Orientador: Silvio Ferraz Mello Filho / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-22T20:57:07Z (GMT). No. of bitstreams: 1 Maia_IgorLeao_M.pdf: 10512597 bytes, checksum: 0ed3339e1e7b7ccc0d76bdb59d3cfeaa (MD5) Previous issue date: 2013 / Resumo: A presente dissertação de Mestrado teve como objetivo estudar o modelo de organização de timbres, Klangfarbenmelodie, proposto pelo compositor alemão Arnold Schoenberg em 1911, quando da publicação de seu livro Harmonielehre e aplicar, de maneira livre, alguns resultados desse estudo na organização timbrística em composição musical. Iniciamos o presente trabalho pelo estudo dos princípios norteadores dessa ideia e, de maneira breve, expomos o modelo científico conhecido na época para o estudo do timbre, proposto por Hermann von Helmholtz em 1863. Também examinamos a ideia de Klangfarbenmelodie através dos próprios escritos de Arnold Schoenberg e de outros autores, contextualizando nosso estudo dos pontos de vista histórico e científico. Em seguida, analisamos a obra Farben op. 16 n. 3, também de Arnold Schoenberg, com respeito a sua orquestração e organização formal, utilizando uma abordagem analítica baseada na Teoria Elementar dos Conjuntos. No último capítulo analisamos as composições de autoria própria à luz dos pressupostos trazidos pelo aspecto analítico desenvolvido durante a pesquisa / Abstract: This dissertation aimed to study the model of organization of timbres, Klangfarbenmelodie, proposed by the German composer Arnold Schoenberg in 1911 upon the publication of his book Harmonielehre and apply freely some results of this study of timbre organization in music composition. We begin by studying the guiding principles of this idea and briefly expose the scientific model known at the time for the study of timbre, presented by Hermann von Helmholtz in 1863. We also examine the idea of Klangfarbenmelodie through Schoeberg's own writings and other authors, contextualizing the research from a scientific and historical point of view. Then we analyze the work Farben op. 16 no. 3, also by Arnold Schoenberg, with respect to its orchestration and formal organization, using an analytical approach based on set theory. In the last chapter we analyze the compositions of authorship in the light of the assumptions brought by the analytical aspect of the research / Mestrado / Processos Criativos / Mestre em Música

In its earliest form, the Tristram legend was probably a Celtic folk-tale known in oral tradition as early as the eighth or ninth century. During the early part of the twelfth century it became known in France and Brittany; and there, in the later years of that same century, it was recorded in a lost romance now referred to as the Ur-Tristan. From this source, so it is believed, the earliest extant romances upon the subject were derived. During the twelfth century, two main versions developed—first the version des jongleurs, given in the poems of Béroul and Eilhart von Oberge, and second, the version courtoise given in Thomas's Tristan and some derivatives of it. Among these last, the Tristan of Gottfried von Strassburg, written about 1215, is generally regarded as one of the masterpieces of medieval literature. In the early thirteenth century, the legend was employed in an anonymous romance, the French prose Tristan. In this version, which was greatly influenced by the prose Lancelot cycle, the narrative is so grossly adulterated by the machinery of thirteenth-century courtly romance that the original love story is all but obscured. In most texts of the prose Tristan, even the traditional love-death scene is altered. This account of the legend became for five centuries the only version in which it was known. Two treatments of the legend appeared in Middle English literature. First is the northern Sir Tristrem, an anonymous poem composed about 1300 and based upon the Tristan of Thomas. Secondly, the Morte d'Arthur, composed by Sir Thomas Malory about 1469, contains an account of the Tristram legend based entirely upon the French prose Tristan. The legend did not again receive a major treatment in English literature until the mid-nineteenth century, when it became the subject of poems by Matthew Arnold, Alfred Lord Tennyson, and Algernon Charles Swinburne. Arnold's "Tristram and Iseult" is based, except for the love-death episode, upon the version courtoise. Arnold regarded as the central problem of the narrative, not the love story itself, but Tristram's conflicting loyalties to the two Iseults, and sympathized, not with the ill-fated lovers, but with Iseult of Brittany, the innocent victim of the tragic love. She becomes in his poem symbolic of the Stoic way of life, the compromise which Arnold offered to resolve the conflict of emotion and intellect. Tennyson treated the Tristram legend in "The Last Tournament," one of the Idylls of the King based upon Malory's Morte d'Arthur. The legend is employed in the moral allegory of the Idylls as an illustration of the evil consequences of adultery. In thus regarding the love story merely as a tale of adultery, Tennyson deviated greatly from the traditionally sympathetic treatment of the narrative. Swinburne's Tristram of Lyonesse is, like Arnold's poem, based chiefly upon the version courtoise. In Swinburne’s treatment the love story is again central, the theme being an exaltation of the ennobling and sanctifying power of human love. Along with the explicit exaltation of passionate love is an implied criticism of the hypocritical morality and distrust of passion which Swinburne regarded as prevalent in his age. Although these three Victorian poems differ widely in plot, characterization and purpose, the Tristram legend is employed didactically in each, and the purposes governing its didactic treatment are dictated by the age in which and for which the poems were written. / Arts, Faculty of / English, Department of / Graduate

