The thesis consists of five chapters. Chapter One is the discussion of background, including the development of keyboard music after 17th century in France, and famous composers with their styles of creation. Chapter Two focuses on César Franck¡¦s developmental track of music and his creation of masterpieces. Chapter Three depends on compositional style, dividing into two periods to discuss Franck¡¦s piano music. Chapter Four mainly introduces Franck¡¦s unique creative technique of piano music, featuring the traditional influence from polyphonic and contrapuntal music in Baroque era, cyclic form, phrasing structure and harmonic language. Chapter Five separately discusses formal structure and characteristic features in Prélude, Chorale et Fugue and Prélude, Aria et Final. Finally, we make a conclusion for the whole research. In 19th century, Franck was one of the most important piano composers in France. Prélude, Chorale et Fugue and Prélude, Aria et Final were his most important works, sufficiently presenting Franck¡¦s distinguished compositional style. They opened not only a new field for his composite of piano music, but also brought deep influence on many following composers.

George Friedrich Haendel fut l'un des artistes des arts imitatifs. Durant sa production d'opéra seria, il inventa, disposa ses œuvres artistiques, suivant les principes de ces arts. On y observe une ordonnance du tout-ensemble et de ses parties liées entre elles en établissant une alternance des masses d'ombres et de lumières sonores. Ce placement averti de clair-obscur fut l'un des composants incontournables pour maintenir l'intérêt du public, en lui apportant une variété incessamment renouvelée et des repos pour l'âme. Ses récitatifs terminaient invariablement par des notes instrumentales seules aux fins de mesures et leurs decrescendo inévitables obscurs et/ou par des silences représentatifs de l'obscurité. Ceci contrastait avec les airs plus clairs avec des densités sonores importantes. Également, ce compositeur y indiqua des fortes et des pianos instrumentaux pour rehausser les reliefs sonores des clair-obscur spécifiques à chaque partie de ses opéras. Concernant les densités sonores, Haendel disposa habituellement des parties A longues, denses instrumentalement en contraste aux parties B courtes, peu denses instrumentalement et habituellement avec des pianos instrumentaux dès les débuts des parties B, renfonçant l'obscurité de ces parties-ci. Musicalement, le placement du clair-obscur sonore s'y faisait sur des longues tenues vocales et/ou instrumentales avec le développement musical de celles-ci sur des crescendos, des decrescendos et/ou des messa di voce. Les parties d'agilité vocale et/ou instrumentale suivait ces dynamiques sonores, en mettant en valeur les parties de bravoure en contraste de clair-obscur des airs pathétiques. / George Friedrich Haendel was one of the artists of the imitative arts. During his opera seria production, he invented, laid out his artistics works, according to the principes of these arts. One observes there an ordinary of the entier opera and its parts dependend between them by estabilishing an alternation of shades and lights sounds. This placement of schiaroscuro xas one of the composants to curcumvent to maintien the interest of the public, while bringing a without delay renewed variety. His recitatives finished invariably by instruments notes only for purposes of dark inevitable measurements and their decrescendo and/or by silences representatives of the darkness. This contrasted with the clearer airs with important sound densities. Also, this composer indicated to it the fortes and pianos instrumentals to raise the depths of sound of the chiaroscuro of each part of his operas. Concerning the sound densities, Haendel usually had long, dense parts A instrumentaly contrasts about it with the short parts B, not very dense instrumentaly and usually with instrumental pianos as of the beginnings of the partie B, recessing the darkness of these parts. Musically, the placement of the chiaroscuro was done there on long vocal and/or instrumental behavious with the musical developpement of those on crescendo, decrescendos and/or messa di voce. The parts of vocal and/or instrumental agility followed these dynamic sound, by emphasizing the parts of bravery in contrast of the pathetic airs.

