Thèses sur le sujet « Music restoration »

J’analyse la nature des relations entre art et métaphysique dans la tradition de la musique classique, de la performance, et de la restauration de l’art. La première partie de la thèse est dédiée à l’étude de l’ontologie de la musique. Le Chapitre 1 examine les théories concernant ce que c’est une œuvre musicale d’un point de vue ontologique, à savoir l’Idéalisme, le Nominalisme et le Platonisme en défendant l’idée qu’aucune de ces théories n’est entièrement satisfaisante. Cela conduit dans le Chapitre 2 à une discussion sur la méthodologie adéquate à l’enquête ontologique et à une analyse metamétaphysique de l’ontologie de l’art. Je considère quatre objections contre l’ontologie de l’art: l’eliminativisme, l’esthétisme, l’historicisme et le sémantisme. La deuxième partie est dédiée à une étude de l’art performatif et de la restauration. Dans le Chapitre 3, j’étudie le concept d’œuvre en général, en soutenant que ce n’est pas nécessaire de classer tout l’art sous ce notion : il faut faire une distinction entre œuvres et d’autres phénomènes artistiques pour donner sens aux pratiques artistiques non traditionnelles. Dans le Chapitre 4, je considère la notion de performance d’une perspective historique et philosophique: les performances peuvent être comprises à travers la comparaison avec jeux et expériences scientifiques. Enfin, j’examine pourquoi l’art performatif défie notre compréhension standard de l’appréciation artistique en introduisant les notions d’immersion et d’interaction. Dans le Chapitre 5, j’étudie le concept d’authenticité par rapport à la restauration. Je me réfère à l’œuvre de Cesare Brandi pour aborder les questions ontologiques que la restauration nous présente<br>I investigate the nature of the relationships between art and metaphysics in the tradition of classical music, performance art, and art restoration. The first part of the thesis is dedicated to musical ontology. I begin in Chapter 1 by analyzing theories of what a classical musical work is ontologically. I focus on Idealism, Nominalism and Platonism. I defend the view that none of these proposals is satisfactory nor able to resist objections. This leads in Chapter 2 to a discussion of the appropriate methodology for doing musical ontology. I thus propose a metametaphysical account of the ontology of art. I examine four objections against art ontology: Eliminativism, Aestheticism, Historicism and Semanticism. The second part of the thesis is devoted to the study of the cases of performance art and restoration. In Chapter 3 I investigate the concept of a work of art in general, arguing that there is no need to subsume all art under the work-concept. I claim that drawing a distinction between artworks and other art-phenomena is important to make sense of nontraditional contemporary art. In Chapter 4, I consider the notion of performance art both historically and philosophically. I contend that performances can be understood in the comparison with experiments and games. I examine the way in which performance art challenges our common understanding of art appreciation by introducing the contrasting notions of immersion and interaction. In Chapter 5, I consider the topic of art authenticity with regard to restoration. I refer to the work of Cesare Brandi to address some of the ontological problems that a philosophical analysis of restoration presents us with

As a case study in cultural production and consumption and of the commodification of culture in late seventeenth- and eighteenth-century England, this study examines how musicians in London began to emerge from their dependence on the patronage of court, aristocracy and church into a more public sphere, moving from positions as salaried employees to a more freelance existence where they contributed to their income by putting on public commercial concerts. Taking as its starting point the almost 50,000 references to music recorded in the Register of Music in London Newspapers 1660–1750, a database has been built to record detailed information extracted from over 12,000 advertisements, puffs and news items related to commercial concert giving in London between 1660 and 1750. Concert advertisements and other material may thus be studied longitudinally in relation to each other, providing a valuable source of data for the growth of concert giving in London over a long and important period of its development. Public commercial concerts emerged in London in the period following the restoration of Charles II in 1660, developing from private music meetings dominated by amateur performers and informal public performances by professionals in taverns via John Banister's first advertised concerts in 1672. By 1750, public commercial concerts in London may not have achieved their final form or the heights of popularity that accompanied the ‘rage for music' of the 1790s, but they were promoted regularly and with a clear sense of programme planning, laying the foundations for later expansion. The possibility for musicians to make a living as freelance professionals without having to rely solely on patronage, their development of commercial skills, their emerging links with music publishers, all this is witness to the birth of music as a business in London in the period between 1660 and 1750.