La synthèse de chromophores organiques comme composants de matériaux pour l'optique non-linéaire a été le point central d'un grand nombre de recherches, en raison de leur utilisation potentielle dans les domaines des communications optiques, du traitement de l'information, de l'imagerie… Le plus souvent, les molécules possédant de fortes valeurs d'hyperpolarisabilité [bêta] sont constituées d'un couple de groupements donneur-accepteur connecté par le biais d'un système [pi]-conjugué. Celles comportant des hétérocycles comme motifs centraux ont reçu une attention considérable dans le domaine de l'optique non-linéaire en raison de leur relative facilité de préparation et de la variation de leur degré de polarité. A ce titre, nous nous sommes intéressés à la conception de nouvelles molécules ayant la structure précédemment décrite. Les variations structurales ont porté sur le groupement donneur (alkoxy, dialkylamino porté par un cycle aromatique), le groupement accepteur (dicyanovinyle, acide cyanoacrylique et acide thiobarbiturique) et le système [pi]-conjugué (thiophène, thiéno[3,2-b]thiophène et bithiophène). Les propriétés optiques de ces composés ont été étudiées et ont permis d'établir quelques liens entre certaines modifications structurales et les propriétés optiques. Les fortes valeurs de [bêta] obtenues montrent clairement le potentiel des composés préparés et permettent d’envisager d’autres modifications structurales afin d'encore améliorer ces valeurs / The synthesis of organic compound as components of materials for nonlinear optics has been the focus of many researches because of their potential uses in the fields of optical communications, information process, imagery ... Most often, the molecules with strong hyperpolarizabilitie [bêta] values incorporate a pair of donor-acceptor groups connected via a [pi] -conjugated system. Those containing heterocycles motifs received considerable attention in the field of nonlinear optics due to their relative facility of preparation. We are interested in designing of new molecules with the structure previously described. The structural changes have focused on the donor group (alkoxy, dialkylamino carried by an aromatic ring), the acceptor group (dicyanovynil, cyanoacrylic acid and thiobarbituric acid) and [pi]-conjugated system (thiophene, thieno[3,2-b]thiophene and bithiophene). The optical properties of these compounds have been studied and we have established some links between some structural changes and optical properties. The high values of [bêta] obtained clearly show the potential of compounds prepared and used to explore other structural modifications to improve these values

Toward the end of his life, from 1908 to 1909, Gustav Mahler (1860-1911) composed Das Lied von der Erde (The song of the earth). This piece is a cycle of six song movements based on seven poems selected from Die chinesische Flötem - Nachdichtungen chinesischer Lyrik (The Chinese flute - free adaptation of Chinese lyric poetry) by Hans Bethge. The Chinese verse was written by Li-Po (numbers 1, 3, 4 and 5), Tchang-Tsi (number 2), and Mong-Kao-Jen and Wang-Wei (combined in number 6). Subsequently, in 1921, Arnold Schoenberg reduced the work to a simple chamber version transcription from Mahler's original massive score for full orchestra, a version completed in 1983 by Rainer Riehn. While the main melodic material in the vocal parts was maintained, the orchestral parts underwent substantial changes. This dissertation explores Mahler's reconfiguration of textual material and the setting of these texts in the orchestral medium. After consulting the various textual editions, I establish misreading and translational differences from the original Chinese through its various Western European incarnations; how and why Mahler chose the Bethge edition; what influenced his specific selection of poetry; and how these poems inform one another and the work as a whole. I also explore the crucial role of instrumentation and orchestration in text setting, and how his instrumentation of these translated "exotic" texts stands in dialogue with the nineteenth-century tradition and emergent frames of nationality. This dissertation also focuses on Schoenberg's instrumentation, arrangement, and orchestration as re-conceptualized and restructured from Mahler's original six movements. While the dissertation synthesizes the views of various scholars, many original observations will be offered, as few articles substantively consider this transcription of one of the most revered and reviled composers of the late-nineteenth century by one of the most revered and reviled composers of the twentieth-century. The transcript version from Schoenberg and Riehn succeeds in that it not only maintains the original vocal melody and Chinese text, but also presents the key musical concepts and visions from Mahler's original fully orchestrated version with limited chamber instrumentation, economical re-composition, and a minimum of means.

Some problems and results in connection with error estimators for modern elements of the Mindlin Reissner equation for plates are discussed.

This paper will demonstrate how Bennett’s “circumstantial” history of his age, as it streams by the reader, is controlled, analyzed, and interpreted. The framework of characters and events stand firm, their foundations solid in the systematic working-out, through symbolism and irony, of Bennett’s conviction that there is a “cause and effect” relationship between the physical environment and the character and sociological evolution and the character. Bennett writes that “the spirit of literature… enforces a moral wisdom by tracing everywhere of cause and effect.” The structures of characters and events are raised, reinforced, illuminated, inspected, and photographed through the use of symbolism, irony, and multiple points of view. Organized detail bricks in the framework.

