - Resistência adesiva de restaurações de resina composta de baixa contração. Chiba EK, Moda M, Santos PH, Briso ALF, Fagundes TCPainel 26 - Avaliação da reparação óssea em defeitos críticos de calvária de ratos utilizando partículas de osso de origem bovina. Brasil LFM, Bassi APF, Carvalho PSP, Ponzoni D, Souza FAPainel 27 - Avaliação da adição de trimetafosfato de sódio microparticulado sobre o desenvolvimento de lesão de cárie: estudo in vitro. Emerenciano NG, Castro LP, Danelon M, Passarinho A, Delbem ACB, Percinoto CPainel 28 - Influência da adição de trimetafosfato de sódio em agentes clareadores sobre a desmineralização do esmalte. Emerenciano NG, Salama ICCA, Marcon LN, Danelon M, Giannini M, Delbem ACB, Shinohara MSPainel 29 - Análise da energia livre de superfície no esmalte dentário após tratamento com hexametafosfato de sódio, cálcio e fosfato: estudo in vitro. Neves JG, Danelon M, Figueiredo LR, Souza JAS, Pessan JP, Delbem ACB Painel 30 - Efeito de diferentes anti-inflamatórios no tecido pulpar de ratos após procedimento clareador. Oliveira PHC, Ferreira LL, Benetti F, Álamo L, Bosísio AC, Santana A, Rahal V, Sipert CR, Briso ALF, Cintra LTAPainel 31 - Estudo retrospectivo comparativo com dois biomateriais para enxerto sinusal maxilar: 5 anos de acompanhamento. Araujo NJ, Souza MP, Carvalho PSP, Almeida JM, Garcia-Junior IR, Souza, FAPainel 32 - Terapia com bifosfonato endovenoso: análise da densidade mineral óssea e resistência à fratura de ossos longos em modelo animal. Piacenza LT, Costa SF, Okamoto R, Gonçalves A, Furquim EMA, Faria FD, Louzada MJQ, Matsumoto MAPainel 33 - Efeito da adição de nanopartículas de fosfato em dentifícios fluoretados sobre a desmineralização do esmalte: estudo in vitro. Garcia LSG, Nunes GP, Pessan JP, Delbem ACB, Danelon MPainel 34 - Efeito da adição de nanopartículas de hexametafosfato de sódio em dentifrícios fluoretados sobre a desmineralização dentária: estudo in vitro. Garcia LSG, Delbem ACB, Dalpasquale G, Nunes GP, Pessan JP, Camargo ER, Gorup LF, Danelon MPainel 35 - Avaliação do potencial quimiotático de um scaffold experimental de quitosana e colágeno mineralizado com aluminato de cálcio sobre células pulpares humanas. Zuta UO, Leite MLAS, Bordini EA, Hebling J, De Souza Costa CA, Soares DGPainel 36 - Efeito de soluções irrigantes nas propriedades mecânicas nos diferentes terços da dentina intrarradicular. Sahyon HBS, Suzuki TYU, Gomes Filho JE, Assunção WG, Gallego J, Santos PHPainel 37 - Efeito in vitro da adição do glicerofosfato de cálcio no cimento de ionômero de vidro sobre a desmineralização do esmalte. Morais LA, Santos SS, Hosida TY, Souza JAS, Danelon M, Delbem ACB, Pedrini DPainel 38 - Efeito da adição do hexametafosfato de sódio no cimento de ionômero de vidro sobre a desmineralização do esmalte. Morais LA, Hosida TY, Favreto CO, Souza JAS, Cavazana TP, Camargo ER,Delbem ACB, Pedrini DPainel 39 - Enxerto alveolar com proteína morfogenética óssea (rhBMP-2) na fissura labiopalatina: influência da idade, do cirurgião do tipo e amplitude da fissura. Arradi MF, Bastos Júnior JCC, Carvalho RM, Garib DG, Leal CRPainel 40 - Análise biológica de um gel clareador bioativo baseado nos princípios dos processos oxidativos avançados. Duque CCO, Soares DGS, Marcomini N, Basso FG, Hebling J, De Souza Costa CAPainel 41 - Scaffolds de quitosana e colágeno com aluminato de cálcio bioestimulam a atividade de células pulpares humanas. Bordini EAF, Soares DG, Duque CCO, Leite MLAS, Hebling J, de Souza Costa CAPainel 42 - Estudo clínico prospectivo e randomizado de restaurações de Classe II utilizando resinas compostas de baixa contração de polimerização. Frascino SMB, Silva UAE, Borghi WMMC, Fagundes TC, Briso ALFPainel 43 - Avaliação do biofilme dental formado in situ após uso de um dentifrício com concentração reduzida de fluoreto suplementado com nanopartículas de trimetafosfato de sódio. Coclete GEG,Paiva MF, Souza MDB, Pessan JP, Lodi CS, Souza JAS, Camargo ER, Souza Neto FN, Delbem ACBPainel 44 - Ação antimicrobiana de análogos de peptídeos e sua influência na expressão de marcadores fenotípicos de mineralização dentinária. Caiaffa KS, Massunari L, Danelon M, Basso FG, Santos-Filho NA, Cilli EM, de Souza Costa CA, Duque CPainel 45 - Influência da quantidade de dentifrício e concentração de fluoreto nos níveis salivares de fluoreto em crianças. Nagata ME, Delbem ACB, Hall KB, Hosida TY, Moraes FRN, Báez-Quintero LC, Favretto CO, Pessan JPPainel 46 - Influência da incorporação de trimetafosfato de sódio em um gel com baixa concentração de fluoreto sobre a desmineralização dentária: estudo in situ. Akabane STF, Gonçalves FMC, Garcia LSG, Pessan JP, Delbem ACB, Danelon MPainel 47 - Obliteração, concentração mineral e permeabilidade dos túbulos dentinários após o uso de dentifrícios contendo trimetafosfato de sódio microparticulado e nanoparticulado. Estudo in vitro. Toledo PTA, Favretto CO, Delbem ACB, Hosida TY, Nagata ME, Pedrini DPainel 48 - Síntese de nanopartículas de prata a partir da Punica granatum (romã): análises físico-química e antibacteriana. Jacometo WH, Berretta AA, Fernandes GL, Fernandes RA, Souza JAS, Amaral JG, Delbem ACB, Gorup LF, Camargo ER, Barbosa DBPainel 49 - Estudo in vitro da ação antimicrobiana do fotossensibilizador Butyl-azul de toluidina sobre Streptococcus mutans e Lactobacillus acidophilus: estudo preliminar. Nuernberg MAA, Caiaffa KS, Wainwright M, Duque C, Garcia VG,Theodoro LH

