Esse trabalho tem o objetivo de compreender aspectos simbólicos envolvidos no universo das artes marciais mistas. A partir de uma vivência no mundo das lutas, identifiquei alguns discursos sobre violência que permeavam os conceitos sobre o esporte. Em vista disso, construí um histórico sobre as artes marciais mistas e as suas relações com a sociedade em que se constituiu. Elenquei, assim, três elementos basilares dentro desse contexto, quais sejam: as academias, os eventos e a mídia. Para inserir um olhar teórico para esse fenômeno, me utilizei da teoria do processo civilizador, de Norbert Elias. Dessa base teórica e da identificação dos discursos sobre as artes marciais mistas, surgiu o problema de pesquisa, que tem objetivo de compreender como um esporte que tem um discurso de violência tão forte consegue se estabelecer socialmente. Para respondê-lo, os pressupostos teórico-metodológicos se basearam no olhar configuracional elisiano. A partir desse conceito, foi realizada uma etnografia em uma academia de MMA e a observação de eventos em Porto Alegre, no interior do Rio Grande do Sul e em outros estados do Brasil. Além disso, foram feitas observações do programa TUF Brasil para a análise de mídia. Os dados produzidos culminaram com a feitura de três capítulos de resultados. O primeiro deles mostra a rotina de treinamento de lutadores de MMA, as técnicas utilizadas, os tipos de modalidades treinadas e alguns elementos simbólicos como o “irmão de treino” a “família”. Nesse tópico, também são mostrados os sentidos da violência naquele contexto e quais os mecanismos de controle são utilizados para a construção do lutador. No segundo capítulo, é abordado o processo de espetacularização do MMA Iniciando pela perda de peso na academia, passando pelo dia da pesagem, a relação com os patrocinadores, com os promotores de evento e com os adversários. Ainda nesse capítulo são apresentadas as estruturas que compõe um evento de artes marciais mistas: o anouncer, o card preliminar, o card principal e a reação do público durante as lutas. Mais uma vez a violência é discutida como um dado de campo. Os mecanismos de controle como a diminuição do sangramento do atleta e a proibição das cotoveladas em alguns eventos são estratégias dos promotores de afastamento da ideia de violência e aproximação do conceito de esporte. Estratégias muito semelhantes são discutidas no último capítulo dos resultados. O programa escolhido foi o The Ultimate Fighter. A primeira parte do tópico se pauta em apresentar as rotinas de treinos, as equipes, a relação com as modalidades de luta e com os treinadores. A partir disso, apresento os ‘dramas’ transmitidos pelo programa em um processo que denominei de ‘humanização do lutador’. Aqui são apresentadas a sua relação com a família, os dramas das lesões, e sua relação com o meio profissional do MMA. Concluo, então, que o MMA é permeado por mecanismos de controle que se materializam nas academias, nos eventos e na mídia. Sendo assim, o esporte se mantém a partir de tensões e redirecionamentos no sentido de causar uma tensão/excitação agradável nos indivíduos. / This work aims to understand symbolic aspects involved in the mixed martial arts fields. Out of a personal experience in the world of fighting, I have identify discourses about violence that pervade the concepts about the sport. Hence, I have constructed a log about the mixed martial arts and its relations within the society. Thereupon, I have chosen three basic elements from the context, for instance the gyms, the events and the media. In order to add a theoretical view to this phenomenon, I have used the Civilizing Process Theory from Norbert Elias. From this rationale, and the identification of the mixed martial arts discourses, has come up the research question which has the intention to better understand how a sport’s category, with such a strong discourse of violence, can established itself socially. To answer the question, the theoretical and methodological presuppositions were based on an Elisian configurational view. An ethnographic observation has been conducted in MMA practice studios in Porto Alegre, in the country side of Rio Grande do Sul and in other parts of Brazil. On top of that, observation was carried out based on the TUF Brasil programme in order to analyse the media. The data collected has resulted in three chapters of findings. The first chapter shows the training routine of the MMA fighters, the technics used, the different kinds of training modality and the symbolic elements such as “training brother” and “family”. In this topic, is also shown the meaning of violence in that context and which control mechanisms are in place to build up a fighter The second chapter discuss the process of big performances and shows related to MMA. Beginning with the process of losing weight in the gym, going forward on the day of stepping up on the scale, the relation with the sponsors, with the promoters of those big events and the relation with the opponent. In this chapter are presented the structures that form a mixed martial art’s event such as the announcer, the preliminary card, the main card and the reaction of the audience during the fights. Again, the violence is argue as an observational data. The control mechanisms such as the bleeding control of the athlete and the ban of elbow nudges in some events are examples of promoters’ strategies to refrain from the idea of pure violence but to enforce the concept of sport. In the last chapter, similar strategies are discuss when showing the results of the data. The chosen programme was ‘The Ultimate Fighter’. The first part of the topic attempt to present the training routine of each team, the relation of each fight modality and the relation with the coaches. Following the rationale, I then present all the ‘drama’ broadcasted by the TV programme in a process named by me as ‘humanise the fighter’. I then present the family relationship, the drama of the injuries and the relation with the professional environment of the MMA. Thus, to conclude, MMA is pervaded by control mechanisms that are materialised on the gyms, during the events and by the media. Hence, the sport maintain itself from the tensions and redirections in the sense of generating a pleasant tension and excitement in all individuals.