Many audio signals of historical interest are stored on degraded analog media, such as phonograph records. Degradation is often associated with audible disturbances that can be annoying for listeners. Audio restoration uses digital signal processing technology to reduce artifacts associated with noise in audio signals. Click restoration, in particular, addresses corruption by impulsive noises. This project developed click restoration software using a well-known autoregressive model-based method for the detection and suppression of clicks. The restoration results were subjectively assessed by expert listeners who rated the audio quality associated with phonograph recordings restored by the autoregressive method and compared to a commercially available well-respected hardware restoration device. This thesis document reviews previous work in audio restoration, describes the design and implementation of the restoration software, explains the evaluation procedure, gives results, draws conclusions, and provides suggestions for future work.<br>De nombreux signaux musicaux d'intérêt historique sont stockés sur des supports analogues dégradés, tels que les enregistrements phonographiques. La dégradation est souvent associée à des gênes sonores qui sont désagréables pour l'auditeur. La restauration audio utilise les technologies de traitement du signal numérique pour réduire ces artefacts associés aux bruits des signaux audionumériques. La restauration des clics, en particulier, s'attaque à la corruption du signal par des bruits impulsifs. Ce projet a permi de développer un logiciel de restauration de clics, lequel utilise une méthode fondée sur le modèle auto-régressif bien connu pour détecter et supprimer les clics. Les résultats de la restauration ont été évalués subjectivement par des auditeurs experts, qui ont comparé la qualité sonore associée aux enregistrements phonographiques restaurés par la méthode d'autocorrélation avec celle d'un système matériel de restauration très respecté et disponible commercialement. Cette thèse revisite les travaux précédents sur la restauration audio, décrit la conception et la mise en œuvre du logiciel de restauration, explique la procédure d'évaluation, indique les résultats obtenus, dresse les conclusions et propose des suggestions de travaux futurs.

The research analyses the revival of uzagaku, Ryukyuan court music, in Okinawa. In this thesis, literature on yayue in East Asia and on music revivals is discussed and differences are proposed between music revivals in the West and in East Asia. The study uses interviews, a questionnaire and participant-observation to examine uzagaku music’s ornamental variation techniques and language use. Also, it explores the education in and transmission of uzagaku in Okinawa and the promotional efforts of the Ryukyu Uzagaku Enso Kenkyukai 琉球御座楽演奏研究会 (Uzagaku Kenkyukai), an uzagaku performing group. In addition, this research addresses questions surrounding uzagaku’s past, present and potential future cultural identity. Uzagaku survived in historical contexts due to its attachment to imperial authority; today, it has been revived and restored in the past two decades and its practitioners are trying to find a way for it to survive in a new age with quite contrasting cultural and social identities in Okinawa. Chapter 1 represents uzagaku’s background knowledge and related literature, and describes the research methods used in this research. Meanwhile, in Chapter 2, there is a general introduction to uzagaku’s instruments and scores; there is also a specific demonstration of the three kinds of performing occasion found in modern society. In Chapter 3, the historical Chinese yayue-yanyue system is utilised to divide uzagaku’s repertories into those of ritual and of banqueting functions respectively. Analysis shows how different ornamented variations (jiahua) are used according to each function. In Chapter 4, the discussion focuses on the possibilities for singing in both Mandarin and Taiwanese Hokkien dialect, as may have occurred historically under the yayue-yanyue system. The banqueting song Shidaikei is used as the primary example, being newly reworked with Hokkien pronunciation. Then, Chapter 5 explains the situations uzagaku is faced with in the present day when Uzagaku Kenkyukai makes promotions and engages in transmission activities, even though not many young people are interested in this genre. The final chapter draws together the various observations reached to make an integrated conclusion. Keywords: uzagaku, Uzagaku Kenkyukai, court music, Okinawa, Ryukyu, Japan, Fujian, Taiwanese Hokkien dialect, transmission.