The first movement of the Piano Quintet, Op. 16 of Ludwig van Beethoven works out three significant motivic "topics": a chromatically filled-in second, appearing first as 5 - #5 - 6 (Bb - B - C in Eb major); the emphasis om the submediant, both as vi in Eb major and as the tonal region of C minor; and the melodic interval of the sixth, which, when inverted to become a descending third, determines the structure of tonal regions at crucial points in the movement. These three motivic topics are introduced in the opening measures of the piece and are subsequently unfolded throughout the movement; the focus of the thesis will be to trace the unfolding of these three topics.

This is a compilation of the music performed at the graduation recital of John Estacio on April 11,1991, at 2.30 p.m. in the U.B.C. Recital Hall. There were four pieces performed that afternoon including Azimuth for viola, clarinet and marimba, written in 1989. Ode on the Death of A Favourite Cat, Drowned in a Tub of Goldfishes for S.A.T.B. choir was written in 1989 and uses the text of Thomas Gray. Moments is a set of three pieces for woodwind quintet written in 1990. Viola Concerto is in three movements and was written in 1991 for Reg Quiring, a former U.B.C. student. The concerto is scored for solo viola and chamber orchestra. A cassette copy of the recital is available with this book.
Arts, Faculty of
Music, School of
Graduate

Thesis (M.M.)--University of North Texas, 2008.
For flute oboe, clarinet, horn, bassoon, and marimba, with an optional percussion part (glockenspiel, chimes). Duration: ca. 6:45. System requirements: Adobe Acrobat Reader. Includes bibliographical references (p. 61-64).

