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Uppsatsen beskriver och analyserar R.M. Matthiesens arbete som fängelsepredikant i Härnösands cellfängelse under hans verksamhetsperiod 1875-1887. Källmaterialet är hämtat från Matthiesens årsrapporter och dagjournaler till Fångvårdsstyrelsen samt befintlig forskning. Bakgrunden till valet av uppsatsämne är den fängelsereform som genomfördes under 1800-talets mitt. Den baserades på kristna värderingar, med en stark övertygelse till människans förmåga att förändras och utvecklas. I det nya systemet isolerades fångarna, för att omöjliggöra interagerande och negativ påverkan av varandra, men även för att ge fångarna möjlighet att tänka igenom sina brott och söka Guds nåd i sin ensamhet i cellen. Reformen gav fängelsepredikanten en ny position inom fängelseväsendet, det var hans uppgift att korrigera och fostra fången till en god kristen samhällsmedborgare. Fängelsepredikanten var en av det fåtal personer fången träffade under fängelsevistelsen och besatt en nyckelposition i reformarbetet.  Uppsatsen beskriver och följer Matthiesens arbete under hans tjänsteperiod. Den jämför hans arbete med instruktionen för fängelsepredikanter från år 1846 och församlingsprästens arbetsuppgifter under mitten av 1800-talet. Matthiesen ansvarade för delar av fängelsets administration som kyrkobokföring, biblioteket samt in- och utskrivning av fångar, vilket tidvis tog stor tid i anspråk av Matthiesens arbetstid. Hans pastorala teologi innebar att alla är välkomna hos Gud, dock hade människan ansvaret att vittna om sin tro inför Gud och för sin omgivning. Matthiesen ansåg att det heliga livet började i det jordiska livet vilket ledde in i det himmelska. Matthiesen kopplade risken för kriminalitet till uppväxtförhållanden och alkoholmissbruk. Han påtalade kraftfullt relevansen av stöd för frigivna fångar från samhället, speciellt de unga för att minska återfall i kriminalitet. Matthiesen trodde på människans godhet och möjlighet till förbättring om hon gavs möjlighet till möte med Gud. För utsatta ungdomar som saknade kristlig, kärleksfull uppfostran föreslog han preventiva åtgärder i form av statliga anstalter, som skulle fostra dem för att undvika ungdomars intåg i kriminalitet Han såg svårigheter för människor att navigera sina liv utan en Gudsrelation, att det innebar ökade risker för ödesdigra beslut som ledde till utanförskap och kriminalitet. Matthiesen påtalade att en betydande andel av brottsfallen var förbundna till alkoholmissbruk, de nya nykterhetsrörelserna var till stor hjälp i nykterhetsarbetet. Kyrkan och Matthiesen såg på nykterhetsrörelserna med ambivalens, delar av deras verksamheter provocerade och utmanade kyrkan och prästerna.   Undersökningen har visat att Matthiesen i teorin uppfyllde sina praktiska och teologiska uppgifter men han lyckades inte fostra majoriteten av fångarna till att försonas med sitt brott, möta Jesus och bäras av Guds nåd. Fångarnas motstånd till frälsning förklarades av att fångarnas svåra uppväxtförhållanden skapade hårdhjärtade och tillitlösa individer, brister i kristendomskunskaper och samhällets tilltagande trolöshet, sekularisering. Den personhistoriska undersökningen av Matthiesens tjänsteutövande på lokalnivå, lierar med tidigare övergripande forskning inom fångvården gällande den undersökta perioden.

This thesis examines the poetry of Georg Trakl within the context of literary decadence in Europe at the turn of the century (1880-1914). It provides an analysis of Trakl's early writing, and traces themes of literary decadence which recur throughout his work, particularly in the late prose and the dramatic fragment of 1914. In so doing, it also undertakes a comparative study of Trakl's poetry and decadent literature in Austria, Germany, France and England. Chapter One looks at the literary background and attempts a definition of what was understood by literary decadence in France and Germany at the end of the nineteenth century. Chapter Two examines motifs of crime and horror in Trakl's writing, paying particular attention to the concept of Lustmord in the early dramas Blaubart and Don Juans Tod and the later dramatic fragment of 1914. Chapter Three examines the issue of sexual guilt, and the portrayal of women in Trakl's poetry, from the femme fatale of the early poetry to the figure of the sister and the androgyne in the later poetry. Chapter Four traces the theme of blasphemy from the early lyric to the last poetic utterances of 1914, and touches briefly on the question of Trakl as a Christian poet. Chapter Five looks at motifs of isolation, obsession with death and decay, and poetry as the expression of the poet's etat d'ame. Chapter Six provides an analysis of the language and style of the early poetry, focusing on Trakl's affinity with the style of literary decadence.