ABSTRACT "Music for the Mad: A study of the madness in Purcell's mad songs" Ester Lebedinski, Uppsala University, Sweden, Department of Musicology, 2009. Madness was a stock topic in seventeenth-century drama, and music a compulsory feature on the Restoration stage. Henry Purcell's contributions to the latter are abundant, and include the popular combination of madness and music in his mad songs for Thomas Durfey's comedies. This essay aims at exploring the depiction of madness through music, verbal text and dramatic context in Purcell's mad songs for Durfey's plays A Fool's Preferment (1688), The Richmond Heiress (1693) and part I and III of The Comical History of Don Quixote (1694 and 1696 re­spectively). Particular emphasis is laid on text illustration and the songs' placement in the dramatic context. Madness is discussed as a deviation from the accepted norm, as the anormal demarcated from the normal. Conclusively, Purcell's mad songs are characterized by their variousness e.g. rapid changes between keys, styles, moods and subject matters, as opposed to the relative conti­nuousness of songs not depicting madness, and their sometimes exaggerated word paintings. Purcell's music does not independently express madness, but the illustration of madness is linked to the verbal text and the dramatic context, highlighted and completed through Pur­cell's music.

This Thesis discusses the development of technologies for the automatic resynthesis of music recordings using digital synthesizers. First, the main issue is identified in the understanding of how Music Information Processing (MIP) methods can take into consideration the influence of the acoustic context on the music performance. For this, a novel conceptual and mathematical framework named “Music Interpretation Analysis” (MIA) is presented. In the proposed framework, a distinction is made between the “performance” – the physical action of playing – and the “interpretation” – the action that the performer wishes to achieve. Second, the Thesis describes further works aiming at the democratization of music production tools via automatic resynthesis: 1) it elaborates software and file formats for historical music archiving and multimodal machine-learning datasets; 2) it explores and extends MIP technologies; 3) it presents the mathematical foundations of the MIA framework and shows preliminary evaluations to demonstrate the effectiveness of the approach

