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Silva, Flavio Gabriel Parro da. "A construção de um solista : um estudo multicasos com trompetistas solistas internacionais /." São Paulo, 2019. http://hdl.handle.net/11449/191275.
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Orientador: Sonia Regina Albano de LimaResumo: O estudo de multicasos que se segue teve como objetivo investigar os processos de formação de um solista internacional de trompete mediante a análise da trajetória de vida de nove trompetistas com reconhecida carreira internacional, utilizando como parâmetros de análise os estágios de desenvolvimento propostos pela ciência da expertise. Para tanto realizou-se uma pesquisa qualitativa fundamentando-se em revisão de literatura. A revisão de literatura concentrou-se em textos relacionados ao desenvolvimento da expertise em todas as áreas de conhecimento e principalmente, no desenvolvimento da expertise em música. Os trompetistas solistas escolhidos foram: Rafael Méndez, Timofei Dokshizer, Maurice André, Wynton Marsalis, Håkan Hardenberger, Ole Antonsen, Sergei Nakariakov, Alison Balsom e Pacho Flores. Para a análise do material coletado foram utilizados os estágios de desenvolvimento da expertise propostos pelos pesquisadores Anders Ericsson (2016), Isabela Wagner (2015), Rena Subotnik e Linda Jarvin (2005) os quais compõem o referencial teórico de presente pesquisa. A partir dos dados coletados e das análises efetuadas, foi possível identificar similaridades entre a trajetória de vida dos solistas escolhidos e os estágios propostos pelos autores de referência e, assim, apontar aspectos inerentes à formação do trompetista-solista. Os resultados dos estudos desenvolvidos permitiram a elaboração de um quadro com quatro estágios do desenvolvimento trilhados pelos trompetistas solis... (Resumo completo, clicar acesso eletrônico abaixo)
Abstract: The following multicase study aimed to investigate the processes of formation of an international trumpet soloist by analyzing the life trajectory of nine trumpeters with recognized international careers, using as parameters of analysis the stages of development proposed by the science of expertise. Therefore, a qualitative research was conducted based on literature review. The literature review focused on texts related to the development of expertise in all areas of knowledge and especially the development of expertise in music. The soloist trumpeters chosen were: Rafael Méndez, Timofei Dokshizer, Maurice André, Wynton Marsalis, Håkan Hardenberger, Ole Antonsen, Sergei Nakariakov, Alison Balsom and Pacho Flores. For the analysis of the collected material were used the stages of development of expertise proposed by the researchers Anders Ericsson (2016), Isabela Wagner (2015), Rena Subotnik and Linda Jarvin (2005) which make up the theoretical framework of this research. From the collected data and the analyzes performed, it was possible to identify similarities between the life path of the chosen soloists and the stages proposed by the reference authors and, thus, to point out aspects inherent to the formation of the soloist trumpeter. The results of the developed studies allowed the elaboration of a four-stage framework of development followed by the soloist trumpeters surveyed as a conclusion of the research. It is hoped that this framework and the reasoning that justifies... (Complete abstract click electronic access below)
Résumé: L’étude multicase suivante visait à étudier les processus de formation d’un soliste de trompette international en analysant la trajectoire de vie de neuf trompettes ayant des carrières internationales reconnues, en utilisant comme paramètres d’analyse les stades de développement proposés par la science de l’expertise. Par conséquent, une recherche qualitative a été menée sur la base d’une revue de la littérature. La revue de la littérature s'est concentrée sur les textes relatifs au développement de l'expertise dans tous les domaines de la connaissance et en particulier au développement de l'expertise en musique. Les trompettistes solistes choisis étaient: Rafael Méndez, Timofei Dokshizer, Maurice André, Wynton Marsalis, Håkan Hardenberger, Ole Antonsen, Sergei Nakariakov, Alison Balsom et Pacho Flores. Pour l'analyse du matériel collecté, nous avons utilisé les étapes de développement de l'expertise proposée par les chercheurs Anders Ericsson (2016), Isabela Wagner (2015), Rena Subotnik et Linda Jarvin (2005) qui composent le cadre théorique de cette recherche. À partir des données collectées et des analyses effectuées, il a été possible d'identifier des similitudes entre le chemin de vie des solistes choisis et les étapes proposées par les auteurs de référence et, ainsi, de souligner les aspects inhérents à la formation du trompettiste soliste. Les résultats des études développées ont permis d'élaborer un cadre de développement en quatre étapes suivi par les trompettistes s... (Résumé complet accès életronique ci-dessous)
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Tengholm, Erik. "Solist med storband." Thesis, Kungl. Musikhögskolan, Institutionen för jazz, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3106.
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This project deals with the different aspects and problems that I associate with being a soloist with a big band, playing my own music. I put together a big band with some of my favorite musicians, wrote four arrangements on original tunes and played them on a concert at The Royal College of Music on the 7th of March 2019. In the arranging process, I tried to focus on making my trumpet playing sound as natural as possible. The goal throughout the whole project has been to make the music match my trumpet playing and improvisational sound.Medverkande: Sebastian Jonsson, Leonard Werme, Björn Bäckström , Samuel Muntlin, Emma Josefsson (träblås), Erik Tengholm, Isac Åberg, Max Stark, Linnea Jonsson, Emma Granstam (trumpet), Lars Ullberg, Agnes Darelid, Hampus Adami, Simon Skogh (trombon), Mattias Olofsson (gitarr), Anna Gréta Sigurdardóttir (piano), Johan Tengholm (kontrabas), Oscar Johansson Werre (trummor).
Till uppsatsen bifogas inspelningar av mina egna kompositioner som är kopplade till arbetet: Complexity of Love, Motljus, Livejazzbaren och Island.
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Silveira, Ricardo Jorge Castro Tavares Moreira da. "Keiko Abe e a Marimba Solista." Master's thesis, Universidade de Évora, 2012. http://hdl.handle.net/10174/18246.
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A percussionista japonesa Keiko Abe desempenhou um papel fundamental no desenvolvimento da marimba tal como a conhecemos hoje. A sua influência foi de tal maneira importante que podemos falar, claramente, de um pré- e de um pós- Keiko Abe. Para isso foi determinante a sua actividade em todas as áreas relativas ao instrumento, nomeadamente a criação de um reportório escrito especificamente para a marimba, a evolução e consolidação do instrumento físico enquanto veículo de transmissão musical e expressiva e, por fim, o desenvolvimento do recital de marimba solista. O objectivo último de todos estes processos foi o de permitir à marimba tornar-se num instrumento de concerto, ao nível de outros já instituídos na tradição musical europeia; ABSTRACT: Japanese percussionist Keiko Abe played a fundamental role in the development of the marimba as we know it today. This musician´s influence had such a degree of importance that we can clearly divide the history of the instrument in two parts: one before, and another after Keiko Abe. Abe´s activities in all areas concerning the instrument were crucial for this outcome. We speak, mainly, of the following: the creation of a body of repertoire written specifically for the marimba; the evolution and consolidation of physical aspects of the instrument in order to allow it to become a suitable vehicle of musical expression; and, last but not least, the development of the solo marimba recital. The goal of all these processes was to transform the marimba into a concert instrument, and one at the same level of other already established instruments in the concert world. NOTA: Esta tese tem um recital que não é possível colocar no repositório, deve consultar o documento presencialmente na biblioteca.
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Silva, Vinicius Maurício Queiróz Hipólito da. "Três momentos do violão solista em Goiânia." Universidade Federal de Goiás, 2018. http://repositorio.bc.ufg.br/tede/handle/tede/8994.
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In preliminary researches we have noticed the existence of a significant tradition of guitar solo in the city of Goiânia still rarely addressed in scientific papers. Thus, the present study presents a historical narrative of this musical practice during the period that covers the end of the 19th century until nowadays. This time frame was split into three stages, defined according to the acute transformations of the guitar solo activity in the city. It was elected for each of these stages one representative composer, Odilon Kneipp Fleury Curado (1898-1980), Sebastião Martins de Oliveira (1911-1977) and Estércio Marquez Cunha (1941-), whose compositions was examined in the last part this research. This research has been divided into four chapters: I – The guitar consolidation process in concert music in Brasil; II – The guitar solo in the city of Goiânia; III – Evaluation and analysis of works and Final considerations. As background of our historical approach we have used the concepts of some authors of Cultural History, such as Bakhtin, Pesavento, Freire and Burke. For the musical analysis, addressed in chapter 3, we have used Nattiez’s theory.
Em pesquisas preliminares notamos a existência de uma relevante tradição do violão solista na cidade de Goiânia ainda muito pouco discutida em trabalhos científicos. Desta forma, esta pesquisa apresenta uma narrativa histórica da trajetória desta prática em um recorte temporal que abrange o período final do séc. XIX até a atualidade. Todo este intervalo de tempo foi dividido em três momentos, definidos a partir das transformações mais agudas identificadas com relação ao violão solista nesta cidade. Foi eleito para cada um destes momentos um compositor representante, a saber, Odilon Kneipp Fleury Curado (1898-1980), Sebastião Martins de Oliveira (1911-1977) e Estércio Marquez Cunha (1941-), cujas obras foram analisadas na última etapa deste trabalho. A pesquisa foi dividida em quatro capítulos: I – O processo de consolidação do violão na música de concerto no Brasil, II – O violão solista na cidade de Goiânia, III – Apreciação e análise das obras e Considerações Finais. Como pano de fundo de nossa abordagem histórica fizemos uso de alguns dos conceitos de teóricos da História Cultural, como Bakhtin, Pesavento, Freire e Burke. A análise musical teve como arcabouçou teórico a abordagem de Nattiez.
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Theodore, Michael. "Nam-shub : (for two percussion solists, ensemble, and tape) /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 1998. http://wwwlib.umi.com/cr/ucsd/fullcit?p9906484.
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Thesis (Ph. D.--Music)--University of California, San Diego, 1998.Vita. For 2 percussion soloists, 4 auxiliary percussionists, 3 bass clarinets, 3 trombones (2 tenor, 1 bass), tuba, and digital audio tape.
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Brandenburg, Gottfried Daniel. "Zur Geschichte der weltlichen Solokantate in Neapel im frühen Settecento : die Solokantaten von Domenico Sarro : 1679-1744 /." Frankfurt am Main ; Bern ; Paris : P. Lang, 1991. http://catalogue.bnf.fr/ark:/12148/cb36650563j.
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Bengtsson, Jesper. "Utveckling av regelkontroll i Solibri." Thesis, Uppsala universitet, Byggteknik och byggd miljö, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-414201.