Den snabba samhällsutvecklingen har lett till nya möjligheter, men också nya utmaningar för ungdomar som står på tröskeln till vuxenvärlden. Livet för unga människor idag är i stor utsträckning präglat av val där idéer hämtas från den globala populärkulturen och digitala sociala forum, där detta tjänar som inspiration till att individualisera den egna livsåskådningen och identiteten. De myter och berättelser som varit förbehållna religiösa eller kulturella sammanhang och som gett upphov till tro och reflektion över livets stora frågor, behandlas under uppväxten till stor del genom populärkulturens filmer, tv-spel, datorspel, serietidningar och böcker i vår avtraditionaliserade samtid. (Partridge 2004, ss. 137–138) Historiskt och i traditionsorienterade samhällskulturer, har ceremonier och riter använts för att markera när en ungdom anses redo att ta del av vuxenvärlden. Det är ett sätt för samhället att uppmärksamma och vägleda ungdomen in i nästa livsfas och ett sätt för ungdomen att få bearbeta de utmaningar och det ansvar som kommer med den vuxna identiteten. Denna uppsats syftade till att undersöka hur en populärkulturell film skulle kunna tolkas som en modern övergångsrit utifrån Arnold van Genneps teori om övergångsritens gemensamma meningsskapande funktion och förstås genom Thomas Ziehes analyser om modern ungdomskultur. Detta gjordes genom en tematisk analys. Resultatet visar att handlingen i filmserien DET av Stephen King kunde tolkas som en reflektion av de utmaningar som framställs i forskningen om ungdomskultur och att bli vuxen. Genom att använda de meningsskapande aspekterna av övergångsritens tre faser utvanns en fördjupad förståelse för den sociala gemenskapens roll för processen att hitta sin identitet och sitt sammanhang. Filmserien DET symboliserar en fantastisk bild av vänskap och mod, men samtidigt en bild av en vuxenvärld som står utanför den känslomässiga livsvärlden som tillhör ungdomstiden.

Dass sich die Kategorie »Klang« im 20. Jahrhundert emanzipiert habe, ist ein Gemeinplatz. Aufgabe der musikologischen Diskussionen ist es dabei, zu präzisie­ren in welcher Hinsicht diese »neuen« Zugangs­weisen zu Klang sich tatsächlich von der »Klangkomposition« vergangener Jahr­hun­derte unterscheiden und vor welchen kompositionsästhetischen, kulturgeschichtlichen und wahrnehmungstheoretischen Diskursen sie sich entwickelt haben. Die Beiträge des vorliegenden Bandes, zurückgehend auf ein Symposium im Jahr 2011 an der Kunst­universität Graz, umkreisen die Interaktionen zwischen Klang und Wahrnehmung aus musikanalytischen, musikhistorischen, theoriegeschichtlichen, musikästhetischen und psychoakustischen Perspektiven. Von der (differenziert vorgetragenen) Diagnose einer »Klangver­gessenheit« in Musiktheorie und -wissenschaft ausgehend, werden dabei mit je unterschiedlichen Akzenten Desiderate und Anregungen für künftige Forschungen formuliert.

What can be assumed to be a general understanding of personal identity, is that it is constituted by a fixed and unchanging core of every self-conscious being that remains the same over time. This view could be traced to the notion that a perfect copy of you would not be you since you constitute the original and not the copy. But maybe it's not that simple, maybe a copy of you can also be you, while existing as your "original"?In this essay I will explore a functionalist argument as well as a self-constructed thought experiment that challenges the traditional view of personal identity as a fixed and unchanging core, inextricably linked to a single body. This exploration will lead to the idea of "metasurvival". Metasurvival is understood as the possibility that a person can survive through another person. The idea of metasurvival thus challenges the dichotomy between life and death. / Vad som kan antas vara en allmän uppfattning om personlig identitet, är att den utgörs av en fast och oföränderlig kärna i varje självmedveten varelse som förblir densamma över tid. Denna uppfattning skulle kunna härledas till föreställningen att en perfekt kopia av dig inte skulle vara dig, eftersom du utgör originalet och inte kopian. Men kanske är det inte så enkelt, kanske kan en kopia av dig också vara dig, samtidigt som du existerar som ditt ”original”?I denna uppsats kommer jag att utforska ett funktionalistiskt argument, samt ett eget konstruerat tankeexperiment som ifrågasätter den traditionella synen på personlig identitet som en fast och oföränderlig kärna, oupplösligt knuten till en enskild kropp. Denna utforskning kommer att leda fram till idéen om ”metaöverlevnad”. Med metaöverlevnad förstås möjligheten att en person kan överleva genom en annan person. Idéen om metaöverlevnad utmanar därmed dikotomin mellan liv och död.

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