Submitted by FERNANDO LACERDA SIMÕES DUARTE null (lacerda.lacerda@yahoo.com.br) on 2016-03-30T18:10:16Z No. of bitstreams: 1 DUARTE_Fernando_LS_tese_musica_resgates_e_abandonos.pdf: 42562559 bytes, checksum: 277fe3fc40d5baae35f25faf334c8c9c (MD5)<br>Approved for entry into archive by Juliano Benedito Ferreira (julianoferreira@reitoria.unesp.br) on 2016-04-01T13:23:35Z (GMT) No. of bitstreams: 1 duarte_fls_dr_ia.pdf: 42562559 bytes, checksum: 277fe3fc40d5baae35f25faf334c8c9c (MD5)<br>Made available in DSpace on 2016-04-01T13:23:35Z (GMT). No. of bitstreams: 1 duarte_fls_dr_ia.pdf: 42562559 bytes, checksum: 277fe3fc40d5baae35f25faf334c8c9c (MD5) Previous issue date: 2016-03-14<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)<br>Esta pesquisa foi estruturada a partir de três problemas: por que os resgates do passado e determinados esquecimentos intencionais que ocorreram na Igreja Católica, no Brasil, entre 1903 e 2013 foram eficientes para sua manutenção? O repertório musical composto e/ou executado no Brasil neste período contribuiu para este processo ou o refletiu? Quais os limites da eficiência deste processo? A fim de respondê-los, recorreu-se à legislação eclesiástica sobre música sacra, publicações e decisões de organismos eclesiásticos especializados no tema, além de fontes musicais recolhidas a diversos acervos. Foi realizada pesquisa de campo em cerca de quinhentas instituições, com pesquisa de fontes em mais de cento e setenta delas. Os dados obtidos foram analisados a partir dos referenciais de memória, esquecimento, tradição e identidade coletiva em Joël Candau, Jacques Le Goff, Pierre Nora, Michael Pollak, dentre outros, e recorrendo às teorias de sistemas sociais complexos em Niklas Luhmann e Walter Buckley – com a adaptação dos tipos weberianos de controle à abordagem sistêmica por este último. Na primeira metade do século XX, a restauração musical católica e a Romanização determinaram uma clara passagem do tipo weberiano tradicional ao racionallegal, implicando uma adequação de ferramentas analíticas: ao invés de modelos pré- composicionais, faz mais sentido pensar o repertório produzido neste período a partir da noção de controle normativo – que se estendeu a aspectos composicionais, interpretativos e relacionais. Com o Concílio Vaticano II, as relações de controle se modificaram, bem como as metas musicais do sistema religioso. Na América Latina, a partir da década de 1970, um discurso dualista em relação ao passado pretendeu o esquecimento das práticas musicais pré- conciliares, buscando inspiração na música popular e em memórias do catolicismo tradicional, e ensejando o desenvolvimento de um repertório brasileiro, associado à canção de protesto. Com João Paulo II e Bento XVI, estas metas musicais passaram por um refreamento, decorrente da política adotada por estes pontífices em relação à Teologia da Libertação. Com isto, outras memórias foram resgatadas com vistas à ênfase do Concílio Vaticano II enquanto continuidade. Os resultados da tese apontam para a coerência entre as memórias musicais resgatadas por especialistas e acadêmicos e os discursos que determinaram as metas do sistema religioso como um todo, enquanto fator de legitimação destas metas. Esta adequação legitimou as metas musicais por meio da tradição e revelou a eficiência do processo. Por outro lado, foi possível observar os limites deste controle: memórias musicais locais, a manutenção de identidades coletivas e de manifestações religiosas tradicionais, necessidades práticas, memórias afetivas, interesses políticos (identidade nacional), econômicos, e principalmente, a capacidade de negociação dos indivíduos e grupos locais em relação às metas do sistema religioso.<br>This research builds upon three issues: why the restoration of the past and certain intentional forgetfulness that occurred in Catholic Church in Brazil between 1903 and 2013 were efficient for its maintenance? The musical repertoire composed and/or performed in Brazil in this period contributed for this process or reflected it? Which limits the effectiveness of this process? To answer them, resorted to ecclesiastic legislation on sacred music, publications and decisions from ecclesiastic agencies specialized on the subject, as well musical sources preserved in several collections. Field work was conducted in approximately five hundred institutions, with research of sources in more than one hundred and seventy of them. Data were analyzed from the benchmarks of memory, forgetfulness and collective identity in Joël Candau, Jacques Le Goff, Pierre Nora, Michael Pollak, and others, and through the theory of the complex social systems in Niklas Luhmann and Walter Buckley – with the adaptation of Weberian types of control to the systemic approach by the later. In the first half of the twentieth century, the Catholic Musical Restoration and the Romanization determined a clear passage from the traditional Weberian type to the rational-legal, implying an adaptation of analytical tools: instead of pre-compositional models, it makes more sense to think the repertoire produced in this period from the normative control notion – that extended the compositional, interpretative and relational aspects. With Second Vatican Council, the control relationships were changed as well as the musical targets of the religious system. In Latin America, from the 1970s, a dualist discourse over the past meant the forgetfulness of the precounciliar musical practices, seeking inspiration in popular music and traditional Catholicism memories, and allowing for the development of a Brazilian repertoire, associated to the protest song. With John Paul II and Benedict XVI, these musical targets were diminished, due to the policy adopted by these pontiffs in relation to Liberation Theology. In this way, other memories were restored to emphasize the Second Vatican Council as continuity. The thesis results point to the coherency between the musical memories restored by specialists and academics and the discourses that determined the targets of whole religious system, as a factor of legitimation of these targets. This adequateness legitimized musical targets by tradition and revealed the process efficiency. On the other hand, the limits of the control were observed: musical memories, maintenances of collective identities and traditional religious manifestations, practical needs, emotional memories, political (national identity) and economical interests, and above all, the ability trading of individuals and local groups in relation to the targets of the religious system.