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Hos Veidekke Entreprenad AB har det i tidigare projekt visat sig att placeringar av objekt i en 3D-modell inte stämmer överens med dess tänkta placeringar. Enligt en förfrågan av Veidekke undersöks i denna studie felaktiga placeringar av objekt i 3D-modeller för prefabricerade stomelement och el. Specifika objekt som undersöks är eldosor i prefabricerade väggar och eluttag från elprojektör. Syftet med studien är att med hjälp av en regelkontroll i mjukvara för 3D- modellering upptäcka och eliminera fel redan i ett projekts projekteringsstadie. Målet är att utveckla en regelkontroll som efterfrågas av Veidekke att applicera i ett aktuellt projekt, likväl att använda i framtida projekt. Studien har genomförts under tio veckor. Enligt tidigare forskning ligger kostnader för felaktigheter i byggprojekt i spannet 2–6,5 procent av produktionskostnaden. De största möjligheterna att påverka och förebygga kostnader för felaktigheter finns i projekteringsskedet. De mest frekventa orsakerna till fel är misstag, slarv, nonchalans, okunskap och otydliga beställningar. Detta tillsammans med allt mer komplexa tekniska system och högre krav på funktionalitet, miljö, energi och estetik. Från år 1950 fram till millennieskiftet steg installationskostnader från 10 till 50 procent av entreprenadkostnaden. Undersökningar visar att 32 procent av kostnader på grund av felaktigheter uppkommer i projekts tidiga stadie, vid beställning och projektering. Kunskap och motivation är de orsaker till fel som sticker ut mest. Andra betydande orsaker är tidsbrist, ansvarsförskjutning, kostnadsbesparingar och brist i samordning. Användandet av BIM pekas i studien ut som en väsentligt bidragande lösning på att reducera mängden fel i projekteringsskedet som leder till extra kostnader. Kollisioner mellan objekt i handlingar från olika projektörer betraktas som en av de största faktorerna till extrakostnader. Detta kan motverkas genom visualisering i BIM och 3D-modellering, där modell- och kollisionskontroller används för att upptäcka fel. I studiens nulägesbeskrivning redogörs den regelkontroll som utgör mål att utveckla åt Veidekke. Regelkontrollen ska varna BIM-samordnaren då ett eluttag är beläget på ett icke-acceptabelt avstånd från dess tillhörande eldosa inuti en prefabricerad vägg. Regelkontrollen utvecklas och ämnas användas tillsammans med aktörer inom ett av Veidekkes projekt. Regelkontrollen utvecklas i mjukvaran Solibri Model Checker och testas framgångsrikt i en mindre 3D-modell. Information i IFC-filer från en projektör visar sig dock inte vara tillräcklig. Detta åtgärdas genom en beskrivning hur en korrekt export av IFC-filer görs. Regelkontrollen valideras därefter i ett verkligt projekt där faktiska felaktigheter hittas. Enligt intervjustudien ställer sig alla respondenter positiva till BIM-projektering och användandet av modell- och kollisionskontroller, samt att de implementeras och används tidigare i projekt än vad som nu är vanligt. Installationer anses som ett av de områden där flest fel upptäcks och beror enligt respondenterna på ansvarsförskjutning och bristande samordning. Efter genomförande och resultat leder studien till slutsatsen att kostnader kan reduceras om projektering och samordning ägnas mer resurser och tid samtidigt som modell- och kollisionskontroller bör utvecklas och implementeras tidigt i projekt. Regelkontrollen visar sig möjlig att ta fram enligt förfrågan och valideras i ett verkligt projekt. Studien mynnar ut i ett antal rekommendationer åt Veidekke: Mjukvaran BricsCAD rekommenderas framför AutoCAD Architecture för export av IFC-filer från IMPACT Ställa högre krav på metadata i IFC-filer Införa samordning tidigare Tillägna projektering och samordning mer tid och resurserAt Veidekke Entreprenad AB it has in earlier projects shown the positionof objects in a 3D-model do not represent the intended positions. According to an enquiry from Veidekke this study researches incorrect placements of objects in 3D-models for prefabricated structural walls and electrical systems. The study specifically covers electrical conduit boxes inside the prefabricated structural walls and electrical sockets from an electrical design engineer. The purpose of the study is to use a ruleset in 3D-modeling software to detect and eliminate inaccuracies in the design phase of a project. The goal is to elaborate a ruleset that is requested by Veidekke and apply in a current project. According to previous research, cost for errors and inaccuracies in construction projects range from 2 to 6,5 percent of the production cost. The greatest opportunities for influencing and preventing costs for errors and inaccuracies are in the design phase. The use of BIM in the study is identified as a significant contributing solutionto reducing the number of errors in the design phase leading to extra costs. Collisions between objects in drawings from different engineers are considered one of the major factors of extra cost and can be countered by model- and collision checks. The study's current state description describes the ruleset which is the goal of developing for Veidekke. By using the ruleset, it should alert the BIM-coordinator when an electrical outlet is located at an unacceptable distance from its associated electrical conduit box inside a prefabricated wall. The ruleset is developed and intended to be used together with 3D-models from different engineers in one of Veidekke's projects. The ruleset is developed in Solibri Model Checker software and successfully tested in a smaller 3D-model. However, information in IFC files from an engineer does not prove to be sufficient. This is addressed by describing how toproperly export IFC-files. The ruleset is then validated in a real projectwhere actual errors are found. After implementation and results, the study concludes that costs can be reduced if design and coordination are given more resources and time, while model- and collision checks should be developed and implemented early in projects. The rule check proves possible to develop according to the request and also validated in a real project.
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Savini, Valeria. "Solidi platonici e archimedei." Bachelor's thesis, Alma Mater Studiorum - Università di Bologna, 2011. http://amslaurea.unibo.it/2822/.
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Lachat, Sarrete Priscille. "L’entrée du soliste dans les concertos de 1750 à 1810, à travers les œuvres de Johann Christian Bach, Haydn, Mozart, Viotti et Beethoven." Thesis, Paris 4, 2010. http://www.theses.fr/2010PA040052/document.
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Entre 1750 et 1810, l’entrée du soliste dans les premiers mouvements de concerto est un événement théâtral et musical. Examinant le corpus de Johann Christian Bach, Haydn, Mozart, Viotti et Beethoven, cette thèse distingue les stratégies compositionnelles récurrentes, constituant la norme de l’époque étudiée. Elle analyse les procédés rhétoriques à l’œuvre en évaluant l’effet produit par chacun par rapport à la norme attendue.La première partie concerne la construction de l’attente du soliste. Elle évalue la fonction introductive du premier tutti, distinguant les « tuttis-cadre » des « tuttis-narratifs » et examinant l’impact de la présence d’une modulation. La deuxième partie étudie les stratégies de clôture de l’exposition orchestrale et l’existence d’une rupture lors de l’entrée du soliste. La troisième partie montre la manière de donner la parole au soliste par le choix de son thème d’entrée, d’une ornementation éventuelle ou l’ajout d’une section introductive virtuose autonomeBetween 1750 and 1810, the entry of the soloist in the first movement of a concerto is a musical and theatrical event. Going through the corpus of Johann Christian Bach, Haydn, Mozart, Beethoven, and Viotti, this thesis distinguishes personal strategies from recurring compositional techniques that are standard in the period under review. It analyzes the rhetorical techniques used through assessing the effect of each technique compared to that of the expected standard.The first part concerns the construction of the expectation of the soloist. It evaluates the introductive function of the first tutti, creating a disctinction between “frame-tuttis” and “narrative tuttis”, and examinating the impact of the presence of a modulation. The second part focusses on the closing strategies of the orchestral exposition and the existence of a break for the soloist’s entry. The third part shows the hand over to the soloist through the choice of the entry theme, the eventual ornementation, and the adding of an autonomous virtuoso introductive section
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Erlandsson, Fredrik. "Fredrik Erlandsson & his Orchestra. En konsert för storband och solist." Thesis, Kungl. Musikhögskolan, Institutionen för jazz, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-906.
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Romão, Paulo César Veríssimo 1982. "O violão erudito solista no contexto do movimento modernista de arte brasileira /." São Paulo, 2017. http://hdl.handle.net/11449/152102.
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Orientador: Dorotéa Machado KerrBanca: Lina Ribeiro de Noronha
Banca: Giacomo Bartoloni
Banca: Gilson Antunes
Banca: Alexandre Francischini
Resumo: O presente trabalho descreveu o percurso histórico do violão, utilizado como instrumento executor do repertório erudito. Procuramos compreender como se deu o fenômeno de inserção do violão nos ambientes de concerto e nas instituições formais de ensino. Para tanto, realizamos uma pesquisa documental, seguida de uma pesquisa de reminiscências. A primeira parte da tese trata dos aspectos socioculturais do modernismo no Brasil. No momento posterior, avaliei as possíveis aproximações entre as teorias modernistas e a produção de obras para violão erudito. Ao final, procurei elencar algumas personagens significativas para a história do violão erudito, sobretudo professores. Pude concluir que o processo a utilização do violão como instrumento erudito ocorreu gradativamente, e teve resistência por parte da população e dos órgãos de imprensa. Essa resistência diminuiu por alguns fatores: a realização de transcrições para violão de obras canônicas do repertório europeu; a presença de violonistas estrangeiros, que trouxeram ao país a cultura do violão erudito; o adensamento das atividades de concertistas brasileiros no exterior; a formalização do ensino de violão erudito nas escolas, conservatórios e universidades.
Abstract: The present work describes the historical course of the guitar, used as an instrument for the classical repertoire. Our attempt was to understand how the insertion of the guitar occurred in concert environments and in formal educational institutions. To do so, we performed a research based on documents, followed by a research of reminiscences. The first part of the thesis presents the socio-cultural aspects of modernism in Brazil. Afterwards, I evaluated the possible approximations between the modernist theories and the production of works for erudite guitar. Finally, I tried to list some significant characters for the history of the erudite guitar, especially teachers. I could conclude that the process the use of the guitar as an erudite instrument occurred gradually, and there were resistances by the population and the press. This resistance was reduced by some factors: the transcriptions for guitar of canonical works of the European repertoire; The presence of foreign guitarists, who brought to the country the culture of the erudite guitar; The thickening of Brazilian guitarists' activities abroad; The formalization of the teaching of learned guitar in schools, conservatories and universities.
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Bomfim, Cássia Carrascoza. "O problema do tempo no repertório de obras mistas para flauta solista." Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/27/27157/tde-22092016-134713/.
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O objetivo dessa pesquisa é uma investigação sobre o tempo e suas diferentes possibilidades de percepção, sob ponto de vista do intérprete, durante a performance de obras eletroacústicas mistas, sejam compostas com difusão em tempo diferido ou com processamento em tempo real. Foram estabelecidas as definições de tempo diferido e de tempo real e suas implicações. Apontamos aspectos da evolução da música eletroacústica e da inserção do repertório para flauta nesse contexto. Aspectos de duas obras de referência, Musica su due Dimensioni de Bruno Maderna e Jupiter de Phillippe Manoury, foram analisados sob o enfoque da questão do tempo diferido ou do tempo real. Tendo em vista as particularidades dos aspectos interpretativos da música eletroacústica, escolhemos para estudar alguns parâmetros de interpretação que incluem a produção das técnicas expandidas e suas peculiaridades de amplificação. Realizamos três análises voltadas para a performance de obras em tempo diferido, Flautatualf de Jorge Antunes, Durações de Rodolfo Coelho de Souza e Parcours de L\'Entité de Flo Menezes e duas outras com processamento em tempo real, Lizamander de Russell Pinkston e Dawnligth de Jérôme CombierThe aim of this dissertation is a research about certain categories of musical time and their different possibilities of perception, from the point of view of the performer, during the performance of electroacustics music composed with pre-recorded tape or live electronics computer processing. We propose definitions about fixed time and real time and also their demands. We point out aspects of the evolution of electronic music and of the insertion of the flute repertoire in this context. Aspects of two referencial works, Musica su due Dimensioni by Bruno Maderna and Jupiter by Phillippe Manoury, were analyzed regarding the question of fixed or real time. Concerning the particular interpretative aspects of electroacoustic music we selected to study some parameters of performance that include the prodution of extended techniques and their amplification peculiarities. Regarding performance aspects, we have analysed three works that use pre-recorded tapes: Flautatualf by Jorge Antunes, Durações by Rodolfo Coelho de Souza e Parcours de L\'Entité by Flo Menezes. And two others with live-electronics: Lizamander by Russell Pinkston and Dawnligth by Jérôme Combier.