Purpose –Comparing the accessibility of e-commerce for General Merchandise, between major retailers and novelties, in the conformance of web accessibility guidelines, and the implementation of rich internet applications specifications. So that to figure out whether the differences exist between them, if so, what are the differences, and analyzing upcoming e-commerce and established e-commerce.  Method – The descriptive and quantitative case studies were used to evaluated 45 websites respectively from major retailers and novelties in General Merchandise of e-commerce, where sample websites were selected from Alexa’s rank lists. Then the WAVE tool, Accessibility Quantitative Metric (WAQM), and Fona assessment were applied for analyzing cases for representing the accessibilities and answering the research questions of purpose.  Findings – ARIA specifications as a kind of technological solution really had positive functions on web accessibility when only focusing on accessibility guidelines, because the novelty websites with less ARIA attributes resulting in lower accessibility levels generally, even though there were also many other elements that can affect accessibility.  Implications – In the main branch of General Merchandise, the degree of web accessibility in major retailer websites was better than that in novelties, which means as far as e-commerce is concerned, the accessibility of mature websites that had been established for a long time was contemporarily stronger than that of new websites with creative products.  Limitations – From the perspective of the sample, there were limitations in sample sources, size, websites languages, while in the technical aspect, the evaluation of dynamic contents just aims at keyboard navigation, and the tool of Fona assessment also had restrictions.

[pt] Os estudos em torno de Edna St. Vincent Millay (1892—1950) apresentam lacunas. Sua obra é atrelada a um romantismo extemporâneo, incompatível com as revoluções formais que fundaram o cânone modernista. Contudo, foi contemporânea de autores que forjaram esse cânone. Uma análise formal de seu trabalho que leve em conta critérios mais consensuais em estudos de forma é imprescindível para refletir sobre isso; mas limitar-se a essa análise seria insuficiente para entender a complexidade de um trabalho como a peça Aria da capo, que parece simples em um primeiro momento, mas que traz em si o âmago dessas lacunas a serem investigadas em torno de Millay. Levando-se em conta alguns conceitos-chave em Estudos da Tradução, que se consolidam a partir da Virada Cultural que combina os Estudos Culturais com os Estudos Feministas, e, ainda, tomando como base a premissa fundamental em Paulo Henriques Britto segundo a qual os aspectos formais de um texto muitas vezes contêm mais poeticidade do que o sentido das palavras, esta pesquisa tem o intuito de apresentar uma tradução anotada dessa peça. Pretende-se, assim, analisar seus desafios tradutórios sem deixar de lado as especificidades relativas à tradução de teatro que, neste caso, alinha-se à tradução de poesia por se tratar de um drama em verso do início do século XX. Ao tangenciar as idiossincrasias do trabalho dessa autora a partir da tradução desta peça, observando sua proposta estética e seus ideais para pensar o lugar que ela ocupa, almeja-se colaborar para difundir sua obra. / [en] Studies on Edna St. Vincent Millay (1892—1950) contain gaps. Her work is yoked to a dated romanticism, incompatible with the formal revolutions that founded the modernist canon. Nevertheless, she was a contemporary of authors who forged this canon. A formal analysis of her work that takes into account more consensual criteria in studies of form is essential to reflect on this; but limiting oneself to this analysis would be insufficient to understand the complexity of a work such as the play Aria da capo, which seems simple at first, but bears within itself the core of these gaps to be investigated around Millay. Taking into account some key concepts in Translation Studies, which have been consolidated since the Cultural Turn that combines Cultural Studies with Feminist Studies, and also based in Paulo Henriques Britto s fundamental premise according to which the formal aspects of a text often contain more poetic character than the meaning of the words, this research aims to present an annotated translation of this play. The aim is to analyze its translational challenges without neglecting the specificities of theater translation, which, in this case, also includes problems of poetry translation, since it is a drama in verse from the early 20th century. By touching on the idiosyncrasies of this author s work through the translation of this play, observing her aesthetic proposal and her ideals in order to reflect on the role she occupies, this study intends to contribute to the dissemination of her work.