La presente investigación aborda el estudio de dos reconocidos compositores nacionales, los cuales a pesar de pertenecer a distintas épocas de la creación musical chilena, se ven conectados a través de su interés en la representación y evocación de elementos mapuche, a través de diversas obras de su catálogo musical. Para lograr conocer en parte su destacado trabajo creativo, ha sido necesario abordar el tema desde distintas perspectivas de estudio, comprendiéndose entre ellas aspectos biográficos, históricos, musicales, etc. Para dicho fin se ha escogido como eje central, el análisis riguroso de una obra hito en la trayectoria de cada uno de ellos. Es así, como se ha seleccionado el Friso Araucano, en el caso de Carlos Isamitt, y los Cantos Ceremoniales para Aprendiz de Machi, en el caso de Eduardo Cáceres A grandes rasgos, los principales objetivos de este trabajo consisten en el estudio de la representación y evocación musical del elemento mapuche en la música de arte chilena, en el rescate del trabajo musical de importantes figuras de la composición nacional, y finalmente, en el deseo de contribuir a la investigación y conservación del patrimonio cultural chileno

This study of Villa-Lobos’s Bachianas Brasileiras No. 9 aims at gaining insight into the decision-making processes of translating a score into a musical performance. Chapter I presents a discussion of selected issues related to interpretative analysis. Chapter II is an overview of the approaches to recording comparison deemed relevant to the present study. Chapter III is a comparative study of the vocal and string versions of Bachianas Brasileiras No. 9, while Chapter IV offers a structural analysis of the work. Chapter V compares four recordings: the composer’s own with the Orchestre National de La Radiodiffusion Française—EMI 7243 5 66964 2 6; Odaline de la Martinez and the BBC Singers, LNT 102; Michael Tilson Thomas and the New World Symphony —RCA 09026-68538-2; and my own CD, Construção, Orquestra de Câmara Theatro São Pedro- Limited Edition (live recording made on December 11, 1995 in Bayreuth, Germany). This comparison utilizes data obtained with the software Tempo. The tabulation of these results is shown in graphs that compare how matters of tempo flexibility affect each performance. This multi-faceted study shows that although painstaking analysis can lead to insightful solutions, the fleeting nature of musical performance requires an open mind and imagination to deal with the often contradictory directives of the score.

This study of Villa-Lobos’s Bachianas Brasileiras No. 9 aims at gaining insight into the decision-making processes of translating a score into a musical performance. Chapter I presents a discussion of selected issues related to interpretative analysis. Chapter II is an overview of the approaches to recording comparison deemed relevant to the present study. Chapter III is a comparative study of the vocal and string versions of Bachianas Brasileiras No. 9, while Chapter IV offers a structural analysis of the work. Chapter V compares four recordings: the composer’s own with the Orchestre National de La Radiodiffusion Française—EMI 7243 5 66964 2 6; Odaline de la Martinez and the BBC Singers, LNT 102; Michael Tilson Thomas and the New World Symphony —RCA 09026-68538-2; and my own CD, Construção, Orquestra de Câmara Theatro São Pedro- Limited Edition (live recording made on December 11, 1995 in Bayreuth, Germany). This comparison utilizes data obtained with the software Tempo. The tabulation of these results is shown in graphs that compare how matters of tempo flexibility affect each performance. This multi-faceted study shows that although painstaking analysis can lead to insightful solutions, the fleeting nature of musical performance requires an open mind and imagination to deal with the often contradictory directives of the score.

Orientador : Prof. Dr. Edwin Pitre-Vásquez / Dissertação (mestrado) - Universidade Federal do Paraná, Setor de Artes, Comunicação e Design, Programa de Pós-Graduação em Música. Defesa: Curitiba, 15/02/2017 / Inclui referências : f. 205-210 / Resumo: Aquela que aparece, no catálogo oficial das obras de Villa-Lobos, como sua primeira composição para violão - a Suíte Popular Brasileira - veio a público apenas 1950, nos últimos anos da carreira do compositor. Esse conjunto de cinco peças, visto por muitos autores como uma homenagem de Villa-Lobos aos músicos populares do Rio de Janeiro, homenagem prestada no momento em que se acredita que o compositor vivia na companhia amistosa desses músicos, é observada, nessa dissertação, por outro prisma. Aqui, o lapso entre a suposta concepção da obra e sua publicação aparece como um testemunho da complexidade e da ambiguidade que permeia a relação de Villa-Lobos com a música popular e do modo como essa relação participa do sentido atribuído pelo compositor à sua vida. Observá-la por esse novo ângulo implicou em colocar em questão e análise: 1) os sustentáculos da interpretação que usualmente se faz do significado dessa obra, isto é, o lugar privilegiado que Villa-Lobos ocupa na memória musical do Brasil e os discursos musicológicos consolidados em torno dele; 2) o modo como Villa-Lobos construiu sua trajetória de vida no diálogo com a música popular e os rastros da Suíte Popular Brasileira que foram se sedimentando e adquirindo sentido ao longo de tal trajetória. As discussões e conclusões presentes nesta dissertação se baseiam numa pesquisa bibliográfica e documental acerca dos pontos mencionados; seu ponto de partida teórico pertence à Etnomusicologia, mas seu desenvolvimento não seria possível sem uma imersão em textos das ciências sociais, da história e da filosofia. Palavras-chave: Villa-Lobos. Suíte Popular Brasileira. Música popular. Música Erudita. / Abstract: The one that appears in Villa-Lobos's official catalog of works as his first composition for guitar - the Suíte Popular Brasileira - came to the public only in the 1950s, it is, in the last years of the composer's career. This set of five pieces, seen by many authors as a tribute by Villa-Lobos to the popular musicians of Rio de Janeiro, a tribute given at the time when it is believed that the composer lived in the friendly company of these musicians, is seen, in this dissertation, by another prism. Here, the gap between the supposed conception of the work and its publication appears as a testimony to the complexity and ambiguity that permeates Villa- Lobos's relationship with popular music and the way in which this relation participates in the sense attributed by the composer to his life. Observing it from this new angle implied putting into question and analysis: 1) the basis of the interpretation that is usually made of the meaning of this work, that is, the privileged place that Villa-Lobos occupies in the musical memory of Brazil and the musicological discourses consolidated around him; 2) how Villa-Lobos built his life trajectory in the dialogue with the popular music and the trails of the Suíte Popular Brasileira that were sedimenting and acquiring meaning throughout this trajectory. The discussions and conclusions present in this dissertation are based on a bibliographical and documentary research about the mentioned points. Its theoretical starting point belongs to Ethnomusicology, but its development would not be possible without an immersion in texts of the social sciences, history and philosophy. Keywords: Villa-Lobos. Suíte Popular Brasileira. Popular music. Art music.