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Romão, Paulo César Veríssimo [UNESP]. "O violão erudito solista no contexto do movimento modernista de arte brasileira." Universidade Estadual Paulista (UNESP), 2017. http://hdl.handle.net/11449/152102.
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O presente trabalho descreveu o percurso histórico do violão, utilizado como instrumento executor do repertório erudito. Procuramos compreender como se deu o fenômeno de inserção do violão nos ambientes de concerto e nas instituições formais de ensino. Para tanto, realizamos uma pesquisa documental, seguida de uma pesquisa de reminiscências. A primeira parte da tese trata dos aspectos socioculturais do modernismo no Brasil. No momento posterior, avaliei as possíveis aproximações entre as teorias modernistas e a produção de obras para violão erudito. Ao final, procurei elencar algumas personagens significativas para a história do violão erudito, sobretudo professores. Pude concluir que o processo a utilização do violão como instrumento erudito ocorreu gradativamente, e teve resistência por parte da população e dos órgãos de imprensa. Essa resistência diminuiu por alguns fatores: a realização de transcrições para violão de obras canônicas do repertório europeu; a presença de violonistas estrangeiros, que trouxeram ao país a cultura do violão erudito; o adensamento das atividades de concertistas brasileiros no exterior; a formalização do ensino de violão erudito nas escolas, conservatórios e universidades.
The present work describes the historical course of the guitar, used as an instrument for the classical repertoire. Our attempt was to understand how the insertion of the guitar occurred in concert environments and in formal educational institutions. To do so, we performed a research based on documents, followed by a research of reminiscences. The first part of the thesis presents the socio-cultural aspects of modernism in Brazil. Afterwards, I evaluated the possible approximations between the modernist theories and the production of works for erudite guitar. Finally, I tried to list some significant characters for the history of the erudite guitar, especially teachers. I could conclude that the process the use of the guitar as an erudite instrument occurred gradually, and there were resistances by the population and the press. This resistance was reduced by some factors: the transcriptions for guitar of canonical works of the European repertoire; The presence of foreign guitarists, who brought to the country the culture of the erudite guitar; The thickening of Brazilian guitarists’ activities abroad; The formalization of the teaching of learned guitar in schools, conservatories and universities.
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Christofaro, Daniel Cordova. "O diálogo entre solista e orquestra no Concerto Métis de Roland Dyens." Universidade Federal de Minas Gerais, 2010. http://hdl.handle.net/1843/AAGS-8ANPMB.
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This dissertation´s goal is to analyze the Concerto Métis (for guitar and string orchestra) by Roland Dyens considering the dialogue between soloist and orchestra. It will discuss the functionality of the group regarding sound balance, taking into account the sound characteristics of the guitar. Aesthetic, technical, practical and musical aspects of the Concerto Métis were observed through a critical analysis of the score backed up by a live performance held in September 2009.Esta dissertação tem como o objetivo analisar o Concerto Métis (para violão e orquestra de cordas) de Roland Dyens no que diz respeito ao diálogo entre o solista e a orquestra. Será discutida a funcionalidade da formação no que se refere ao equilíbrio, levando-se em conta as características sonoras do violão. Para tanto, serão observados aspectos estéticos, técnicos, práticos e musicais do conjunto instrumental presente na obra. Será desenvolvida uma análise crítica da partitura apoiada em uma performance ao vivo, realizada em setembro de 2009.
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Correia, Lídio Ferreira Canelhas. "Os tímpanos como instrumento solista no contexto da percussão de altura definida." Master's thesis, Universidade de Évora, 2010. http://hdl.handle.net/10174/19780.
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Com este projecto pretende-se abordar uma vertente no estudo dos Tímpanos que, ao longo da sua história, tem sido marginal, relativamente à sua utilização "normal" de instrumento de orquestra - A utilização de Tímpanos como instrumento solista, especialmente na situação de solista não concertista. Para a persecução deste objectivo será traçada a trajectória evolutiva do instrumento ao longo da História da Música, tanto do ponto de vista das suas características de construção como da sua utilização pelos compositores ao longo do tempo. Não pode, por isso, deixar de ser feita uma abordagem da utilização dos Tímpanos em Orquestra, pois foi a utilização orquestral o "motor" da evolução do instrumento. Em complemento ao atrás enunciado, será igualmente desenvolvido o tema das preocupações de respeito pelo contexto histórico aplicado ao caso específico dos Tímpanos. Será igualmente feita uma tentativa de identificação de existência de exemplares antigos em Bandas de Música amadoras, através da realização de um inquérito. Por fim será traçado o quadro geral da utilização dos Tímpanos em Portugal nos dias de hoje. Atenção especial será dada a composições onde o objecto de estudo deste projecto está, mais directamente, em evidência. É este o caso de Marche (1685) dos irmãos Philidor, de um conjunto de Concertos e Sinfonias para múltiplos Tímpanos do final do século XVIII e das Eight Pieces for Four Timpani (1950/1966) de Elliott Carter. No caso da Marche será feita uma pequena análise e realizada uma edição moderna. No caso das peças para Tímpanos de Elliott Carter, será analisada com mais profundidade a peça Moto Perpetuo. Até ao final do século XVIII os Tímpanos foram, quase exclusivamente, os únicos instrumentos de Percussão usados na Música Erudita Ocidental. A partir do século XIX a secção da Percussão foi enriquecida com inúmeros novos elementos. Entre eles, novos instrumentos de Percussão de altura definida a que os Tímpanos pertencem. Será, tal como para os Tímpanos, traçado o seu trajecto de evolução e assim será completado o quadro actual da Percussão de altura definida. O Recital concretiza os principais pontos explorados no trabalho escrito, através da apresentação de um conjunto de obras apresentadas por ordem cronológica: -Marche de André e Jacques Philidor (1685) - Eight Pieces for Four Timpani de Elliott Carter (1950/1966) (March, Saeta, Moto Perpetuo, Recitative) - Concerto pour Percussion et Orquestre de André Jolivet (1958) (andamentos I, II e III) - OMAR Due pezzi per Vibrafono de Franco Donatoni (1985) ABSTRACT: Investigate the marginal use of the Timpani as a solo instrument is the main object of this study. ln order to achieve this main goal, we will point out the evolution of the instrument along Music History. We will focus both: the main characteristics of its construction and the way they have been used by composers. Bearing these facts in mind, we will also center our attention on the way that Timpani have been used at Orchestras, which had certainly leaded to the development of the instrument we are studying. At the same time, we will study historical respect and performance, by contextualizing the different historical periods of Timpani. It is also important to have information about the quantity of Timpani used at amateur musical bands in Portugal, mainly in what concerns ancient instruments. These elements will allow us to draw a general idea about the way Timpani are used in Portugal. ln order to have concrete examples of the Timpani as a solo instrument, we will analyze the following compositions: Marche de Timba/les (1685) by André and Jacques Philidor; The ensemble of Concerts and Symphonies for multiple Timpani from the end of the XVIIIth century; The Eight Pieces for Four Timpani (1950/1966) by Elliott Carter. Bearing in mind that other Defined Pitch Percussion Instruments have emerged at the beginning of the XIXth century, we will also study the evolution of those instruments. The Recital will materialize the main aspects we have focused at our written work and already mentioned above. The presentation will follow a chronological sequence as indicated: Marche de Timballes by André and Jacques Philidor (1685) Eight Pieces for Four Timpani by Elliott Carter (1950/1966) (March, Saeta, Moto Perpetuo, Recitative) - Concerto pour Percussion et Orquestre by André Jolivet (1958) (Movements I, II, III) Omar Due Pezzi per Vibrafono by Franco Donatoni (1985)
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Evain, Christine Sellin Bernard. "Pluralité des voix et chant de soliste dans la poésie de Margaret Atwood." [S.l.] : [s.n.], 2007. http://castore.univ-nantes.fr/castore/GetOAIRef?idDoc=13596.
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Bomfim, Cassia Carrascoza. "A flauta solista na música contemporânea brasileira: três propostas de análise técnico-interpretativas." Universidade de São Paulo, 2009. http://www.teses.usp.br/teses/disponiveis/27/27158/tde-25102010-170135/.
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Esta dissertação discorre sobre os problemas relativos à performance de três obras brasileiras do repertório contemporâneo para flauta solo: Les silences d´un étrange jardin de Silvio Ferraz, Variações de Marisa Rezende e Sete palavras e um punhal de Aylton Escobar. As obras foram analisadas sob a ótica da análise técnico-interpretativa, com destaque às questões relativas às técnicas expandidas para flauta. Investiguei os problemas técnicos de execução em minúcias e procurei descrever as soluções que agregassem o gestual sonoro ao físico. Concluo ressaltando a importância do relacionamento compositor-performer para a criação e execução deste repertório. De maneira geral, todas as três obras dão uma grande liberdade ao intérprete: Les silences destaca-se pela variedade de técnicas expandidas; a obra de Marisa Rezende apesar da simplicidade aparente pode ser interpretada virtuosisticamente enquanto Sete palavras e um punhal o principal desafio é a preparação dos tapes o uso da fala exigidas pela partitura, a qual os músicos não estão habituados.This thesis deals with the performance problems of three contemporary works from the Brazilian repertoire for solo flute: Les silences d´un Étrange Jardin by Silvio Ferraz, Variações by Marisa Rezende and Sete Palavras e um Punhal by Aylton Escobar. The pieces were analyzed from a technical-interpretive point of view, with emphasis on extended technique for the flute. I investigated the technical performance practice problems thoroughly while seeking to encounter solutions which combine sonorous and physical gestures. In general, all the pieces give a great deal of freedom to the performer. Les silences displays a great variety of extended techniques while Rezendes work, in spite of its apparent simplicity, could be played with virtuosity. The two main challenges of Sete palavras e um punhal are the preparation of the tapes and with the use the spoken language during performance, a situation to which musicians are normally not accustomed. I conclude by emphasizing the importance of the performer-composer relationship in the creation and performance of this repertoire.
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Evain, Christine. "Pluralité des voix et chant de soliste dans la poésie de Margaret Atwood." Nantes, 2007. http://www.theses.fr/2007NANT3004.
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Pour qualifier la poésie de Margaret Atwood, la critique a souvent recours aux termes suivants « about Canada » ou post-colonial, 'female-empowered, « descent » et « metafictional ». L'oeuvre poétique peut en effet se lire sur plusieurs portées simultanément qui seraient les sphères personnelles, sociales, culturelles, nationales et universelles. Pour construire la polyphonie, la stratégie politique passe par la mise en scène de décors et de personae distincts. Cependant, au-delà de cette pluralité de voix, le lecteur perçoit une voix de soliste qui chante sa vérité. Notre thèse s 'attachera à mettre en lumière cette voix singulière qui témoigne d'une capacité à cultiver deux modes de fonctionnement également nécessaires : l'intégration et l'indépendance. Les outils critiques nous permettant de montrer l'originalité de la voix atwoodienne seront les outils philosophiques rendant compte d'une certaine perception du monde et les outils d'analyse textuelle mettant en valeur la qualité poétique des recueilsWhen dealing with Atwood's poetry, critics often use the following terms : poems about Canada or "post-colonial"; "female-empowered"; "descent"; and metafictional". Atwood's poetry can indeed be read on different staves simultaneously - the personal, social, cultural and universal layers. In order to achieve this polyphony, Atwood's poetry resorts to the staging of a wide range of personae. However, beyond this game of vocal plurality, the reader distinctly hears the voice of a persona-soloist who sings out her particular truth. This dissertation highlights the singularity of this voice which bears the mark of a rich experience and wich is capable of cultivating two modes of functioning related to integration and independence. The critical tools which I resort to in order to show the originality of the Atwoodian voice are either philosophical tools focusing on vision, perception and reflection, or textual analysis tools which highlight the poetic quality at Atwood's work
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Micus, Matthias. "Tribunen, Solisten, Visionäre politische Führung in der Bundesrepublik." Göttingen V & R Unipress, 2010. http://d-nb.info/1002904013/04.
