En alimentation humaine, le poisson représente non seulement une source importante de protéines mais il apporte aussi des acides gras essentiels et des minéraux. Actuellement, en France, il est majoritairement consommé sous forme fraîche et préparé en filets sans peau. Cependant, face à la diminution des captures, à l'augmentation de la demande et à l'évolution des modes de consommation, l'importation de produits de la mer est de plus en plus importante dans notre pays. Or, depuis quelques années, les importateurs suspectent des fraudes consistant à vendre des filets de poisson décongelés sous la dénomination "frais". Ces produits entrent ainsi en concurrence directe avec les produits de la pêche française. L'objectif de la thèse consiste à mettre au point et à optimiser des méthodes de différenciation des filets de poisson frais de filets décongelés. La technique de l'électrophorèse bidimensionnelle comparative couplée à la spectrométrie de masse nous a permis d'identifier la parvalbumine comme marqueur de différenciation frais/décongelé à partir des exsudats de filets de bar (Dicentrarchus labrax). Nous avons utilisé la composition des exsudats comme source potentielle d'autres indicateurs pour différencier les filets frais des filets décongelés. Nous nous sommes ainsi intéressés à différents paramètres tels que l'activité de l'α-glucosidase lysosomique (marqueur historique), le dosage du calcium libre et le dosage des nucléotides et de leurs dérivés, des protéines et des parvalbumines. Nous avons procédé à une analyse statistique par Classification Hiérarchique Ascendante (CHA) et nous avons ainsi mis en évidence trois groupes dissimilaires : les indicateurs de lyse cellulaire, les indicateurs d'altération des nucléotides et les indicateurs d'altération des protéines. Nous disposons ainsi d'outils de différenciation frais/décongelé complémentaires, rapides et peu onéreux susceptibles de répondre aux attentes des industriels de la filière. / Inhuman diet, seafood is an important source of proteins, essential fatty acids and minerals. Nowadays, in France, fresh fish is mainly consumed as skinless fillets. Due to the decrease of the fishing and the increase and evolution of fish consumption, the importation of fish becomes more significant in our country. Since several years, the importers suspect fraudulent pratices consisting in selling thawed fish fillets labeled as fresh ones. These products are directly in competition with the national fish market. The main aim of this thesis consisted in developing and improving methods to differentiate fresh versus frozen/thawed fish fillets. A comparative two-dimensional electrophoresis and tandem mass spectrometry proteins identification strategy, performed on fish fillet exudates of European sea bass (Dicentrarchus labrax) allowed us to identify parvalbumin as a protein marker for differentiation. Further analysis of exudates composition could be a good way to find other indicators. The lysosomal alpha-glucosodase activity is already used to differentiate fresh versus frozen/thawed fillets. Two new indicators were studied : concentration of the nucleotides and their derivatives and free calcium concentration. The total protein and the parvalbumin concentrations were also measured. An Ascendant Hierarchical Clustering (AHC) was done to aggregate the variables into three dissimular clusters : the cellular lysis indicators, the proteins damages indicators and the nucleotides alteration.

O presente projeto pretende analisar os fundamentos mecânicos das atividades musculares, com estudos detalhados e relacionados que trarão à baila aspectos práticos, biomecânicos, fisiológicos e teóricos, como também distinções técnicas, vantagens e desvantagens em certos métodos adotados no passado, na atualidade e perspectivas do Contrabaixo Acústico, no século XXI. / This project aims to examine the fundamentals of mechanical muscle activity, with detailed and related studies. It will bring to the fore the practical aspects, biomechanical, physiological and theoretical distinctions as well as technical advantages and disadvantages of certain methods adopted in the past, present and prospects Acoustic Bass, in the twenty-first century.