Made available in DSpace on 2014-12-17T13:54:53Z (GMT). No. of bitstreams: 1 WagnerPT_DISSERT.pdf: 3026127 bytes, checksum: cd73583c18049950ee160a90ad2cd853 (MD5) Previous issue date: 2014-03-28 / Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior / This participative research interested in the social praxis attempts to understand the moral principles that set the magic rituals and the places of worship of three jurema centers of the potiguar region of Canguaretama. Among other inner particularly aspects of each focused catimb?-jurema center, it is being discussed the collective standards involved in the reliance and fellowship values assumed in the private magical gatherings by the juremeiras leaders and their partners, in contrast to the prestige seeking and the individualism that influence both the symbolic competitions and the witchcraft works that link these agents to the broader catimbozeiro universe of this region. Finally, the moral practices which make part of the juremeiro left-right dualism are investigated based on the understanding that the referred native pantheonic-ritual dichotomy does not necessarily express two moralities substantially adversed in terms of benefits or harms, but a series of moral actions subject to the specular logic of the tit-for tat. Thus, this research seeks to prove that this moral structure of symbolic reciprocity, as well as the witchcraft centrality in the catimbozeiro world, finds a certain causal link in a world view which guiding principle is the ontological evil of the catholic cosmology / Mediante pesquisa participante interessada na pr?xis social, busca-se compreender os princ?pios morais que regem os atos m?gicos e o ambiente de culto de tr?s n?cleos juremeiros do munic?pio potiguar de Canguaretama. Dentre outros aspectos internos e particulares a cada n?cleo de catimb?-jurema enfocado, discute-se os padr?es coletivos envolvidos nos valores de confian?a e cumplicidade pressupostos nas associa??es m?gicas privadas das l?deres juremeiras com seus pares, em contraposi??o ? busca por prest?gio e ao individualismo que permeiam as competi??es simb?licas e os ataques feiticeiros a enla?ar estas agentes com o universo catimbozeiro mais amplo do munic?pio. Ao final, investiga-se as pr?ticas morais contempladas no dualismo esquerda-direita juremeiro, para, a partir da compreens?o de que a referida dicotomia pante?nica-ritual nativa n?o manifesta duas moralidades substancialmente adversas e contrastivas em benevol?ncias e malef?cios (mas um conjunto de a??es morais sujeitas ? l?gica especular do olho por olho, dente por dente ), buscar comprovar que tal estrutura moral de reciprocidade simb?lica, assim como a centralidade da feiti?aria no mundo catimbozeiro, encontra alguma raz?o causal numa vis?o de mundo cujo princ?pio norteador ? o mal ontol?gico da cosmologia cat?lica

The link between trumpet playing and emulation of the human voice has been acknowledged by a number of prominent teachers, authors, and composers since the inception of the trumpet as a melodic instrument. This dissertation is a pedagogical guide to lyrical trumpet performance based on the verismo style of singing consistent with the authentic interpretations of operatic soprano arias by Pietro Mascagni, Ruggero Leoncavallo, and Giacomo Puccini. Included are chapters that examine various aspects of the verismo style, as well as comparison and application of late 19th-century voice pedagogy to trumpet practice and performance. This resource examines six recordings of sopranos who created or popularized operatic roles during the verismo period. Included are transcriptions of the six arias for trumpet and piano, with performance notes based on dramatic and textual contexts, as well as interpretive aspects, namely tempo, dynamics, and vibrato.