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Pagès-Cougoule, Christine Penesco Anne. "L'alto soliste et chambriste dans les oeuvres du XIXe siècle (de Beethoven à Debussy)." Lyon : Université Lumière Lyon 2, 2003. http://theses.univ-lyon2.fr/sdx/theses/lyon2/2003/pages_c_notice.
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Darriet, Maria Cristina Sobrinho. "Os atalhos da criação: um estudo sobre a trajetória do instrumentista e solista Barrosinho." Pontifícia Universidade Católica de São Paulo, 2010. http://tede2.pucsp.br/handle/handle/2164.
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The essay the tracks of creation: a study of player and soloist Barrosinho s journey is build on this artist s records that I had classified, catalogued, preserved and analyzed. Working as a vital lead, they induced me to a deep reflection regarding the relation between the lake of records and its excess in the Brazilian music story. The musical literature about Brazilian different styles, trends, repertories, and personages has been progressively consolidated in the collective memory and imaginary. Associations like: Pixinguinha was the maestro of choro ; Donga composed the fist samba pelo telephone ; Luiz Gonzaga became the King of baião , João Gilberto was the main representant of bossa nova; Caetano Veloso and Gilberto Gil were linked to the Tropicalism movement, aim at demonstrate, with this perpetuated version of the musical history, that their target is the becoming (le devenir). Looking for a consensus, the key opinion formers of the musical world like critics, journalists, intellectuals, academics investigate memories in order to find out in the past some historic legitimacy that allow them to deeply fix the collective imaginary. Starting from Paul Ricoeur and Elizabeth Roudinesco analyses, my objective is to identify and undestand the mechanisms of the historic moment s appropriation and the process of building and transmitting a social memory linked to the music of instrumental expression
A dissertação Os Atalhos da criação: um estudo sobre a trajetória do instrumentista e solista Barrosinho surge a partir do arquivo do artista classificado, catalogado, conservado e analisado por mim. Pensado como um fio condutor ele me levou a refletir sobre a relação entre a ausência de arquivo e seu excesso na história da música brasileira. As versões construídas na literatura musical brasileira sobre diversos estilos, movimentos, repertórios e personagens consolidaram-se na memória coletiva e em nosso imaginário ao longo dos séculos. Associações tais como: Pixiguinha foi o maestro e principal nome do choro; Donga compôs o primeiro samba, Pelo telefone ; Luiz Gonzaga tornou-se o Rei do Baião ; João Gilberto representa o ritmo da bossa nova; Caetano Veloso e Gilberto Gil são indissociaveis do Tropicalismo, tendem a demonstrar que essas versões rememoradas, em razão do seu valor simbólico, visam sobretudo ao devir. Em busca de um consenso, os formadores de opiniões do campo da música, critícos, jornalistas, intelectuais, acadêmicos investem nas lembranças, de maneira a encontrar no passado uma legitimidade histórica que permita consolidar a memória coletiva. A partir das análises de Paul Ricoeur e Elisabeth Roudinesco investigo nesta dissertação, por um lado, os mecanismos das apropriações dos tempos históricos, e por outro, os processos de construção e de transmissão de uma memória social ligada à música de expressão instrumental
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Pagès-Cougoule, Christine. "L'alto soliste et chambriste dans les oeuvres du XIXe siècle (de Beethoven à Debussy)." Lyon 2, 2003. http://theses.univ-lyon2.fr/sdx/theses/lyon2/2003/pages_c_notice.
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Ce travail de recherche qui retrace le parcours incertain et parfois difficile de l'alto tout au long du 19e siècle, s'attache à mettre en valeur ses qualités esthétiques, sa grande richesse d'expression, ses aptitudes techniques et sa position d'abord au sein du groupe des archets, ensuite dans l'orchestre. C'est à partir d'ouvrages théoriques, de témoignages de musiciens, puis d'articles parus dans la presse artistique de l'époque, que cette étude révèle peu à peu la personnalité attachante d'un instrument trop longtemps incompris. L'analyse de solos et soli, issus des répertoires orchestral et de musique de chambre européenne, apporte un éclairage intéressant sur le rôle de l'alto. Elle démontre aussi l'évolution constante de la qualité des partitions altistiques, ainsi que l'intér^et grandissant de la profession envers l'alto. D'autres facteurs, comme la lutherie ou la création d'une classe d'alto au Conservatoire de Musique, mis en évidence lors de cette étude, ont à leur manière contribué à revaloriser son statut.
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Della, Gala Giuseppe. "Apparato sperimentale per diffusione compton da solidi." Bachelor's thesis, Alma Mater Studiorum - Università di Bologna, 2013. http://amslaurea.unibo.it/6134/.
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In questo lavoro si descrive la realizzazione di un apparato per misure di diffusione
Compton da solidi, mostrando in seguito i risultati ottenuti. Nel primo capitolo si
introducono alcuni fondamenti sui processi di diffusione di radiazione, affrontati
attraverso un approccio di tipo classico. Nel secondo capitolo si descrive la diffusione
anelastica di tipo Compton, partendo dal caso dell'elettrone stazionario e spostandosi
successivamente sull'elettrone bersaglio in moto; sempre in questo capitolo si
introducono cenni su sezione d'urto differenziale non relativistica, regime Compton e
profili Compton. Nel terzo capitolo sono riportate le proprietà fondamentali dei
rivelatori a semiconduttore, che verranno utilizzati nel corso della prova. Nel quarto
capitolo si ha la descrizione dell'apparato sperimentale: partendo da una sorgente di
bario, viene riportata la progettazione di un apparato atto a realizzare misure di
diffusione Compton a diversi angoli; in particolare, sono descritti i progetti per la
produzione dei collimatori per la sorgente e il rivelatore e il procedimento di
calibrazione dello stesso. Nel quinto capitolo vengono esposti i risultati sperimentali,
realizzando misure di diffusione a diversi angoli e sfruttando campioni differenti;
vengono qui verificate alcune proprietà della diffusione Compton, come la dipendenza
dall'angolo e dal materiale bersaglio. Nel sesto ed ultimo capitolo, infine, si riportano
alcune conclusioni sul lavoro svolto.
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Knudsen, Halvor Gillund. "Solister i samspill : Organisering og ledelse av produktive forskningsmiljøer." Thesis, Karlstad University, Karlstad University, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-1690.
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The structural environment for higher education institutions has changed dramatically over the last decades. Mass higher education, a stronger focus on financial and economical matters, and a pressure for more scientific production from the political leadership and society has given the institutions new challenges to deal with. New tasks need competences to deal with them. This has led to a questioning of the traditional model for leading higher education institutions. This model has over the years remained somewhat unchanged, and has been dominated by norms of elected leadership, collegiality, democratic values, and a substantial autonomy for the researchers.
This paper aims to shed light on researchers’ perceptions and views on how their own research environment in their own department is led and organized. The task is dealt with by depth interviewing professors in productive research environments in the departments, two at The University of Oslo, and one at The Oslo University College, organized as a case study. The theoretical framework consists of New Public Management theory, institutional theory, and a theoretical model for university organizing by McNay.
The findings show that the traditional way of organizing universities persists in these research environments, for the larger part as in the ideal model The Collegium. The researchers value their autonomy high, they look upon the department leaders as distant to the research area, and they view the democratic and collegial mechanisms in the department’s internal life as necessary and valuable. But the organization and leadership of the research environments also have clear elements related to both New Public Management theory and institutional theory, such as an emphasis on the use of several statistical measures on research productivity. These statistics are of bibliographical nature. The use of these measures includes elements of perfor-mance indicators and bench marking systems. These elements are features connected to The Corporation and The Enterprise. Further, the findings show that researchers’ autonomy and relations to the international scientific environment are imperative to researchers in the study.
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Edlund, Andreas. "Optimerad Samgranskning : En studie om samverkan mellan ArchiCAD och Solibri." Thesis, Uppsala universitet, Institutionen för teknikvetenskaper, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-188832.
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Idag är det vanligt inom byggbranschen att så fort ett beslut är taget om att en byggnad ska uppföras, ska den blir klar snarast som möjligt. Detta kräver i sin tur att projekteringen ska utföras på kortast möjliga tid utan att fel uppstår, så själva bygget kan påbörjas. Samordningseffektiviseringen ska undersökas genom att författaren granskar hur en modell ska vara uppbyggd i ett CAD-program för att den ska kunna exporteras till ett samordningsprogram, där byggnadens ritningar granskas. Examensarbetet utfördes på uppdraget av företaget METOD arkitekter i Uppsala i slutet av den treåriga högskoleingenjörsutbildningen inom byggteknik. Syftet med detta projekt var att analysera en samverkan mellan CAD-programmet ArchiCAD och samordningsprogrammet Solibri. Detta för att på ett effektivare sätt kunna granska modellen i samordningsprogrammet och uppnå en optimal 3D-samordning. För att kunna genomföra studien gjordes en litteraturstudie, en observationsstudie, intervjuer med olika discipliner, inlärning av programmen samt en testprocess. Denna testprocess innebar att författaren ritade upp modeller i ArchiCAD och exporterade dessa till Solibri, detta för att kontrollera om modellerna överensstämde mellan programmen. Resultatet av examensarbetet visar att det finns möjligheter att kunna utveckla projekteringen och samordningen i 3D för att få en optimal och effektiv samordningsmodell. De flesta discipliner använder sig av programvaror som stödjer IFC-format, vilket innebär att modellerna kan öppnas i andra CAD-program. Detta skulle innebära att modellen skulle gå att kvalitétsäkra innan den blir till ritningar, och därmed minska antalet felaktigheter på byggarbetsplatsen.Nowadaysis it commonin the construction industrythat oncea decisionis made that a building willbe constructed, it should be done as soonas possible.Thisrequiresthatthe planningshould be performedin the shortest possible timewithoutany fault,so that the actual constructioncan begin.Coordinationeffectivenessis testedby the author who examineshow a modelmustbe designedin a CAD-programin order to be exported to a coordination program, wherethe buildingplanswill be examined. The thesiswas conducted on behalf of the companyMETOD arkitekterin Uppsalaas the final part ofthe three-yearbachelorprogramin construction engineering. The purpose ofthis project was toanalyzethe interaction ofCAD softwareArchiCAD andcoordinationprogramSolibri. Therefore,investigate themodel incoordinatingthe program andachieve an optimal3-D coordination. To perform this study the author made a literature study, an observational study, interviews with various disciplines, training and a test process in the programs. Thistesting processmeans thatthe authordrewupmodelsin ArchiCADand exportedthemtoSolibri, in order to checkwhether the modelswere consistentbetween the programs. The resultof the thesisshows that there areopportunities to improveplanningand coordinationin 3D toobtainan optimal and efficientcoordination model. Mostdisciplines usesoftware thatsupports theIFC format, which means that the modelscan be opened inother CAD programs. This would meanthat the modelwould betoensurequalitybefore it getsto thedrawings, and by that reducethe number of errorsat the construction site.