O presente estudo teve como objetivo demonstrar a relevância da reestruturação técnica de uma obra, ou seja, uma reelaboração musical às particularidades de novos meios, focando o clarinete baixo como instrumento central, desencadeando um futuro aprimoramento e adequação aos novos recursos do instrumento e à sua linguagem. Além deste, o trabalho teve como finalidade apontar a proposição de um experimento deste instrumento a um repertório original não idiomático. Para tanto, o procedimento metodológico utilizado observou como referências as reelaborações já realizadas e compreendeu as maneiras com que foram concebidas. O trabalho contribuiu com o desenvolvimento teórico e prático da pesquisa em reelaborações para clarinete baixo, desta forma, favorecendo a disposição de um novo vetor experimental, baseado nas reelaborações feitas. Assim, conclui-se que esta pesquisa, diferentemente do rigor e fidelidade a qual geralmente a reelaboração é aplicada, enfatizou o processo como ferramenta criativa e dialógica. / The present study aimed to demonstrate the relevance of the technical restructuring of a work, that is, a musical reelaboration to the particularities of new media, focusing on the bass clarinet as a central instrument, triggering a future improvement and adaptation to the new resources of the instrument and its language. Besides this, the purpose of the work was to point out the proposition of an experiment of this instrument to an original non-idiomatic repertoire. In order to do so, the methodological procedure used observed references as reworkings already performed and understood the ways in which one was carried out. The work contributed to the theoretical and practical development of the research in reelaborations for bass clarinet, in this way, favoring the arrangement of a new experimental vector, based on the reelaborations made. Thus, it is concluded that this research, in contrast to the rigor and fidelity to which the reelaboration is usually applied, emphasized the process as a creative and dialogical tool.

Labyrinth for piano sextet -- Music for oboe, clarinet, bass clarinet, bassoon and piano -- The ride-by-nights (for treble choir or female choir) / Lai Nga Ting Ada. / Thesis (M.Mus.)--Chinese University of Hong Kong, 1998. / Abstract also in Chinese. / Abstract in English --- p.1 / Abstract in Chinese --- p.3 / Labyrinth for Piano Sextet --- p.4 / Programme notes --- p.5 / First movement --- p.6 / Second movement --- p.17 / Third movement --- p.32 / "Music for Oboe， Clarinet, Bass Clarinet, Bassoon and Piano" --- p.53 / Programme notes --- p.54 / Score --- p.55 / The Ride-by-Nights (for Treble Choir or Female Choir) --- p.75 / Programme notes --- p.76 / Lyrics --- p.77 / Score --- p.78

François Rabbath a maintenant plus de 80 ans ; il sillonne toujours le monde en tant que soliste et professeur. Sa contribution majeure à la pédagogie de la contrebasse est sa méthode en 4 volumes : La nouvelle technique de la contrebasse. Sa méthode est une nouvelle approche de l'enseignement de la contrebasse.Pour F. Rabbath, la qualité de la musique depend de : l'instrument, les cordes, l'archet, la position des mains.Sa contrebasse datée de 1936, a été fabriquée par Ch. Quenoil. C'est un instrument pour les solistes aux petites épaules, mais par sa sonorité est ample comme celle d'un instrument de l'orchestre, l'ampleur qui se combine avec la facilité de jeu d'une petite contrebasse.En s'intéressant à la pique comme à un axe d'équilibre entre le bas et la tête de l'instrument, il découvrit aussi que le matériau dont la pique est construite permet d'avoir plus ou moins de vibrations.Le luthier Ch. Laborie avec F. Rabbath ont eu l'idée d'une solution élégante, une tige de carbone mise directement en bas de la contrebasse dans l'angle précis. Cette nouvelle version de la pique s'appelle la « pique Rabbath-Laborie ».Gerold Genßler (chef d'une entreprise allemande indépendante de fabrication de cordes) demanda de l'aide à F. Rabbath pour découvrir le son d'une nouvelle corde ; F. Rabbath joua ensuite avec ces cordes.Dans la Nouvelle technique de la contrebasse, F. Rabbath a divisé la touche en 6 positions, définies en fonction de l'harmonie naturelle des cordes. Cela vient de l'utilisation élargie du placement des doigts, non pas de l'extension du mouvement. Cela vient aussi de l'élargissement de la main pour atteindre de nouvelles notes : F. Rabbath appelle cette technique pivot. Le joueur peut utiliser par exemple la position 1, 2 ou 3, sans forcément bouger la main, mais seulement en plaçant le pouce à la bonne place, et en remuant la main d'avant en arrière. Cette méthode de pivot permet la succession de différentes positions.La technique du crabe découverte par F. Rabbath est constituée par le mouvement de la main qui ressemble à la marche d'un crabe, de côté. Il permet à une partie de cette main de bouger lorsque l'autre est immobile, puis inversement. Ainsi elle peut monter et descendre le long de la corde dans certains passages sans changer de position.F. Rabbath a développé un nombre important de variation de coups d'archet. Cette méthode est différentes des autres qui se concentrent sur certains segments de la contrebasse plutôt qu'uniquement sur la touche.F. Rabbath a travaillé sur la théorie qui contribue au développement de la méthode d'enseignement de la contrebasse, à travers ses années d'enseignement et sa riche expérience, il donne plus d'importance à la relation entre l'interprétation et l'éducation. Dans cette méthode, il développe l'art d'être un artiste et son désir de partager sa passion de la contrebasse. / Although F. Rabbath is more than 80 years old, he goes on traveling all over the world as a soloist and as a teacher. The major contribution of the double-bass pedagogy is the method of the double-bass playing published in the four volumes of the Nouvelle technique de la contrebasse (trad. New Technique of double-bass).His Nouvelle technique de la contrebasse is a new approach to double-bass playing in the pedagogy of this instrument. For F. Rabbath, to get a good quality of music all is important : the sound of the instrument, of the string, of the bow and also the position of the hands, etc.His double-bass was built by Charles Quenoil in 1936. It is the instrument for soloists with « small shoulders », and with a pitch like an orchestral instrument. It seems that this form combines the size of an orchestral instrument sound with the easiness of the playing of a small double-bass.F. Rabbath discovered how the endpins influence the playing. By focusing on the endpins as a balance between the bottom and top of the instrument, he also discovered how the material used for endpins allows more or less vibrations.He and Christian Laborie « took the idea to an elegant solution with a graphite rod installed directly into the end block at the proper angle.1» The new and improved version is called The Rabbath-Laborie Endpin.
Gerold Genßler, germany independent production, asked F. Rabbath for help discovered the new string sound. After his production, F. Rabbath play with these strings.
In Nouvelle technique de la contrebasse F. Rabbath divided the fingerboard into six positions, defined by the location of natural harmonics on the strings. This is done by using extension fingerings, not extensions with shifts. It is an extension where there is a widening of the hand to reach a new note. F. Rabbath called this technique « pivot ».The player can use for example first, second, third positions without the need for shifts but only by placing the thumb in an appropriate place and just rocking the hand back and forth. Thus, the pivot method enables the succession of several different positions. The « Crab Technique », is another technique discovered by Francois Rabbath. The hand movement resembles a crab's sideways walking : allows for part of the hand to move while the other part remains and vice versa - in this way the hand can move up and down the strings in certain passages without ever fully shifting.
F. Rabbath has also developed a number of bowing variations, from whole notes to even faster, middle, tip, and then middle parts of the bow.F. Rabbath works on the theory contributes to the development of the teaching methodology of the double-bass. Over the years has been, still is, teaching the importance of the movement and the position of the body, more than musical. For him, this is the base towards good interpretation of any level of music.In his method François Rabbath also develops his art of being an artist and the desire to share and pass his passion for the double-bass.