Orientador: Percival Tirapeli<br>Banca: Alberto T. Ikeda<br>Banca: Elaine da Graça P. Caramella<br>Possui anexos em CD-ROOM<br>Resumo: Essa dissertação tem como objetivo tratar dos conceitos contemporâneos de conservação e sua aplicabilidade, tendo como base as obras dos autores Chris Caple e Salvador Muñoz Viñas. De posse da compreensão desses conceitos, do estudo da história da restauração e considerando os códigos de conduta e ética bem como algumas cartas de restauro; analisei um caso de restauração. O caso em questão se trata do restauro de 18 tambores de Xangô, atualmente sob a salvaguarda do Centro Cultural São Paulo, que foram restaurados por um luthier em 1994. A partir deste trabalho de restauração, questionei as finalidades de um restauro, os aspectos particulares do objeto a serem preservados, as prioridades do restaurador e como esse trabalho pode mudar a leitura que fazemos de um determinado objeto. A dissertação partiu de um panorama geral da história da restauração, passando pela concepção de um patrimônio brasileiro e finalmente pelas teorias contemporâneas de conservação. Sobre o estudo de caso, destaco a análise de três aspectos presentes nos tambores de Xangô: aspectos históricos, simbólicos e estéticos. No percurso longo desse trabalho, me propus a mergulhar no universo desses objetos e fazer o caminho proposto por alguns teóricos como o mais justo e equilibrado antes de realizar qualquer intervenção: a transdisciplinaridade. Portanto, analisei-os historicamente; simbolicamente, já que são essenciais nos cultos afro-brasileiros e são carregados de simbolismos; e esteticamente, já que possuem pressupostos estéticos. Com este trabalho, espero ter contribuído para que pensemos na importância do nosso patrimônio e como estamos tratando-o para as futuras gerações. Espero também ter atentado para a necessidade de pesquisas sobre conservação e restauração no Brasil e, principalmente, para a importância da cultura negra no Brasil e o respeito às suas práticas religiosas<br>Résumé: Cette dissertation porte sur les concepts contemporaines de conservation et leurs applicabilités, en s'appuyant sur les ouvres des auteurs tel que Chris Caple et Salvador Muñoz Viñas. Avec la compréhension de ces concepts, de l'étude de l'histoire de la restauration et compte tenu des codes de conduite et d'éthique et quelques chartes de restauration, j'ai analysé un cas de restauration. Le cas est la restauration de 18 tambours de Xangô, actuellement sous la sauvegarde du Centre Culturel São Paulo, qui ont été restaurés par un luthier en 1994. A partir de ce travail de restauration, j'ai questionné la finalité d'une restauration, les aspects particuliers de l'objet qui doivent être preservés, les priorités d'un restaurateur ET comment ce travail peut-être change la lecture qu'on fait d'un objet determiné. La thèse a commencé par un panorama général de l'histoire de la restauration, en passant par la conception d'un patrimoine brésilien et finalement par les théories contemporaines de la conservation. Sur l'étude du cas, j'ai rélevé l'analyse de trois aspects qui sont présents dans les tambours de Xangô: les aspects historiques, symboliques et esthétiques. Dans le parcours de ce travail, je me suis proposée à m'approfondir dans l'univers de ces objets et faire le chemin proposé por quelques théoriciens comme le plus juste et équilibré après la réalisation de n'importe quelle intervention: l'inter-sujet1. Donc je les ai analysés historiquement; symboliquement, car ils sont essentiels aux cultes afro-brésiliens et sont chargés de symbolismes; et esthétiquement, car ils possèdent des présuppositions esthétiques. Avec ce travail, j'espére que j'avoir contribué pour qu'on pense à l'importance de notre patrimoine et à la manière qu'on le traite pour les génerations prochaines<br>Mestre