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Schulz, Anja, Emilia Bergen, Petya Schuhmann, and Jürgen Hoyer. "Social Anxiety and Loneliness in Adults Who Solicit Minors Online." Sage, 2017. https://tud.qucosa.de/id/qucosa%3A35392.
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This study examined the association of social anxiety, loneliness, and problematic Internet use (PIU) with the online solicitation of minors. Within a convenience sample of adult Internet users from Germany, Finland, and Sweden (N = 2,828), we compared the responses of participants who had not interacted sexually with strangers online (n = 2,049) with participants who sexually interacted with unknown adults online (n = 642), and both groups with adults who sexually solicited unknown minors online (n = 137). Online sexual interaction with adults was associated with higher levels of social anxiety, loneliness, and PIU compared with not sexually interacting with strangers online. Sexually soliciting minors online was associated with higher levels of social anxiety, loneliness, and PIU compared with sexually interacting with adults and not sexually interacting with strangers at all. Interestingly, compared with those with adult contacts, loneliness was specifically pronounced for participants who solicited children, whereas social anxiety and PIU were pronounced for participants soliciting adolescents. These findings suggest that social anxiety, loneliness, and PIU may be among the motivators for using the Internet to solicit individuals of different age groups for sexual purposes. These factors emerged as specifically relevant for adults who sexually solicited minors and who reported greater impairments compared with adults who sexually interacted with adults. These characteristics may thus be important to consider for assessment and treatment procedures for individuals soliciting minors online.
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Navarro, González Julián. "Enseñanza de la Guitarra Barroca como instrumento solista: un estudio para el desarrollo de directrices didàcticas." Doctoral thesis, Universitat de Barcelona, 2008. http://hdl.handle.net/10803/1277.
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La tesis presenta un estudio detallado del repertorio de la guitarra barroca solista mediante el análisis de 2933 piezas bajo 68 diferentes parámetros. La investigación comienza con la definición del contexto histórico de la guitarra barroca, basado en las publicaciones hechas para el instrumento durante los siglos XVII y XVIII; posteriormente se analiza la situación actual, en donde se mencionan los centros existentes de enseñanzas de Instrumentos de Cuerda Pulsada del Renacimiento y el Barroco en España.Una vez se define el contexto, se determina el proceso metodológico que llevó al diseño del instrumento de análisis. Para el diseño se definieron tres campos específicos donde se consignaría la información, el primero corresponde a los Datos de los libros, el segundo a los Datos de las piezas y el tercero al Análisis de las piezas. El instrumento de análisis se validó con un grupo de expertos y consistió en una base de datos que tiene su óptima utilización por medios informáticos con el software FileMaker Pro. Los datos de las piezas se consignaron en la base de datos informática y sus resultados permitieron determinar tendencias generalizadas del comportamiento del repertorio para la guitarra barroca solista. Las conclusiones arrojaron resultados interesantes acerca de la forma de componer en los siglos XVII y XVIII para la guitarra barroca, así como aspectos sobre las características propias que diferenciaron al instrumento de la familia de Instrumentos de Cuerda Pulsada del Renacimiento y el Barroco.DISSERTATION TITLE:"PEDAGOGY OF THE SOLO BAROQUE GUITAR: DESIGN OF A TOOL FOR REPERTOIRE ANALYSIS"ABSTRACT: This dissertation presents a detailed study of the solo baroque guitar repertoire by means of the analysis of 68 parameters applied to 2,933 pieces. Research begins with the definition of the historical context of the baroque guitar, based on publications made for the instrument during the 17th and 18th centuries. Afterwards, current circumstances are analyzed, mentioning existent training centers for plucked strings in the Renaissance and the Baroque in Spain.Once the context is defined, the methodology process that enabled the design of the analysis tool is described. Three specific fields were defined for design, in which information was introduced. The first corresponds to Book Data; the second, to Information about Pieces; and the third, Analysis of Pieces. The analytical tool was validated with a group of experts and consists of a database which can be optimally used with the software application FileMaker Pro.Data about pieces was introduced into the database, and its results enabled determining general repertoire tendencies for solo baroque guitar. Conclusions showed interesting results regarding compositional methodology for baroque guitar in the 17th and 18th centuries, as well as aspects about instrument characteristics that differentiated this instrument from others among the family of plucked strings in the Renaissance and the Baroque.
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Serralta, Frédéric. "Antonio de solis et son theatre." Toulouse 2, 1987. http://www.theses.fr/1987TOU20019.
Full textAbstract:
Les travaux ici consacres a antonio de solis et son theatre contribuent a eclairer les zones d'ombre de sa vie et de sa trajectoire dramatique. Ils proposent la solution d'imbroglios bibliographiques et de problemes d'attribution : les deux versions de la gitanilla, la restauracion de espana, piece fictive, el hidalgo ("entremes"). . . La biographie de solis precise certaines circonstances de sa vie privee (son domicile, sa compagne, son fils), evoque son cadre familier (contenu de son testament, inventaire de sa bibliotheque) et, moyennant la datation de ses pieces, fait apparaitre l'existence de deux seules periodes fecondes. De 1651 a 1661 l'auteur, dramaturge officiel, fournit au palais de nombreuses pieces courtes, une comedie burlesque en collaboration et des "comedias" a grand spectacle dont le succes, et notamment celui de la derniere, triun, fos de amor y fortuna (1658), est unique dans le theatre espagnol du xviie siecle et encore atteste vingt ans apres. Mais pendant cette deuxieme periode, solis ne fait guere que refondre ses textes ou reutiliser les structures elaborees lors de la premiere. C'est de 1627 a 1636, en effet, qu'il assimile les principes de la "comedia" d'intrigue et forge -de l'imitation a l'affirmation de soi- sa personnalite creatrice. Utilisant un schema dramatique immuable, maitrisant bientot a la perfec- tion la "fatalite comique" et la "mecanique des erreurs", il se distingue par son souci de clarte et de moderation, sa distanciation ironique a l'egard des poncifs du genre, sa liberte de ton, sa satire enjouee, et une sorte d'humanisme souriant faisant de son chef-d'oeuvre, el amor al uso, une des meilleures comedies d'intrigue du siecleThis research devoted to antonio de solis and his theatre contributes to shed light on the dark areas of his life and of his theatrical trajectory. It proposes to unravel bibliographical imbroglios and problems of authorship such as those of the two versions of la gitanilla, la restauracion de espana, a fictitious play, and el hidalgo ("entremes"). . . The biography of solis clarifies several aspects of his private life (his dwelling-place, his life companion, his son), evokes his way of life (from a study of his will and the contents of his library) and, after establishing the dates of his plays, brings to light only two productive periods. From 1651 to 1661 solis, official playwright, wrote for the court numerous short plays, a burlesque comedy in collaboration, and spectacular "comedias" whose success, notably that of the last one triunfos de amor y fortuna (1658), is unique in xviith century spanish theatre, and stretches over a period of twenty years. Yet during this second period solis did little more than reworking his texts or using again the structures worked out during his first creative period. Indeed it was from 1627 to 1636 that he mastered the principles of the comedy of intrigue and minted his creative personality, moving from imitation to self-assertion. Making use of an immutable dramatic pattern and soon mastering "comic fate" and "the mechanics of errors", he achieved eminence thanks to his taste for clarity and moderation, his ironic distance from the cliches of the genre, the audacity of his tone, his witty satire, and as it were the smile of humanism that safely places his masterpiece, el amor al uso, in the front ranks of his century's comedies of intrigue
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Karlsson, Johan, and Mahamed Ahmed. "Kvalitetssäkring av byggnadsinformationsmodeller." Thesis, Högskolan i Borås, Akademin för textil, teknik och ekonomi, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-10737.
Full textAbstract:
Samtidigt som konkurransen i byggbranschen idag är hög har kraven på kvalité och effektivitet från samhället ökat. Däremot har många av de frågor som rör hanteringen av digitala handlingar och digitala leveranser inte behandlats på det sätt som krävs för att få en standardiserad arbetsprocess. Begreppet BIM har florerat i branschen under en längre period vid det här laget, men trots detta råder det fortfarande en hel del oklarheter om vad det faktiskt innebär. Visualiseringsaspekten som utvinns ur en BIM-modell har blivit väl vedertagen, men tillskillnad från en 3D-CAD är det snarare I:et i BIM, informationen, som definierar övriga aspekter. Därför bör BIM snarare tolkas som ett informationsflöde med tillhörande 3D-modell än tvärtom. Framgångsfaktorer gällande implementeringen av ett standardiserat arbetssätt i våra grannländer har varit statliga riktlinjer och direktiv. I direktiven har varje del av byggprocessen behandlats ur ett BIM-perspektiv, där standarder och arbetsmetoder bestämts. I Sverige har vi i dagsläget inte kommit lika långt gällande ett standardiserat arbetssätt. Varje aktör beskrivs som sina egna pionjärer och risken blir således stor för att hjulet måste uppfinnas på nytt varje gång. Ett steg i rätt riktning hade därför varit att större byggherrar och förvaltare, gärna statliga, gemensamt utarbetar en manual liknande den som återfinns i våra grannländer och kräver BIM i sina upphandlingar. Hur vida en BIM-modell kan uppnå juridisk status lägger i sin tur grunden för hur framtidsutsikterna ser ut för arbetssättet. Här kommer även processen med att kvalitetssäkra modellerna bli ännu viktigare.At the same time as the competition in the construction industry is high. The demand for quality and efficiency has increased from the community. However, many of the issues concerning the management of digital documents and deliveries are not being handled in the manner required to obtain a standardized work process. The concept of BIM have flourished in the industry for a long period of time at this point, but despite this there is still a lot of confusion about what it actually means. The visualization aspect obtained from a BIM model has been well established but in a BIM model it is the information that defines the other aspects. It should therefore rather be interpreted as a flow of information with an associated 3D model than vice versa. Success factors regarding the implementation of a standardized working process in our neighboring countries has been government guidelines and directives. The so called BIM manuals are treating each part of the construction process from a BIM perspective and standards and processes get determined. Meanwhile, the process regarding similar guidelines has not been progressed in Sweden. Each actor is being described as their own pioneer and the risk is therefore great for the wheel to be reinvented every time. A step in the right direction would be if larger property developers, preferably the ones being owned by the government, in collaboration drew up documents similar to the ones found in our neighboring countries and required BIM in their procurements. Whether or not a BIM model can achieve legal status lays the foundation for the future of BIM, at the same time as this greatly affects the process of assuring the quality of the models.
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Navarro, González Julián. "La enseñanza de la guitarra barroca solista: diseño de un instrumento para el análisis de su repertorio." Doctoral thesis, Universitat de Barcelona, 2008. http://hdl.handle.net/10803/1277.
Full textAbstract:
La tesis presenta un estudio detallado del repertorio de la guitarra barroca solista mediante el análisis de 2933 piezas bajo 68 diferentes parámetros. La investigación comienza con la definición del contexto histórico de la guitarra barroca, basado en las publicaciones hechas para el instrumento durante los siglos XVII y XVIII; posteriormente se analiza la situación actual, en donde se mencionan los centros existentes de enseñanzas de Instrumentos de Cuerda Pulsada del Renacimiento y el Barroco en España.Una vez se define el contexto, se determina el proceso metodológico que llevó al diseño del instrumento de análisis. Para el diseño se definieron tres campos específicos donde se consignaría la información, el primero corresponde a los Datos de los libros, el segundo a los Datos de las piezas y el tercero al Análisis de las piezas. El instrumento de análisis se validó con un grupo de expertos y consistió en una base de datos que tiene su óptima utilización por medios informáticos con el software FileMaker Pro.