Syncretisms is an original composition scored for flute, oboe, clarinet, horn, bassoon, and marimba (2-mallet minimum, 4 recommended) with an optional percussion part requiring glockenspiel and chimes, and has an approximate duration of 6 min. 45. sec. The composition combines modern western tuning, timbre, and harmonic language with organizational principles identified in music from Southeast Asia (including music from cultures found in Thailand, Cambodia, Malaysia, and Indonesia). The accompanying paper describes each of these organizational principles, drawing on the work of scholars who have performed fieldwork, and describes the way in which each principle was employed in Syncretisms. The conclusion speculates on a method for comparing musical organizational systems cross-culturally.

Submitted by Marlene Santos (marlene.bc.ufg@gmail.com) on 2016-08-12T17:16:46Z No. of bitstreams: 2 Dissertação - Felipe dos Santos Arruda - 2016.pdf: 3852414 bytes, checksum: cc0e0d1958cb1df0777e1d792d244a80 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5)
Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2016-08-15T14:17:44Z (GMT) No. of bitstreams: 2 Dissertação - Felipe dos Santos Arruda - 2016.pdf: 3852414 bytes, checksum: cc0e0d1958cb1df0777e1d792d244a80 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5)
Made available in DSpace on 2016-08-15T14:17:44Z (GMT). No. of bitstreams: 2 Dissertação - Felipe dos Santos Arruda - 2016.pdf: 3852414 bytes, checksum: cc0e0d1958cb1df0777e1d792d244a80 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2016-03-30
Fundação de Amparo à Pesquisa do Estado de Goiás - FAPEG
Heitor Villa-Lobos brings significant new prospects for the bassoonist. Within this context this paper presents an investigation of the technical and interpretative skills necessary to perform the Ciranda das sete notas (Fantasy for bassoon and string quintet) by Villa-Lobos. The musical elements articulation, sound production, embouchure, breathing and fingering are based on the concepts presented by Julius Weissenborn (1887), Ludwig Milde (1950) Fernand Oubradous (1988), Gallois (2009) and the physiologist Fox (2007). The discussions are grounded on the above concepts and personal experience of the author in preparation to perform the Ciranda. Some excerpts were selected which expose mastery of technical skills for interpretation. It was found that there is a wealth of skills demanded in this Brazilian work, which enables the development of music skills equal to traditional foreign repertoire for the bassoon. This research shows the lack of literature, especially in Portuguese, with deep approach to the technical and interpretative elements - articulation, sound, embouchure, breath and fingering - for the bassoon player. In addition, a bassoonist who wants to interpret this work should: have knowledge of the sound characteristics of different regions of the bassoon for decision-making purposes of interpretation; master the skills related to playing legato in large intervals; be able to play staccato and legato throughout the whole extension of the bassoon. During the recital preparation I also noted that the above skills are recurring features present on Villa-Lobos other compositions, which makes the discussions presented here useful for application in the interpretation of other works of the composer.
Heitor Villa-Lobos, em sua obra que inclui o fagote, traz novas e significativas perspectivas para o instrumentista. Neste trabalho, apresento uma investigação das habilidades técnico-interpretativas ao fagote para a performance da Ciranda das sete notas Fantasia para fagote e quinteto de cordas de Villa-Lobos, uma obra representativa de sua produção para esse instrumento. Fundamentam-se os elementos musicais articulação, sonoridade, embocadura, respiração e dedilhado nos conceitos apresentados por Julius Weissenborn (1887), Ludwig Milde (1950) de Fernand Oubradous (1988), Gallois (2009) e o fisiologista Fox (2007). As discussões apresentadas utilizam-se dos conceitos expostos acima e da preparação e performance da obra realizadas por este autor. Foram selecionados trechos da Ciranda que evidenciam domínio por parte do fagotista de técnicas específicas para a interpretação. Constatou-se que há uma riqueza de habilidades demandada nessa obra brasileira, que possibilita um desenvolvimento em igual potencial ao tradicional repertório estrangeiro. Há também a escassez de bibliografia, sobretudo em português, com profunda abordagem sobre os elementos técnico-interpretativos articulação, sonoridade, embocadura, respiração e dedilhado associados à performance ao fagote. Além disso, um fagotista que pretende interpretar a obra deverá ter: o conhecimento das características das diferentes regiões do fagote para a tomada de decisões com fins interpretativos, com habilidade sobre a ligadura em grandes intervalos e staccato e legato por toda a extensão sonora do fagote. Durante a preparação dos recitais, notou-se ainda que essas habilidades são características recorrentes presentes na parte de fagote das diversas formações e composições de Villa-Lobos, o que torna as discussões aqui apresentadas úteis para aplicação na interpretação de outras obras do compositor.