Made available in DSpace on 2014-12-17T15:54:52Z (GMT). No. of bitstreams: 1 PatriciaPD.pdf: 601243 bytes, checksum: d461dd21e8a82ccf92df33c979e31098 (MD5) Previous issue date: 2009-04-24<br>The Brazilian coast has a wide variety of complex environments and ecosystems along the coast, about 80% are represented by sandbanks and dunes. The coastal ecosystems were the first to suffer the impacts man and places, as the very fragile ecosystems, are somehow altered. Are few areas of restinga well as natural features, very few protected in conservation units. Only in the last two decades the Brazilian restinga have been studies that are showing their importance for biodiversity of the country, though its economic importance remains largely unknown. In Rio Grande do Norte in the restinga vegetation and dune environments extend for almost the entire coast. The dunes are distinguished in the coastal landscape of the state due to the exuberance of its forms, heights and coating plants. The dune system is of fundamental importance for the maintenance of coastal urban settlements, especially for the city of Natal, acting on the hydrological dynamics of water table and reducing the effect of wind and movement of grains of sand to the interior and thus avoiding the burial City. However, the ecosystem of restinga and dune environments have been weakened and destroyed according to the intense urbanization and the knowledge of the vegetation of restinga installed on the dunes are still scarce. Thus, the objective of this study was to characterize the structure and floristic composition of vegetation established on a dune in the Dunes State Park Christmas and gather information to develop a model of recovery of the dune ecosystem. This dissertation is composed of 2 chapters, the first being: Structure of the vegetation of the dunes Dunes State Park in Natal, RN with the objective of describing the structure and composition of species of tree-shrub vegetation of restinga dunes of the Parque das Dunas and second: Recovery of degraded areas in a sand dune, which aimed to review the terms and concepts used in the theme of recovery and the techniques for recovery of degraded areas with emphasis on sandy environments and poor in nutrients, reporting some experiences within and external to Brazil the country, mainly in the Northeast and dunes positive and negative aspects that should be followed in building a model to be adopted for the recovery of local dunes<br>O litoral brasileiro possui uma grande diversidade de ambientes e ecossistemas complexos ao longo da costa, cerca de 80% s?o representados por restingas e dunas. Os ecossistemas litor?neos foram os primeiros a sofrer os impactos antr?picos e as restingas, consideradas ecossistemas de grande fragilidade, encontram-se de alguma maneira alteradas. S?o raras as ?reas de restinga ainda com caracter?sticas naturais, muito poucas protegidas em unidades de conserva??o. Somente nas ?ltimas duas d?cadas as restingas brasileiras tem sido alvo de estudos que est?o evidenciando a sua import?ncia para a biodiversidade do pa?s, ainda que sua import?ncia econ?mica permane?a praticamente desconhecida. No Rio Grande do Norte a vegeta??o de restinga e os ambientes dunares estendem-se por quase todo o litoral. As dunas se destacam na paisagem litor?nea do estado devido ? exuber?ncia de suas formas, alturas e revestimentos vegetais. O sistema de dunas ? de fundamental import?ncia para a manuten??o dos aglomerados urbanos litor?neos, sobretudo para a cidade de Natal, atuando na din?mica hidrol?gica do len?ol fre?tico e atenuando o efeito dos ventos e o deslocamento dos gr?os de areia para o interior e assim evitando o soterramento da cidade. No entanto, o ecossistema de restinga e os ambientes dunares v?m sendo descaracterizados e destru?dos em fun??o da intensa urbaniza??o e os conhecimentos sobre a vegeta??o de restinga instalada sobre as dunas ainda s?o escassos. Desta forma, o objetivo deste trabalho foi caracterizar a estrutura e a composi??o flor?stica da vegeta??o estabelecida sobre uma duna do Parque Estadual Dunas do Natal e reunir informa??es que permitam elaborar um modelo de Recupera??o do ecossistema dunar. A presente disserta??o ? composta por 2 cap?tulos, sendo o primeiro: Estrutura da vegeta??o de dunas do Parque Estadual Dunas do Natal, RN com o objetivo de descrever a estrutura e a composi??o de esp?cies da vegeta??o arbustivo-arb?rea da restinga dunar do Parque das Dunas e o segundo: Recupera??o de ?reas degradadas em ambiente dunar, que teve como objetivo revisar os termos e conceitos utilizados na tem?tica da recupera??o e as t?cnicas de recupera??o de ?reas degradadas com ?nfase em ambientes arenosos e pobres em nutrientes, relatando algumas experi?ncias externas ao Brasil e dentro do pa?s, principalmente em dunas do Nordeste e seus aspectos positivos e negativos que devem ser seguidos na constru??o de um modelo a ser adotado para a recupera??o de dunas locais