The environmental risk of growing genetically modified (GM) crops and particularly the spreading of GM genes to related non-GM crops is currently a concern in European agriculture. Because the risks of contamination are linked to the spatial and temporal arrangements of crops within the landscape, scenarios of crop arrangement are required to investigate the risks and potential coexistence measures. However, until recently, only manual methods were available to create scenarios. This thesis aims to provide a flexible referenced tool to create such scenarios. The model, called LandSFACTS, is a scientific research tool which allocates crops into fields, to meet user-defined crop spatio-temporal arrangements, using an empirical and statistical approach. The control of the crop arrangements is divided into two main sections: (i) the temporal arrangement of crops: encompassing crop rotations as transition matrices (specifically-developed methodology), temporal constraints (return period of crops, forbidden crop sequences), initial crops in fields regulated by temporal patterns (specifically-developed statistical analyses) and yearly crop proportions; and (ii) the spatial arrangements of crops: encompassing possible crops in fields, crop rotation in fields regulated by spatial patterns (specifically-developed statistical analyses), and spatial constraints (separation distances between crops). The limitations imposed by the model include the size of the smallest spatial and temporal unit: only one crop is allocated per field and per year. The model has been designed to be used by researchers with agronomic knowledge of the landscape. An assessment of the model did not lead to the detection of any significant flaws and therefore the model is considered valid for the stated specifications. Following this evaluation, the model is being used to fill incomplete datasets, build up and compare scenarios of crop allocations. Within the GM coexistence context, the model could provide useful support to investigate the impact of crop arrangement and potential coexistence measures on the risk of GM contamination of crops. More informed advice could therefore be provided to decision makers on the feasibility and efficiency of coexistence measures for GM cultivation.

Esse trabalho tem o objetivo de compreender aspectos simbólicos envolvidos no universo das artes marciais mistas. A partir de uma vivência no mundo das lutas, identifiquei alguns discursos sobre violência que permeavam os conceitos sobre o esporte. Em vista disso, construí um histórico sobre as artes marciais mistas e as suas relações com a sociedade em que se constituiu. Elenquei, assim, três elementos basilares dentro desse contexto, quais sejam: as academias, os eventos e a mídia. Para inserir um olhar teórico para esse fenômeno, me utilizei da teoria do processo civilizador, de Norbert Elias. Dessa base teórica e da identificação dos discursos sobre as artes marciais mistas, surgiu o problema de pesquisa, que tem objetivo de compreender como um esporte que tem um discurso de violência tão forte consegue se estabelecer socialmente. Para respondê-lo, os pressupostos teórico-metodológicos se basearam no olhar configuracional elisiano. A partir desse conceito, foi realizada uma etnografia em uma academia de MMA e a observação de eventos em Porto Alegre, no interior do Rio Grande do Sul e em outros estados do Brasil. Além disso, foram feitas observações do programa TUF Brasil para a análise de mídia. Os dados produzidos culminaram com a feitura de três capítulos de resultados. O primeiro deles mostra a rotina de treinamento de lutadores de MMA, as técnicas utilizadas, os tipos de modalidades treinadas e alguns elementos simbólicos como o “irmão de treino” a “família”. Nesse tópico, também são mostrados os sentidos da violência naquele contexto e quais os mecanismos de controle são utilizados para a construção do lutador. No segundo capítulo, é abordado o processo de espetacularização do MMA Iniciando pela perda de peso na academia, passando pelo dia da pesagem, a relação com os patrocinadores, com os promotores de evento e com os adversários. Ainda nesse capítulo são apresentadas as estruturas que compõe um evento de artes marciais mistas: o anouncer, o card preliminar, o card principal e a