The grouping of these four compositions is intended to create a balanced portfolio, illustrating the management of a variety of forms, media and compositional problems. The submission divides into two parts: Part I - The Compositions: (i) Pezzo Concertante A single-movement orchestral piece for double woodwind; 4 horns; 3 trumpets; 3 trombones; tuba; timpani; 4 percussionists; harp; strings. Duration c 11' This piece is a single-movement structure, compact and complete in itself, with some display elements for each section of the orchestra. It aims to provide both an interesting challenge for professional orchestral players and a strong and direct audience appeal. (ii) Concerto for Bassoon and Chamber Orchestra. In addition to the solo part it is scored for flute; clarinet; oboe; 2 horns; trumpet; trombone; strings. Duration c 15' This work plays continuously but is subdivisible into five sections of which the first three are virtually separate movements. It is designed to have an almost chamber-musical intimacy, while at the same time giving the soloist an opportunity to display many of the possibilities of the instrument. (iii) Sea Gods This is a setting for 8-part choir of a poem by H.D. (Hilda Doolittle). Duration c 7'30'' The setting was planned for a professional choir of not fewer than 16 singers, but could be very effective sung by a large chorus. It attempts to match the vivid imagery and intense feeling of H.D.'s powerful poem. (iv) Improvisation for Wind Quintet A single-movement work. Duration c 5' This short piece was written in 1991 for the Albany Wind Quintet who gave its first performance. Part II - The Notes: These explain some of the motivations and aims which inspired each piece. A short description of each work is given, together with a brief account of some of the underlying compositional techniques and considerations.

The career of Osvaldo Lacerda (1927-2011) spanned a critical time in the development of Brazilian nationalist music. Though he was an outspoken nationalist composer, he was also influenced by European trends and training. Even within his nationalist compositions, evidence of a shift in style that mirrors the European movements of Modernism and Postmodernism is found in his works. Among his thirty-six chamber works, three are wind quintets, written between 1962 and 1997. Although all three works warrant extended discussion, Variações e Fuga para quinteto de sopros is particularly valuable for studying Lacerda's musical language. It was originally written in 1962. However, Lacerda made significant revisions in 1994, completely rewriting and expanding it. Through comparing the 1962 and 1994 versions of Variações e Fuga and analyzing the significant differences between the two, this document aims show that even with his strong stance as a Brazilian nationalist composer, Lacerda was clearly influenced by the movements of the broader music world. Examples from his other two woodwind quintets, Quinteto de sopro and Suíte pra cinco, written in 1988 and 1997 respectively, help to support the idea that this change in his musical language was not an anomaly, but rather a true evolution of style impacted by his own culture and that of the classical music world around him.

Sonate in C-Dur for Fagott and Basso continuo / Johann Friedrich Fasch -- BassoonMusic for bassoon solo / George Perle -- Prelude et scherzo pour basson et piano / Paul Jeanjean -- Kvintet for flojte, obo, klarinet, horn og fagot, op.43 / Carl August Nielsen.
text