Los datos de las piezas se consignaron en la base de datos informática y sus resultados permitieron determinar tendencias generalizadas del comportamiento del repertorio para la guitarra barroca solista. Las conclusiones arrojaron resultados interesantes acerca de la forma de componer en los siglos XVII y XVIII para la guitarra barroca, así como aspectos sobre las características propias que diferenciaron al instrumento de la familia de Instrumentos de Cuerda Pulsada del Renacimiento y el Barroco.
DISSERTATION TITLE:
"PEDAGOGY OF THE SOLO BAROQUE GUITAR: DESIGN OF A TOOL FOR REPERTOIRE ANALYSIS"
ABSTRACT: This dissertation presents a detailed study of the solo baroque guitar repertoire by means of the analysis of 68 parameters applied to 2,933 pieces. Research begins with the definition of the historical context of the baroque guitar, based on publications made for the instrument during the 17th and 18th centuries. Afterwards, current circumstances are analyzed, mentioning existent training centers for plucked strings in the Renaissance and the Baroque in Spain.
Once the context is defined, the methodology process that enabled the design of the analysis tool is described. Three specific fields were defined for design, in which information was introduced. The first corresponds to Book Data; the second, to Information about Pieces; and the third, Analysis of Pieces. The analytical tool was validated with a group of experts and consists of a database which can be optimally used with the software application FileMaker Pro.
Data about pieces was introduced into the database, and its results enabled determining general repertoire tendencies for solo baroque guitar. Conclusions showed interesting results regarding compositional methodology for baroque guitar in the 17th and 18th centuries, as well as aspects about instrument characteristics that differentiated this instrument from others among the family of plucked strings in the Renaissance and the Baroque.
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Johansson, Emil. "Granskning av Solibri Model Checker - En Svenskanpassning : Jämförelse av två egenkontrollsystem." Thesis, Uppsala universitet, Byggteknik, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-209768.
Full textAbstract:
The building industry are currently going through a huge alteration. The introduction of BIM (Building Information Modeling). Which also implements a lot of new ways of solving problems that building modeling can cause. This report is written for Uppsala University in cooperation with Temagruppen in Uppsala. However, it contains a comparison between two different systems that checks building models. Temagruppen invested in a new Swedish adaptation of a software called Solibri Model Checker. This Software controlling the availability in building models, it also introduces a new way of interaction between different instances during a building project. The definition of the report is availability in public buildings. A building model has been designed in Revit, then imported to Solibri Model Checker who controls the availability and creates a report of certain design fault. Interviews are given to get a look into how the work with availability controls currently works at Temagurppuen. This results in a discussion of benefits and disadvantages of the two different methods. The result finally shows that certain work can be more effectively done with Solibri Model Checker. But availability contains more than just disabled impairment. Visual- and cognitive impairment can’t still be controlled by just a computer software.
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Lopci, Egesta <1979>. "Ruolo dell'imaging molecolare nella valutazione dell'ipossia nei tumori solidi." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2016. http://amsdottorato.unibo.it/7315/.
Full textAbstract:
L'ipossia è una condizione patologica determinata da un ridotto apporto di ossigeno a livello tissutale. A partire dagli anni '60, Tomlinson e Gray hanno dimostrato la presenza di regioni di scarsa ossigenazione nel cancro del polmone e hanno osservato che questa caratteristica del microambiente tumorale è associata ad una maggiore resistenza alla radioterapia. La determinazione dell'ipossia nei tumori è pertanto della massima rilevanza clinica, in quanto l'aggressività del tumore, la deriva metastatica, il mancato controllo della neoplasia, l'aumento del rischio di recidiva e, in definitiva l'esito sfavorevole sono associati all'ipossia.
Negli ultimi decenni, c'è stato un crescente interesse nello sviluppo di metodi per la valutazione dell'ossigenazione tumorale. Questi metodi possono essere invasivi, come il sensore polarografico di O2, o non invasivi, basati principalmente sulle tecniche di imaging. Le modalità di imaging sono senza dubbio le più interessanti perché garantiscono una visualizzazione onnicomprensiva del tessuto patologico e sono in grado di identificare il fenomeno anche in luoghi inaccessibili alle procedure invasive.
Tra le modalità di imaging per la valutazione dell'ipossia, la tomografia ad emissione di positroni (PET) è una delle più studiate, in quanto offre: (a) ampio assortimento di radiofarmaci; (B) buona risoluzione intrinseca; (C) rappresentazione tridimensionale (3D); (D) (semi)quantificazione; (E) maggiore facilità per il paziente, e (f) riproducibilità dei dati.
L'oggetto della tesi attuale è quello di studiare il ruolo dell'imaging molecolare alla PET nell'ipossia tumorale. Il testo è diviso in quattro sessioni distinte incentrate nel fornire in primis una panoramica sui radiofarmaci principali (Sessione-1), poi nella valutazione della correlazione tra l'espressione tissutale d'ipossia e l'imaging alla 18F-FDG PET/TC (Sessione-2). Le altre due sessioni analizzano l'impatto prognostico del tracciante per l'ipossia (64Cu-ATSM) nei tumori solidi (Sessione-3), seguito da una sofisticata analisi frattale di confronto fra le acquisizioni precoci e tardive alla 64Cu ATSM PET/TC nei tumori solidi (Sessione-4).Hypoxia is a pathological condition caused by a reduced oxygen supply at the tissue level. Since the 60’s, Tomlinson and Gray have demonstrated the presence of regions of poor oxygenation in lung cancer, and noted that this characteristic of tumor microenvironment is associated to increased resistance to radiotherapy. The detection of hypoxia in tumors is therefore of utmost clinical relevance, because tumor aggressiveness, metastatic drift, failure to disease control, increased risk of recurrence and ultimately poor outcome are associated with hypoxia. In recent decades, there has been an increasing interest in developing methods for the assessment of tumor oxygenation. These methods can be invasive, such as the polarographic O2-sensor, or non-invasive, mainly based on imaging techniques. Imaging modalities are undoubtedly the most appealing techniques for this purpose, because they guarantee an all-encompassing visualization of the pathological tissue and can identify the phenomenon even at sites inaccessible to invasive procedures. Among the image-based modalities for hypoxia assessment, positron emission tomography (PET) is one of the most extensively investigated, because it offers: (a) broad assortment of radiopharmaceuticals; (b) good intrinsic resolution; (c) three-dimensional (3D) tumor representation; (d) (semi)quantification of the hypoxic burden; (e) patient friendliness, and (f) reproducibility. The object of the current thesis is to investigate the role of molecular imaging with PET in cancer hypoxia. The text is divided into four different sessions focused on giving at first an insight on principal radiopharmaceuticals applied for hypoxia imaging (Session-1), then concentrating on the correlation of tissue expression of hypoxia and imaging findings on 18F-FDG PET/CT (Session-2). The next two sessions will analyze the prognostic impact of the hypoxia-specific tracer (64Cu-ATSM) in solid tumors (Session-3), followed by a sophisticated ad hoc computer-aided fractal geometry based analysis of DICOM images for early and late acquisitions on 64Cu-ATSM PET/CT in solid tumors (Session-4).
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Gondolini, Angela <1985>. "Celle ad Ossidi Solidi per Elettrolisi ad Alta Temperatura." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2013. http://amsdottorato.unibo.it/5430/.
Full textAbstract:
Lo scopo di questa tesi è stato la produzione di un elettrolizzatore ad ossidi solidi (SOEC) mediante tecniche economiche e facilmente industrializzabili. Fondamentale a questo scopo è stata la realizzazione di una semicella costituita da un anodo poroso a base di La0.8Sr0.2MnO3-Ce0.8Gd0.2O2-δ (LSM-GDC) ed un elettrolita denso a base di Ce0.8Gd0.2O2-δ (GDC). Le tecniche utilizzate per la produzione di questo sistema sono state il colaggio su nastro e la serigrafia. Anche se generalmente, le celle SOEC vengono prodotte catodo supportate, in questo studio, l’elemento supportante scelto è stato l’anodo poiché questo garantisce una migliore stabilità meccanica all’intera cella. Tale substrato è stato ottenuto mediante colaggio su nastro accoppiato con un metodo innovativo di sinterizzazione denominato sinterizzazione reattiva, processo che prevede la formazione della fase di interesse durante un unico trattamento termico di eliminazione degli additivi organici e consolidamento del manufatto finale. La membrana elettrolitica per l’ottenimento del bilayer anodo-elettrolita, è stata prodotta mediante sia serigrafia che colaggio su nastro. L’accurato studio dell’evoluzione di fase della polvere anodica, l’ottimizzazione della sospensione per colaggio su nastro e dei trattamenti termici hanno permesso l’ottenimento di anodi (fino a dimensioni di 10x10 cm2). Lo studio dei profili di sinterizzazione delle polveri anodica ed elettrolitica e dell’influenza della tecnica di formatura sulla sinterabilità dei layer elettrolitici prodotti hanno inoltre permesso l’ottenimento di una semicella planare costituita da un elettrodo poroso ed una membrana elettrolitica densa adatte per applicazioni SOEC.The aim of this thesis was the production of a solid oxide electrolyzer cell (SOEC) through cheap and easily scalable techniques. For doing so the most important step is the production of the bilayer supporting electrode/electrolyte. Therefore a half-cell constituted by a porous La0.8Sr0.2MnO3-Ce0.8Gd0.2O2-δ (LSM-GDC) anode and a dense Ce0.8Gd0.2O2-δ (GDC) electrolyte was produced. Tape casting and screen printing were the techniques used for the production of this bilayer. Even if, the typical supporting element for an electrolyzer cells is the cathode, in this study an anode-supported cell was produced in order to assure a better mechanical stability. The supporting anode was produced by tape casting using an innovative sintering method called reactive sintering. With this method the final phase was obtained during a single thermal treatment that included also the organic removal and the final consolidation of the substrate. The electrolytic membrane was produced using either screen printing and tape casting. Anode substrates (of dimensions up to 10x10 cm2) were produced though a careful study of the phase evolution of the anodic reagents powder, the optimization of the tape casting slurry and the thermal treatments of debonding and sintering. The careful study of the sintering profiles of the anodic and electrolytic powders and of the effect of the shaping method on the sintering properties of the electrolyte layers allowed the production of flat half-cell constituted of porous electrode and dense electrolyte, suitable for SOEC application.
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Yusuf, Adan, and Ahmad Miakhil. "Jämförelse av olika mängdavtagningsmetoder." Thesis, Örebro universitet, Institutionen för naturvetenskap och teknik, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:oru:diva-77014.