reação do público durante as lutas. Mais uma vez a violência é discutida como um dado de campo. Os mecanismos de controle como a diminuição do sangramento do atleta e a proibição das cotoveladas em alguns eventos são estratégias dos promotores de afastamento da ideia de violência e aproximação do conceito de esporte. Estratégias muito semelhantes são discutidas no último capítulo dos resultados. O programa escolhido foi o The Ultimate Fighter. A primeira parte do tópico se pauta em apresentar as rotinas de treinos, as equipes, a relação com as modalidades de luta e com os treinadores. A partir disso, apresento os ‘dramas’ transmitidos pelo programa em um processo que denominei de ‘humanização do lutador’. Aqui são apresentadas a sua relação com a família, os dramas das lesões, e sua relação com o meio profissional do MMA. Concluo, então, que o MMA é permeado por mecanismos de controle que se materializam nas academias, nos eventos e na mídia. Sendo assim, o esporte se mantém a partir de tensões e redirecionamentos no sentido de causar uma tensão/excitação agradável nos indivíduos. / This work aims to understand symbolic aspects involved in the mixed martial arts fields. Out of a personal experience in the world of fighting, I have identify discourses about violence that pervade the concepts about the sport. Hence, I have constructed a log about the mixed martial arts and its relations within the society. Thereupon, I have chosen three basic elements from the context, for instance the gyms, the events and the media. In order to add a theoretical view to this phenomenon, I have used the Civilizing Process Theory from Norbert Elias. From this rationale, and the identification of the mixed martial arts discourses, has come up the research question which has the intention to better understand how a sport’s category, with such a strong discourse of violence, can established itself socially. To answer the question, the theoretical and methodological presuppositions were based on an Elisian configurational view. An ethnographic observation has been conducted in MMA practice studios in Porto Alegre, in the country side of Rio Grande do Sul and in other parts of Brazil. On top of that, observation was carried out based on the TUF Brasil programme in order to analyse the media. The data collected has resulted in three chapters of findings. The first chapter shows the training routine of the MMA fighters, the technics used, the different kinds of training modality and the symbolic elements such as “training brother” and “family”. In this topic, is also shown the meaning of violence in that context and which control mechanisms are in place to build up a fighter The second chapter discuss the process of big performances and shows related to MMA. Beginning with the process of losing weight in the gym, going forward on the day of stepping up on the scale, the relation with the sponsors, with the promoters of those big events and the relation with the opponent. In this chapter are presented the structures that form a mixed martial art’s event such as the announcer, the preliminary card, the main card and the reaction of the audience during the fights. Again, the violence is argue as an observational data. The control mechanisms such as the bleeding control of the athlete and the ban of elbow nudges in some events are examples of promoters’ strategies to refrain from the idea of pure violence but to enforce the concept of sport. In the last chapter, similar strategies are discuss when showing the results of the data. The chosen programme was ‘The Ultimate Fighter’. The first part of the topic attempt to present the training routine of each team, the relation of each fight modality and the relation with the coaches. Following the rationale, I then present all the ‘drama’ broadcasted by the TV programme in a process named by me as ‘humanise the fighter’. I then present the family relationship, the drama of the injuries and the relation with the professional environment of the MMA. Thus, to conclude, MMA is pervaded by control mechanisms that are materialised on the gyms, during the events and by the media. Hence, the sport maintain itself from the tensions and redirections in the sense of generating a pleasant tension and excitement in all individuals.