Introduction: Alzheimer's disease is a neurodegenerative disease that initially manifests itself primarily as impaired short-term memory and impaired language ability. The course of the disease is mainly due to an atrophy in the brain that can be attributed to the protein amyloid B and tau. Monoclonal antibodies that target Alzheimer's disease often have a high rate of cerebral edema, where proteinaceous fluid leaks into the extracellular space of the brain and creates edema. Some of the most common symptoms for amyloid-related imaging abnormalities (ARIA-E) are headache, dizziness, and blurred vision. In a few cases, patients with ARIA-E need to be hospitalized for observation, but most show a decline in ARIA-E within one to two months. Objective: To investigate the frequency of ARIA-E in clinical studies of monoclonal antibodies to patients with Alzhiemer's disease and to investigate the role of the ApoE4 allele in the development of ARIA-E. Method: Literature review of five RCT studies based on four different monoclonal antibodies. PubMed was used to search for the RCT-studies. Results: ARIA-E varies between different types of antibodies. ARIA-E usually occurs early in treatment when the degree of amyloid b is highest in the brain. Most cases are asymptomatic and treatment resumes within 1-2 months. Conclusion: Aria-E frequency correlates strongly with dose strength as well as APOE4 -status and most of the incidences are asymptomatic. With the right titration and individually selected drugs as well as individual dosages a safe care can be established for patients with Alzheimer's disease. If treatment is initiated at an early stage, the risk of side effects is reduced and more neurons can be saved from atrophy. The combination of several different types of medicine will further reduce the risk of ARIA-E.

The objective of this dissertation, inspired by performance experience, was to establish the similarities in the use of recitative style in the music of Claudio Monteverdi and Giuseppe Verdi. To achieve this objective, their use of recitative style was examined through comparative analysis of four scenes from their operas: “Arianna's Lament” from L'Arianna and “Disprezzata regina” from L'incoronazione di Poppea by Monteverdi, and “Condotta ell'era in ceppi” from Il trovatore and “Judgment Scene” from Aida by Verdi. The examination of the similarities included a discussion of the following: (a) the historical influences and cultural backgrounds of the composers; (b) general similarities in their compositional approaches to recitative style; (c) comparable characteristics of the dramatic recitative style in the early Baroque monody and in Verdi's operas; (d) similarities in musical characterization and expression of affective and emotional content through stylistic musical devices; (e) similarities in the composers' approaches to vocal and acting issues with special emphasis on the problems of diction; and (f) some related performance-practice issues. A discussion of the poetic lament and the influence of its form and content on musical setting was also a part of this research. The comparative research revealed numerous similarities in the historical circumstances influencing Monteverdi's and Verdi's choice of musical styles; their motivation; formal and stylistic characteristics of their dramatic recitative scenes; their choice of libretto; their use of the elements of lament; their musical treatment of emotional content of the text; and their prerogatives in vocal and acting issues. Numerous similar characteristics were also established regarding vibrato, tempo, rhythm, and ornamentation in the performance practice of the early Baroque recitative soliloquy and Verdi's dramatic recitative scenes. The similarities of the four scenes' functions, topics, form, and characterization through devices of musical style indicated a fundamental continuity in the development of Italian opera from its inception to the end of the nineteenth century.

The purpose of this study is to explore the literature for textless voice and woodwind instruments. The primary focus concerns the timbral and ensemble possibilities exploited in three twentieth-century works in which the voice is treated as an instrument i.e., without the usual preoccupation with textual meaning. An historical overview of vocal works with obbligato woodwinds and concerted works for textless voice serves as an introductory chapter. The variables of voice and instrument acoustical makeup, vocal vowel formation and instrumental voicings, volume, vibrato, resultant tones, range, and extended techniques (fluttertongue, special vibrato demands, non-vibrato, etc.) are the focus of the performance considerations for this study. Over thirty twentieth-century textless works for voice and at least one woodwind instrument were located. The three, chosen for this study represent different periods in the century, and present contrasting styles and musical merit: Aria (1931) by Jacques Ibert, Three Vocalises (1958) by Ralph Vaughan Williams, and Duos I (1976) by Nancy Chance. A style and performance analysis of these works with pertinent research on the composers is presented. Appendices include an annotated bibliography of selected works for the medium, a written interview with Nancy Chance, and performance notes provided by the composer, concerning Duos I.

No description available.