Full textAbstract:
BIM står för Building Information Modeling. Det innebär att man har en gemensambyggmodell som innehåller information relevant för alla aktörer. Skillnaden mellan en 3Doch BIM modell är förutom visualiseringen att man har tillgång till fler dimensioner s om tidoch kostnad. Detta leder till en större tydlighet för alla aktörer under en byggnads livscykel.IFC format är ett neutralt filformat som underlättar informationsbyte mellan olika BIMverktyg. IFC format har utvecklats av byggbranschen och ägs inte a v någon leverantör. VDC, som står för Virtual Design Construction, är NCC:s sätt att arbeta med projekt knutnatill BIM. VDC ger möjligheten att ge användaren uppdaterad information för att förståkundens önskemål och hur man ska förverkliga det. Ett led i detta arbete är att undersöka nyamängdavtagningsmetoder och jämföra dem. Syftet med examenarbetet var att jämföra 4 olika mängdavtagningsmetoder utifrån tid ochkvalitet. De 4 olika metoderna var Vico Office, Solibri, Bluebeam och den traditionellamän gdavtagningen för hand. Mängdavtagningen avgränsades endast till att mängda ickebärande innerväggar i projektet. Vico Office, Solibri, Bluebeam och mängdning för hand är de 4 metoderna som granskats.Underlag för mängdavtagningen har varit en IFC fil er o ch 2D ritningar. Från IFC filernagjordes mängdavtagning i Vico Office och Solibri. 2D ritningarna användes till att ta frammängder från Bluebeam och för hand. Mängdavtagningen resulterar i en jämförelse avmängderna man har fått. Sammanställning har geno mförts i Excel. Mängdavtagningen har utförts på Kvarteret Pedagogen som är en nyproduktion avflerbostadshus i Karslundsskogen. Det består av 3 huskroppar med 55 lägenheter på 5våningar. Byggstart var 2015 och byggnaderna står färdiga i dagsläget Resultatet visade på markanta skillnader mellan de 4 metoderna. Resultaten visade att SolibriModel Checker är den programvara som var bäst lämpad för mängdavtagning om man toghänsyn till tid och mängd. Den var också den mest användarvänliga av de 4 metoderna.BIM stands for Building Information Modeling. This means that you have a common buildingmodel that contains information relevant to all members of the building process . Thedifference between a 3D and BIM model is in addition to visualization that you have access tomore dimensions such as time and cost. This leads to greater clarity for all members during abuilding's life cycle. IFC for mat is a neutral file format that facilitates information exchangebetween different BIM tools. IFC format has been developed by the construction industry andis not owned by any supplier. VDC, which stands for Virtual Design Construction, is NCC's way ofworking on projectslinked to BIM. VDC provides the opportunity to provide the user with updated information tounderstand the customer's wishes and how to impleme nt it. A part of this work includesinvestigating new methods of quantity takeoff and comparing them. The purpose of the thesis work was to compare 4 different methods ofquantity takeoff basedon time and quality. The 4 different methods were Vico Office, Solibri, Bluebeam and thetraditional quantity takeoff by hand (manual) manual). The quantity take off was limited only to theamount of non bearing inner walls in the project. Vico Office, Solibri, Bluebeam andquantity takeoff by hand are the 4 methods reviewed. Thebasis for the quantity take off has been an IFC file and 2D drawings. From the IFC file, takeoffwas made in Vico Office and Solibri. The 2D drawings were used to obtain quantities fromBluebeam and by hand. The quantity take off results in a comparison of the quantities that wasreceived . Summary of quantities has been carried out in Excel. Thequantities has been collected from Kvarteret Pedagogen which is a new construction ofmulti family houses in Karslundsskogen . It consists of 3 houses with 55 apartments on 5floors. Building start was 2015 an d today the project is complete. The result showed significant differences between the four meth ods. The results showed thatSolibri Model Checker is the software that is best suited for quantity takeoff when consideringtime and quantity. It was also the most user friendly of the 4 methods.
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Ris, Johannes. "Informationsutbyte från BIM-modeller : Från BIM-modell till format hanterbara av förvaltning- och GIS-system." Thesis, Uppsala universitet, Byggteknik, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-232957.
Full textAbstract:
BIM has been a trend in recent years when it comes to design and construction of new buildings. However, there has been less talk about what happens to BIM models after the construction phase. This issue has been raised at the Forsmark construction documentation department. This thesis aims to look at how the information in a BIM model can be transferred to facility management and GIS systems and thus add value, even after the construction phase. Questions raises how such an exchange might look like and whether it is reliable. How should a claim be brought to planners for such an exchange to work. This thesis tested some of the most common methods for this kind of exchange of information from BIM models to facility management and GIS. It was formats like IFC, Fi2xml and a database connectivity that was analyzed by a computer simulation of a model provided by Forsmark. The model consisted of an existing office building at Forsmark, modeled in Autodesk Revit. The results indicate that the formats tested require a precise plotting of the models. The loss of information that came to light in the simulation could be attributed to failure modeling in Revit. Even such things as naming of areas must be consistent. To achieve more efficient naming process, test where carried out to deal with parameters outside the Revit environment. However, it did not work optimally. Support for some parameters was lost and the information that was built up in the database was too extensive.
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Faraggiana, Di Sarzana Raffaele. "Analisi del fenomeno di sospensione di solidi in reattori agitati." Master's thesis, Alma Mater Studiorum - Università di Bologna, 2018. http://amslaurea.unibo.it/15069/.
Full textAbstract:
Dal principio di conservazione della quantità di moto e di materia si ricava un sistema di equazioni che descrive il campo di moto di un fluido.
Se il moto è turbolento non esiste una soluzione analitica e per trovare una soluzione occorre necessariamente far uso di potenti calcolatori che implementano velocemente alcuni algoritmi. Tale analisi è conosciuta con l'acronimo CFD che sta per Computational Fluid Dynamics.
Nonostante siano stati sviluppati modelli per effettuare previsioni per un grande numero di situazioni, ancora nessuno studio ha prodotto una trattazione di validità generale; sicché a volte è necessario confrontare i modelli con un'indagine sperimentale.
In questo modo è possibile ottenere un'approssimazione del campo di moto del fluido senza ricorrere alla CFD.
Il lavoro di tesi svolto ha avuto come scopo la caratterizzazione dei fenomeni di sospensione in una porzione di spazio ben delimitata compresa tra la base di un recipiente cilindrico e l'estremità della girante.
Il fenomeno per la fase liquida è stato studiato con il software della Dantec Dynamics e si basa sulla Particle Image Velocimetry (PIV), una tecnica sperimentale profondamente conosciuta oramai standardizzata e di facile ripetibilità.
Per la fase solida è stata messa a punto una tecnica che individua le particelle in sospensione e grafica l'andamento del numero di particelle in funzione del tempo.
Osservando i dati nel dominio del tempo è impossibile caratterizzare la sospensione.
Tuttavia, si ricava un comportamento di tipo periodico se lo stesso segnale viene osservato nel dominio delle frequenze.
Il lavoro di tesi ha messo in evidenza che il fenomeno di sospensione non è il risultato di un bilancio di forze sulle particelle allo stato stazionario ma è causato da fenomeni turbolenti transitori della fase liquida.
Inoltre è stato ricavato che la sospensione è facilitata da alte velocità di rotazione e da un elevato numero di baffles.
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Capizzi, Elisa <1980>. "Marcatori molecolari circolanti: quale ruolo nei pazienti con tumori solidi?" Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2012. http://amsdottorato.unibo.it/4397/.
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Background: Circulating tumor cells (CTCs) and circulating free plasma DNA (FPDNA) have been proposed as biomarkers predictive of outcome and response to therapy in solid tumors.
We investigated the multiple associations of the presence of CTC and the levels of FPDNA with the outcome and/or the response to chemotherapy in patients with localized breast cancer (LBC), metastatic breast cancer (MBC) and advanced ovarian cancer (AOC).
Experimental Design: Blood samples were collected before (baseline), during and after therapy in 40 LBC and 50 AOC patients treated with neo-adjuvant chemotherapy. In 20 MBC patients blood was sampled at baseline and every each cycle of adjuvant chemotherapy. Real time PCR was applied to quantify FPDNA using the Quantifiler Human Quantification kit and CTCs through the detection of tumor-cell specific mRNA levels with or without epithelial enrichment.
Results: At baseline CTCs were detected in 90% MBC, 42.5% LBC and 33% AOC patients respectively. The presence of baseline CTC was significantly associated with shorter overall survival (OS) in MBC and AOC patients, and shorter progression free survival (PFS) in LBC patients. Presence of CTCs at the end of neo-adjuvant chemotherapy was detected in 42% LBC and 18% AOC patients and was associated with shorter PFS and OS only in LBC.
Increased FPDNA levels at baseline were found in 65% MBC, 17.5% LBC and 76% AOC patients but never related to OS. Baseline FPDNA high levels were associated with shorter PFS only in LBC patients. High FPDNA levels after neo-adjuvant chemotherapy were detected in 57% LBC and 48% AOC patients. Increased FPDNA after neo-adjuvant was associated with response to therapy and shorter PFS in AOC patients.
Conclusions: Detection of CTCs may represent a prognostic and predictive biomarker in LBC, MBC and AOC. Quantification of FPDNA could be useful for monitoring response to therapy in AOC patients.
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Patelli, Nicola. "Apparato volumetrico per misure di assorbimento di idrogeno nei solidi." Bachelor's thesis, Alma Mater Studiorum - Università di Bologna, 2013. http://amslaurea.unibo.it/6259/.
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L’obiettivo che ci si pone con la presente tesi è quello di descrivere la realizzazione e il funzionamento di un apparato per l’analisi volumetrica delle proprietà di immagazzinamento di idrogeno da parte di metalli.
Dopo aver presentato le motivazioni che stanno ridirezionando l’attenzione della ricerca nel campo energetico verso l’idrogeno e aver dato una breve panoramica delle tecnologie di immagazzinamento e trasporto di questo potenziale vettore di energia alternativa e pulita, viene posta al centro dell’attenzione la tecnica di immagazzinamento allo stato solido dell’idrogeno (Solid State Hydrogen Storage), della quale vengono descritti i meccanismi fisico/chimici.
In seguito viene presentato il metodo di analisi volumetrica per la caratterizzazione delle proprietà di immagazzinamento di idrogeno nei metalli e viene data una descrizione delle accortezze e delle considerazioni sperimentali fatte in fase di progettazione dello strumento.
In conclusione, dopo avere mostrato la procedura di analisi dei campioni utilizzando lo strumento realizzato e il suo significato, vengono mostrati alcuni risultati ottenuti su un campione di idruro di magnesio e uno di palladio.
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Aguiar, Adriano Augusto Martins da Rocha Oliveira. "O contrabaixo como instrumento solista na segunda metade do século XIX em Lisboa: perspectiva histórica e analítica, edição crítica." Doctoral thesis, Universidade de Évora, 2015. http://hdl.handle.net/10174/18329.
Full textAbstract:
A presente dissertação de estrutura tripartida tem como objetivo primordial dar a conhecer três
obras para contrabaixo solista escritas em Lisboa na segunda metade do século XIX, através da análise
musical destas composições e de uma Edição Crítica, acompanhada pelo respetivo enquadramento
histórico. Estas três obras foram escritas pelos contrabaixistas/compositores João Rodrigues
Cordeiro (1826, Rio de Janeiro – 1881, Lisboa), Francisco de Freitas Gazul (1842 – 1925, Lisboa)
e Júlio António Avelino Soares (1846 – 1888), aos quais são dedicados alguns capítulos de teor
biográfico. Coloca-se o foco de investigação no ensino no Conservatório de Música de Lisboa, assim
como na passagem por Lisboa, no Teatro de São Carlos (palco principal da Lisboa novecentista),
dos virtuosos italianos Luigi Anglois, Giovanni Bottesini e Italo Caimmi; Abstract:
The double bass as a soloist instrument in the second half of the nineteenth century in
Lisbon: Historical and analytical perspective, critical edition.