abstract: Arrangements of music from other instruments have always played a key role in expanding the guitar repertoire. This project investigates the life and work of eighteenth-century composer Antonio Soler (1729-1783), specifically his sonatas for solo keyboard. This study carries out a formal inquiry on Soler's influences, including a background of Soler's life and training, his connection with Domenico Scarlatti (1685-1757), and an overview of the eighteenth-century sonata in Spain. Timbres, articulations, tessitura, and other aspects of Spanish folk music are discussed as related to Soler's composition style. Five sonatas are analyzed in connection to Spanish folk music, and part of this study's focus was arranging the sonatas for two guitars: R. 48, 50, 60, 106 and 114. An overview of the current arrangements of Soler's sonatas for guitar is included in Appendix A. / Dissertation/Thesis / D.M.A. Music 2014

Os Sei solo â Violino senza Baßo accompagnato de Johann Sebastian Bach (BWV 1001-1006) têm sido transcritos para violão em movimentos isolados desde o final do século XIX e a transcrição (1934) da grandiosa Ciaccona pelo espanhol Andrés Segovia (1893-1987) tornou-se uma peça central no repertório para violão, sobretudo porque que a escrita para violino sofreu um redimensionamento na adaptação do violonista. Por outro lado, as abordagens do ciclo completo no violão têm se aproximado cada vez mais da escrita original para violino. Kazuhito Yamashita (1989), autor da primeira gravação do ciclo completo no violão, se mostra ainda influenciado pela prática segoviana de transcrição, mas Frank Bungarten (1988 - Sonatas/2000 - Partitas) chega a rechaçar a transcrição BWV 1006a, em que o próprio compositor adiciona baixos e preenchimentos harmônicos; Elliot Fisk (2001) segue o exemplo de Bungarten, realizando linhas de baixo apenas ocasionalmente e Timo Korhonen (2009- 2010) leva esse tipo de abordagem ao ápice, não fazendo adição alguma. Contrariando a tendência atual, a única referência coeva que temos de J. S. Bach tocando seus solos de violino é ao clavicórdio, adicionando quanta harmonia ele julgasse necessário, segundo seu aluno Johann Friedrich Agricola. Transcrições dele e de seus contemporâneos nos mostram que a prática de transcrição sempre envolvia a modificação da escrita original para violino tendendo uma maior elaboração polifônica da obra segundo os recursos da nova instrumentação (normalmente teclado ou alaúde). Ao se transcrever os Sei solo para o violão, a prática da época revela que uma pretensa fidelidade ao texto original é tão equivocada do ponto de vista estilístico quanto seria a versão de Segovia se essa fosse julgada fora dos padrões de sua época. Por outro lado, há gravações parciais dos Sei solo ao violão que seguem em maior ou menor grau as práticas de transcrição e de execução barrocas, além de várias gravações do ciclo completo por alaudistas e cravistas que não hesitam em transfigurar a textura original da escrita para violino, para a adequação da escrita aos seus instrumentos. O presente estudo visa estabelecer os fundamentos de uma prática de transcrição para violão dos Sei solo com base nas técnicas de transcrição e de execução do período da composição sem a pretensão de autenticidade ou fidelidade, mas como fonte de recursos de instrumentação (pela reelaboração da textura polifônica com adições de linhas de baixo e preenchimentos harmônicos) e de expressão (pela adaptação de recursos estilísticos essenciais como as articulações e os ornamentos). Em segunda instância, o estudo apresenta uma nova transcrição para violão dos Sei solo como exemplo de aplicação dos fundamentos de adaptação dessas obras. / The Sei solo â Violino senza Baßo accompagnato by Johann Sebastian Bach (BWV 1001-1006) have been arranged for guitar as isolated movements since the end of the 19th century and the transcription (1934) of the great Ciaccona made by the Spaniard Andrés Segovia (1893-1987) became a central work on the repertory, mainly for he remodeled the violin writing when adapting it for guitar. In the other hand, more recent approaches of the cycle have been became progressively simpler and closer to the original writing for violin. The first recording of the cycle on guitar, made by Kazuhito Yamashita (1989), still shows influences of Segovia, but Frank Bungarten (1988 - Sonatas/2000 - Partitas) rejects even Bach\'s own transcription of the 3rd Partia, BWV 1006a, where the composer adds bass lines and harmonies; Elliot Fisk (2001) follows Bungarten\'s example, with few bass additions; Timo Korhonen (2009-2010) goes further and does not add any notes, relying just on the violin score. In opposition to today\'s tendency on guitar, the only reference we to Bach himself playing the violin Solos is on the clavichord, adding as much harmony as he considered necessary, as reports his student Johann Friedrich Agricola. Bach\'s and his contemporaries\' arrangements clearly show us that the change of the medium in a composition (usually violin or cello) always involved the modification of the original writing, generally having more polyphonic elaboration after the resources of the new instrument (normally keyboard or lute). The period\'s practice reveals that an intentioned fidelity to the original musical text in a guitar arrangement is as misplaced as it would be the Segovia\'s version when judged by today\'s standards. In the other hand, there are partial recordings of the Sei solo on the guitar that seek to follow the baroque\'s arrangement and performance practices. There are also several recordings of the whole cycle made by lute and harpsichord players that do not hesitated about changing the original writing for violin in order to adequate the works for their instruments. The present study aims to establish the adaptation principles of the Sei solo for guitar based on period\'s arrangement and performance practices with no pretention of reaching neither authenticity nor fidelity, but simply as instrumentation resources (when rewriting of polyphonic texture with additions of bass lines and harmonies) and expression resources (when adapting stylistic essentials like articulations and ornaments). The secondary purpose of this research is to exemplify an application of the adaptation principles by presenting a new arrangement of the Sei solo for guitar.