Made available in DSpace on 2015-07-15T13:31:39Z (GMT). No. of bitstreams: 1 Rejane Oliveira.pdf: 1599274 bytes, checksum: c629b135eccc51045fc99dc864689219 (MD5) Previous issue date: 2007-12-18<br>The Atraumatic Restorative Treatment (ART) is a treatment alternative for the caries disease, which remains with high prevalence, and constitutes a serious public health problem. The ART consists in the removal of the carious tissue with manual instruments and later closing of its cavities with glass-ionomer cement (GIC). It is important to develop a health promotion program associated with the clinical procedure. The World Health Organization (WHO) recommends the utilization of such technique for several groups, including pregnant women. The aim of this clinical essay was to check the use of the Atraumatic Restorative Treatment in pregnant women of the public system in Feira de Santana Bahia. The sample consisted of 35 pregnant women who underwent 84 class-I restorations and 71 dental sealants with GIC Ketac Molar EasyMix. After anamnesis and clinical examinations, a semi-structured form was filled out on oral hygiene and dietary practices, and on the extent of the technical acceptance. This group was inserted into a health promotion program with speeches, supervised brushings and plaque rate collection. An examiner carried out clinical evaluation of the restorations and of the sealants after a six-month period, through standard scores (0-9) which were later turned into success (0, 1 and 7) and unsuccess (2, 3, 4, 5, 6 and 8). It has been used the successful criterion for the sealants (present or partial loss) and the unsuccessful one (total loss). After the systematization of the collected data, it was observed success in 90,5% for ART and 85,9% for sealants. With regard to the program, 71,4% pregnant women reported changes in oral hygiene and 54,3% in dietary habits. A significant difference occurred between the initial and final averages of the plaque rates, being such reduction, on average, 17,71%. The extent of technical acceptance was 100%. It has been concluded that ART is feasible as a tooth decay treatment alternative in pregnant women inserted in a preventive educational program. It has been inferred that more researches have to be carried out, promoting the development of public policies which increase the use of ART in pregnant women.<br>A c?rie dent?ria constitui-se em um grave problema de sa?de p?blica, com alta preval?ncia em diversas popula??es. O Tratamento Restaurador Atraum?tico (ART) ? uma alternativa de interven??o para esta patologia, consiste na remo??o do tecido cariado com instrumentos manuais e posterior fechamento das cavidades com cimento de ion?mero de vidro (CIV). Aliado ao procedimento cl?nico, ? importante se desenvolver um programa de promo??o de sa?de. A Organiza??o Mundial de Sa?de (OMS) recomenda a utiliza??o do ART para diversos grupos, entre eles, as gestantes. Este ensaio cl?nico teve como objetivo avaliar um protocolo de Tratamento Restaurador Atraum?tico em gestantes da rede p?blica de Feira de Santana - BA. A amostra consistiu de 35 gestantes, nas quais foram realizados 84 restaura??es e 71 selantes com CIV Ketac Molar Easymix. Ap?s anamnese e exame cl?nico, foi aplicado um formul?rio semi-estruturado sobre as pr?ticas de higiene bucal e dieta, e sobre o grau de aceita??o da t?cnica. Esse grupo foi inserido em um programa educativo-preventivo de sa?de, com palestras, escova??o supervisionada e coleta de ?ndice de placa. Ap?s seis meses, a avalia??o cl?nica das restaura??es e dos selantes foi realizada por um examinador. As restaura??es foram analisadas pelos escores padronizados (0-9) que posteriormente foram transformados em sucesso (0, 1 e 7) e insucesso (2, 3, 4, 5, 6 e 8). Para os selantes utilizou-se o crit?rio sucesso (presente ou perda parcial) e insucesso (perda total). Ap?s a sistematiza??o dos dados coletados observou-se sucesso de 90,5% para ART e 85,9% para selantes. Em rela??o ao programa, 71,4% das gestantes referiu mudan?as de h?bitos na higiene bucal e 54,3% mudaram h?bitos na dieta. Ocorreu uma diferen?a significativa entre as m?dias dos ?ndices de placa inicial e final, sendo essa redu??o em m?dia de 17,71%. O grau de aceita??o da t?cnica foi de 100%. Concluiu-se que o ART ? uma alternativa de tratamento vi?vel para c?rie em gestantes, inseridas em um programa educativo preventivo. Este estudo aponta para a necessidade de mais pesquisas que fomentem o desenvolvimento de pol?ticas p?blicas e ampliem a utiliza??o do ART em gestantes.

abstract: Following the Restoration of the English monarchy in 1660, musical culture gradually began to thrive under the support of royal patronage and the emerging middle class. The newly crowned Charles II brought with him a love of French music acquired during his time in exile at the court of his cousin, the young Louis XIV. Organ builders, most notably Bernard Smith and Renatus Harris, brought new life to the instrument, drawing from their experience on the Continent to build larger instruments with colorful solo stops, offering more possibilities for performers and composers. Although relatively few notated organ works survive from the Restoration period, composers generated a niche body of organ repertoire exploring compositional genres inspired by late 17th-century English instruments. The primary organ composers of the Restoration period are Matthew Locke, John Blow, and Henry Purcell; these three musicians began to take advantage of new possibilities in organ composition, particularly the use of two-manuals with a solo register, and their writing displays the strong influence of French and Italian compositional styles. Each adapts Continental forms and techniques for the English organ, drawing from such forms as the French overture and récit pour le basse et dessus, and the Italian toccata and canzona. English organ composers from the Restoration period borrow form, stylistic techniques, ornamentation, and even direct musical quotations, to create a body of repertoire synthesizing both French and Italian styles.<br>Dissertation/Thesis<br>Doctoral Dissertation Music 2014