This dissertation of tripartite structure has the primary objective of bringing to light three works for
double bass soloist written in Lisbon in the second half of the nineteenth century through the musical
analysis of these compositions and a Critical Edition accompanied by an examination of their
historical background. These three works were written by the double bassists and composers João
Rodrigues Cordeiro (1826, Rio de Janeiro – 1881, Lisbon), Francisco de Freitas Gazul (1842, Lisbon
– 1925, Lisbon) and Júlio António Avelino Soares (1846, Lisbon – 1888, Lisbon), to whom are dedicated
some chapters with biographical information. The focus of this investigation is on the teaching
practices at the Conservatório de Música de Lisboa as well as on the passage through Lisbon, at the
Teatro de São Carlos (the principal stage in nineteenth century Lisbon) of the italian virtuosi Luigi
Anglois, Giovanni Bottesini and Italo Caimmi. NOTA: Contém Anexos indisponiveis online. Consulta presencial
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Gallinaro, Marco. "Studio e implementazione di un modello random-close per propellenti solidi." Master's thesis, Alma Mater Studiorum - Università di Bologna, 2015. http://amslaurea.unibo.it/8574/.
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L'obiettivo di questo lavoro di tesi è quello di implementare un codice di calcolo, attraverso l'algoritmo di Lubachevsky-Stillinger, in modo da poter prevedere la frazione volumetrica occupata dalle particelle solide che costituiscono il grain negli endoreattori a propellente solido. Particolare attenzione verrà rivolta al problema dell'impacchettamento sferico random (Random-Close Packing) che tale algoritmo cerca di modellare, e le ipotesi per cui tale modellazione può essere applicata al tipo di problema proposto. Inoltre saranno descritte le procedure effettuate per l'ottenimento dei risultati numerici delle simulazioni e la loro motivazione, oltre ai limiti del modello utilizzato e alle migliorie apportate per un'esecuzione più efficiente e veloce.
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Baiocchi, Daniela <1975>. "Percorsi molecolari e bersagli innovativi di 4-HPR nei tumori solidi." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2007. http://amsdottorato.unibo.it/253/.
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Victor, Nyström. "En utredande jämförelse av programvaror vid BIM-samordning." Thesis, Örebro universitet, Institutionen för naturvetenskap och teknik, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:oru:diva-69681.
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BIM är en fras som har tagits upp allt frekventare inom byggbranschen senaste åren. Uttrycket har olika innebörd beroende på vem som tillfrågas och dennes kunskap inom området. BIM-verktyg är något som med åren också har ökat på marknaden. Verktygen har olika användningsområden beroende på vilken aktör som ska utnyttja det. I BIM-projekt används såkallade samordningsverktyg för att bland annat kontrollera olika discipliners modeller där valet av programvara är avgörande beroende på funktionalitet och nyttjare. I detta arbete studerades två programvaror som kan användas vid BIM-samordning. Genom en fallstudie har det undersökts vilket utav programvarorna Autodesk Navisworks Manage 2015 och Solibri Model Checker 9.5 som passar bäst för Grontmij AB i Eskilstuna efter deras behov och förutsättningar. Efter en grundlig studie av båda programvarorna påvisar rapporten att den rekommenderade programvaran specifikt för Grontmij AB i Eskilstuna är Solibri Model Checker 9.5 i enlighet med företagets behov och förutsättningar.BIM is a phrase that has been raised increasingly frequent in the construction industry in recent years. The term has different meanings depending on who is asked. BIM tools is something that over the years also has increased on the market. The tools have different use depending on the user. Bim projects use so-called coordination tools for including control of various disciplines models where the choice of software is different, depending on functionality and users. This thesis addresses two software programs that can be used in BIM coordination. Through a case study, the author investigated which of the softwares Autodesk Navisworks Manage 2015 and Solibri Model Checker 9.5 is best for Grontmij AB in Eskilstuna to their needs and circumstances.
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Risberg, Anna. "En röst i flera roller : En studie av sångarens roll som solist eller del av en ensemble eller kör." Thesis, Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:ltu:diva-81724.
Full textAbstract:
Syftet med det här projektet har varit att studera min roll som sångare när jag är solist eller del av en ensemble eller kör. Jag har tittat på både röstliga och utomröstliga aspekter. För att studera detta har jag genomfört två konstnärliga projekt där jag själv sjungit som solist och som del av en ensemble eller kör.I det ena projektet studerade jag in och framförde musik för solokvartett respektive kör och i det andra projektet musik för solist och sångensemble. I båda projekten sjöng jag de solistiska partierna och medverkade kör och ensemble. Därefter analyserade jag resultaten från de konstnärliga projekten utifrån mina frågeställningar. Jag har också tagit stöd i tidigare forskning samt intervjuat tre professionella sångare aktiva som både solister och korister samt en kördirigent.Som slutsats framkommer att jag inte gör några stora skillnader gällande min sångteknik i de olika rollerna som solist respektive korist. Homogenitet i ensemblerna uppnås istället genom att sångarna använder en likartad röstteknik, har samma typ av röstideal och ett fullt lyssnande. På så sätt har sångare goda möjligheter att sjunga med full röst även i ensemble eller kör, och det behöver inte vara ett problem att ägna sig åt båda delarna.
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Malentacchi, Marco. "XCBool: analisi e aggiornamento di un pacchetto per la composizione di solidi." Bachelor's thesis, Alma Mater Studiorum - Università di Bologna, 2010. http://amslaurea.unibo.it/1610/.
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Lisio, Paolo. "Gestione integrata dei rifiuti solidi urbani. La metodologia LCA(Life Cycle Assessment)." Master's thesis, Alma Mater Studiorum - Università di Bologna, 2013. http://amslaurea.unibo.it/5445/.
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Barton, Alison L. "A New Measure of Helicopter Parenting: Does It Make a Difference If Students Solicit It?" Digital Commons @ East Tennessee State University, 2016. https://dc.etsu.edu/etsu-works/3426.
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Souza, Luan Sodré de. "Ensino de violão para violonistas solistas em uma classe de seminários em instrumento na graduação." Escola de Música, 2015. http://repositorio.ufba.br/ri/handle/ri/18181.
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Submitted by Luan Souza (violuan@hotmail.com) on 2015-11-01T01:10:55Z
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DISSERTAÇÃO VERSÃO FINAL.pdf: 5717477 bytes, checksum: 04e95afab23663aaa3c6a6cacb0d2044 (MD5)Made available in DSpace on 2015-11-01T01:10:55Z (GMT). No. of bitstreams: 1 DISSERTAÇÃO VERSÃO FINAL.pdf: 5717477 bytes, checksum: 04e95afab23663aaa3c6a6cacb0d2044 (MD5)
CAPES
Este trabalho teve como objetivo geral investigar o ensino de violão para violonistas solistas em uma classe de seminários em instrumento de um curso de graduação. Buscou-se identificar as estratégias metodológicas utilizadas pelo professor para conduzir a aprendizagem da classe, entender como o professor trabalhava as especificidades de cada aluno no contexto de grupo, perceber como as estratégias metodológicas utilizadas pelo professor refletiam no aprendizado do estudante, e saber quais eram os principais alicerces da atuação profissional do professor. Foi realizado um estudo de caso de caráter qualitativo (YIN, 2001; BOGDAN & BIKLEN, 1994), onde foram coletados dados por meio de 8 observações / filmagens, das quais 4 foram transcritas na íntegra, além de uma entrevista semiestruturada realizada com o professor. Durante a análise de dados foram identificadas as estratégias utilizadas pelo professor e categorizadas em 5 grupos: Gerenciamento da aula, Detecção e exposição de problemas, Correção e orientação, Avaliação, e Interação com a classe. Foi feita uma relação entre as estratégias utilizadas pelo professor com o modelo de instrução SRSD (Self-regulated Strategies Development), (HARRIS, GRAHAM, SANTANGELO, 2013; HARRIS et al, 2011), sendo esse o nosso referencial de análise. Também foi discutida a formação do professor com base na construção dos saberes experienciais (TARDIF, 2010), vivenciado na sua formação enquanto instrumentista. Foi observado que as estratégias utilizadas pelo professor tinham grande relação com o modelo instrucional SRSD, o que revelou um ensino voltado para o desenvolvimento de estratégias de autorregulação da aprendizagem nos estudantes.
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Avanesions, Zakaria David. "Dalla raccolta differenziata dei rifiuti solidi urbani: efficienza e riciclaggio di alta qualità." Master's thesis, Alma Mater Studiorum - Università di Bologna, 2011. http://amslaurea.unibo.it/2629/.
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Bettini, Cristina <1983>. "Biometanazione della frazione organica dei rifiuti solidi urbani attraverso codigestione con letame bovino." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2011. http://amsdottorato.unibo.it/4103/.
Full textAbstract:
An anaerobic consortium, capable of efficiently converting into methane the organic fraction of mechanically sorted municipal solid waste (MS-OFMSW), was obtained through a dedicated enrichment procedure in a 0.36 L up-flow anaerobic recirculated reactor. This result was obtained after several micro-reactor fed-batch procedures that allowed to obtain only a few methanization of the MS-OFMSW.
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Kopsalidou, Evangelia. "L'art de la viole de gambe d'Eustache du Caurroy à Michel Corrette (1610-1773) : du concert de violes à la pièce soliste virtuose." Thesis, Sorbonne université, 2020. http://www.theses.fr/2020SORUL018.
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Le jeu de la viole de gambe devient un art aux XVIIe-XVIIIe siècles en France. Notre premier travail consiste à élaborer un bref catalogue des sources pour viole de gambe française dans la période mentionnée ci-dessus. Ce catalogue est l’outil essentiel pour un questionnement sur le répertoire de la viole de gambe de 1610 à 1773, périmètre qui inclut l’apogée et le déclin de l’instrument. Notre second intérêt est consacré aux violistes virtuoses et aux ensembles de violes. Nous ne traitons pas ici leur biographie ni l’analyse structurelle et technique de leurs œuvres, ni le sujet des ensembles de violes. L’important corpus d’œuvres nées à une époque donnée (1610-1773) met en lumière un idéal esthétique en même temps que l’ensemble des processus créateurs visant à cette expression de la beauté. La période montre la transition du jeu de la viole de consorts à la musique pour solo viole et pour un ensemble d’instruments dans lequel le pardessus joue un rôle important. Le rôle de l’archet (comme vecteur des effets) et le placement des ornements ou « agréments » seront étudiés avec une attention particulière notamment à la lumière des nombreuses pages que les méthodes leur consacrent. Les témoignages d’œuvres littéraires (mémoires, essais, débats, récits de concerts) apporteront un premier éclairage sur les conditions socioculturelles de la pratique de la violePlaying the viola da gamba became an art during the XVIIth-XVIIIth centuries in France. The first task of this thesis is the development of a summary catalogue of viola da gamba music from these centuries. This catalogue forms an essential tool for a study of the vdg repertory from 1610 to 1773, a period which includes the apogee and the decline of the instrument. Based on the catalogue, the thesis focuses on virtuoso violists and viol consorts. We do not treat here their biography nor the structural and technical analysis of their works, nor that of the sets of viols. The important corpus of works composed during the period represents an aesthetic ideal as well as the set of creative processes aimed at this expression of beauty. The period saw a transition in the use of the viol from consorts to solo music, and to ensembles in which the viol was mixed with other instruments giving an important role to the pardessus. The role of the bow (as a vector of effects) and placement of ornaments or "agréments" will be studied with particular attention, with the help of the many pages that the methods devote to them. The testimonies of literary works (memoirs, essays, debates, narratives of concerts) shed some light on the socio-cultural conditions of the practice of the viola da gamba