Environmental arrangement alters the physical, social, or programmatic aspects of classrooms to increase task engagement, facilitate prosocial behaviors, and reduce or prevent the challenging behaviors of children and youth. Research shows specific arrangements can affect student engagement and deportment, but this literature is not well integrated theoretically or empirically with other effective behavior change tactics. This article proposes that some environmental arrangements may serve as setting events for child behavior change. Setting events and environmental arrangement were defined and critically outlined. A total of 43 physical environmental arrangement articles were reviewed as to the specific type of arrangement and research methodology. Several methodological problems (e.g., lack of measurement or control of antecedents, consequences, or environmental arrangements, manipulation of more than one environmental arrangement) precluded conclusions about the setting event function of environmental arrangements. Suggestions for future research on setting events and environmental arrangements are proposed.

A superpattern is a string of characters of length n over [k]={1, 2, …, k} that contains as a subsequence, and in a sense that depends on the context, all the smaller strings of length k in a certain class. We prove structural and probabilistic results on superpatterns for preferential arrangements, including (i) a theorem that demonstrates that a string is a superpattern for all preferential arrangements if and only if it is a superpattern for all permutations; and (ii) a result that is reminiscent of a still unresolved conjecture of Alon on the smallest permutation on [n] that contains all k-permutations with high probability.

Music has, at least to a certain degree, established itself among the subject matter of modern-day school curricula. Its position is probably most precarious in our Junior High School system. Although the Junior High is by no means a recent innovation, it is a controversial one. and is still somewhat in an experimental stage in many respects. Music instruction, particularly, is greatly affected by this profound influence upon the instructional work of the seventh, eighth and ninth grades that the Junior High division has given. John W. Beattie has put it the way:

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Introduction: Can the choice to start with either harmony or drums affect a music production and, in such case, how? How could one analyze this? This thesis intends to try to answer just that by investigating the differences that arise when I start a music production with either harmony or drums. To analyze the differences, I created my own model for analysis that I call the Miki model.  Aim: The aim of this thesis is to investigate if and in such case what differences arise in harmony, rhythm and arrangement in a song depending on whether I start the music production with harmony or drums. The aim is also to help understand this possible correlation by attempting to create a new model for analysis that can both be tested and further developed to analyze the impact of a certain approach at the beginning of a music production. Methodology: For this project, I made an EP consisting of four songs. Two of the songs started off with harmony production while I began the other two with drum production. In order to analyze the results, I created a model for quantitative analysis by setting up five different aspects that I consider to be important when measuring the impact of starting with harmony or drums when creating a music production: number of chords and colored chords, number of drum elements, if the number of drum elements was altered during the song, and if the number of chords was altered during the song.  Results: The Miki model was applied to each song on the EP. In this way I was able to examine the differences that had arisen in the harmony, the rhythm, and the arrangement in each song. The results showed an increased number of chords in the songs where the production was started with harmony. It also showed that the number of drum elements was increased when the production was started with drums. The number of colored chords was not significantly different, and the arrangement was not noticeably affected either.  Reflection: Even though the results showed an increased number of chords when starting with harmony and an increased number of drum elements when starting with drums, it was hard to draw the conclusion that the result depended on the respective approach. It was rather more likely because of the desire to make the first element in the production interesting enough to stand by its own, which made it take a lot of room in the sonic space. That in turn left less room for other elements.