Submitted by Luiza Kleinubing (luiza.kleinubing@udesc.br) on 2018-03-08T19:09:48Z No. of bitstreams: 1 EDMAR DEUNÍZIO.pdf: 22667875 bytes, checksum: db78c930025358d091f7332a9aeb9327 (MD5) / Made available in DSpace on 2018-03-08T19:09:48Z (GMT). No. of bitstreams: 1 EDMAR DEUNÍZIO.pdf: 22667875 bytes, checksum: db78c930025358d091f7332a9aeb9327 (MD5) Previous issue date: 2016-05-16 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This thesis is a three chapter study of O Martírio dos Insetos (The Insects’ Martyrdom), a piece written for violin and orchestra by Heitor Villa-Lobos between 1917 and 1925. The first chapter is an historical contextualization of the piece and consider the facts that marked Villa-Lobos’ career. The second chapter approaches the creative phases of the composer and the musical characteristics of each period. The third chapter presents an analysis of O Martírio dos Insetos and intends to point some of the compositional processes used in the piece and relate them to these creative phases. The results of this study indicate that O Martírio dos Insetos has characteristics of different creative phases, not only the one in which Villa-Lobos wrote it, but also the earlier and the later ones. / Este trabalho aborda a obra O Martírio dos Insetos, composta para violino e orquestra por Heitor Villa-Lobos entre 1917 e 1925. Esta dissertação possui três capítulos, sendo que o primeiro é uma contextualização da obra em estudo, considerando fatos que marcaram a carreira do compositor. O segundo aborda as fases criativas de Villa- Lobos e as características musicais de cada período. Já o terceiro capítulo traz considerações analíticas sobre O Martírio dos Insetos, com intenção de observar alguns dos processos composicionais empregados e relacioná-los com as fases criativas. Os resultados deste trabalho demonstram que os processos composicionais empregados na obra possuem características de fases criativas diferentes, não apenas daquela em que Villa-Lobos a escreveu, mas também da fase anterior e posterior.

Dissertação (mestrado)—Universidade de Brasília, Departamento de Matemática, 2013. / Submitted by Alaíde Gonçalves dos Santos (alaide@unb.br) on 2013-07-16T14:10:41Z No. of bitstreams: 1 2013_MatheusBernardinideSouza.pdf: 449129 bytes, checksum: 84b41aaa9be182b0ab45d842af511738 (MD5) / Approved for entry into archive by Leandro Silva Borges(leandroborges@bce.unb.br) on 2013-07-16T17:14:02Z (GMT) No. of bitstreams: 1 2013_MatheusBernardinideSouza.pdf: 449129 bytes, checksum: 84b41aaa9be182b0ab45d842af511738 (MD5) / Made available in DSpace on 2013-07-16T17:14:02Z (GMT). No. of bitstreams: 1 2013_MatheusBernardinideSouza.pdf: 449129 bytes, checksum: 84b41aaa9be182b0ab45d842af511738 (MD5) / O objetivo deste trabalho é mostrar algumas técnicas para resolução de equações diofantinas. Métodos algébricos são ferramentas de grande utilidade para a resolução da equação equation x2 + 7 = yn, em que y = 2 ou Y é ímpar. O uso do método hipergeométrico traz um resultado recente (de 2008) no estudo da equação x2 + 7 =2n. m e técnicas algébricas garantem uma condição necessária para que essa última equação tenha solução. _______________________________________________________________________________________ ABSTRACT / The objective of this work is to show some techniques for solving Diophantine equations. Algebraic methods are useful tools for solving the equation x2 + 7 = yn, where y = 2 or y is odd. The use of the hypergeometric method brings a recent result (from 2008) in the study of the equation x2 + 7 = 2n.m and algebraic techniques ensure a necessary condition for the last equation to have a solution.