碩士<br>國立臺灣藝術大學<br>戲劇學系表演藝術碩士班<br>101<br>The popularity of the Qinzheng was revived during the 1950s by the Qinzheng Restoration Movement initiated by Mr. Zhou Yiangjia. For the last sixty years or so, Qinzheng music has been noted by many for its rich Shaanxi musical heritage. More importantly, the Qinzheng, as compared to other Chinese zither instruments, is unique in its capacity for contemporary musical development. Qinzheng music readily borrows and absorbs elements of Shaanxi folk music, especially Shaanxi drama music. Numerous Qinzheng compositions are based upon music from the various genres of Shaanxi drama. Most important of these genres include the Qinqiang, the Wanwanqiang, the Tongzhou Bangzi and the Mi-hu. Qinzheng compositions vary in composition forms according to the drama music it is based upon. Qinzheng compositions based on the Mi hu usually consist of “transplanted” common standard tunes that are akin to those used for its drama music counterpart. Similarly, Qinzheng compositions based on characteristic melodies. Qinqiang, Wanwanqiang and Tongzhou Bangzhi usually have special melodic figures that consist of special tones to represent the characteristic melodies that are associated with its drama music counterparts. Qinzheng music utilizes Shaanxi drama music for its innovation and this has the multi-format effect of integrating different musical disciplines. With contemporary development and western composition techniques, it generates a new category of musical compositions which has the trans-format effect of bridging different musical disciplines. The key factor to the development of Qinzheng music is its innovation composition, which is also the basis for the modernization of Qinzheng music. Such innovation compositions highlight the importance of their creators. Different musical backgrounds and different musical interpretations will give rise to different formats and styles. This diversity in contemporary Qinzheng development can display contemporary cultural changes and the gradual process of acculturation among the various composition formats and techniques.

The restoration of Gregorian chant throughout the nineteenth century culminated in the publication of new official Vatican chant books, particularly the Graduale Romanum of 1908. Major contributions were made by the monks at the abbey of Solesmes, who focused on the oldest available medieval manuscripts, and by scholars in the Cecilian movement, who favored sources compiled after the Middle Ages. These two viewpoints were fused into the Graduale Romanum to create a comprehensive historical perspective. To support this position, this thesis traces historical events and conflicts leading up to the publication of the Graduale Romanum. It also compares the Graduale Romanum with its most immediate source, the 1895 Liber Gradualis by Solesmes, focusing on the Propers of the four Sundays of Advent. Analysis of the differences between the two reveals that the Graduale Romanum closely resembles medieval manuscripts and reflects Renaissance and nineteenth-century sources to a limited degree.<br>The graduale romanum of 1908 : an exposition -- Toward a new edition of chant -- Graduale romanum and Liber gradualis compared -- Conclusions and proposals for further study.<br>School of Music

Research Doctorate - Doctor of Philosophy (PhD)<br>William Turner (1651-1740) is arguably the least recognised of the great composers of the English Restoration period, despite achieving significant acclaim as a composer in his lifetime. This study of Turner’s most significant and substantial contributions to the English sacred music repertoire has identified and catalogued 50 anthem settings that, with variants, comprise 60 individual works. Of these, three have been lost, their existence known only through anecdotal evidence. This study has also found that Turner composed six service settings. A catalogue of Turner’s anthems and services, prepared as part of this study, includes a number that have not been recognised in Turner’s contribution to the musical canon to date. Closer examination of available manuscript sources as part of the preparation of critical editions has shown that Turner’s practice of resetting particular texts and the use of different textual sources with the same opening passage has led to several anthems being wrongly identified by earlier studies.

The reception of the german dialect of the gregorian chant between 1900 an aprox. 1950 (Abstract) In today's musicology, the germanic chant dialect («germanischer Choraldialekt») ist nearly unimportant. Especially in the first half of the 20th century, it was very different. In particular, the invention of the term by Peter Wagner of Fribourg in 1925 promoted the perception of a melodic phenomenon, which can be found equally in many sources of plain chant in central europe. The oldest witnesses of the phenomenon are adiastematic sources, the youngest ones were restored, restituted or newly composed in the first half of the 20th century. So this tradition is existing for more than 1000 years. The present work examines how this tradition has been scientifically, historically and practically elaborated in the last century. The chapter on the history of research shows that the phenomenon of the germanic chant dialect was still considered a local tradition of individual dioceses or monasteries in the 19th century. Michael Hermesdorff from Trier was the first to recognize striking similarities between these fragmented traditions; his pupil Peter Wagner founded the basics of the scientific research. Not all musicologists agreed with Wagner's findings and explanations, but his term and his theory prevailed. In the...