Orientador: Sonia Marta Rodrigues Raymundo / Banca: Fausto Borém de Oliveira / Banca: Sonia Regina Albano de Lima / Resumo: Este trabalho discute técnicas estendidas (TE) para contrabaixo acústico aplicadas em práticas de performance e em procedimentos de ensino do instrumento no Brasil. O conceito de técnicas estendidas aqui utilizado compreende duas visões muito aceitas atualmente por estudiosos do tema: elementos inovadores ou elementos tradicionais em contextos diferenciados (Ray, 2011). A revisão da literatura apresentada traz os principais trabalhos sobre o tema publicados no Brasil além de alguns selecionados da literatura estrangeira. Dentro deste contexto, foram escolhidas cinco composições do repertório brasileiro contemporâneo para contrabaixo solista ou de câmara que utilizam as TE. São elas: Interação (1985) para contrabaixo e piano de Raul do Valle (n.1936), Die Berge (1990) para contrabaixo solo de Silvia de Lucca (n.1960), Adagio (2001) para quarteto de contrabaixos de João Pedro Oliveira (n.1959), Gestos (2010) para contrabaixo, clarinete e trompete de Danilo Rossetti (n.1978) e Resto no Copo (2010) para contrabaixo e live-eletronics de Rael Bertarelli Gimenes Toffolo (n.1976). Estas composições serviram como base para um estudo de uso das TE no processo de preparação para a performance. A experiência de inserir as TE nos planos de ensino dos estudantes de contrabaixo do Instituto Bacarelli (IB)-SP são relatadas. Os resultados incluem ganhos no processo de aprendizagem e criações coletivas de peças para o grupo de contrabaixo. Como principal conclusão este trabalho apresenta possibilidades de aplicação de TE mescladas com técnicas tradicionais tanto na preparação para a performance quanto no estudo técnico do instrumento / Abstract: This discusses extended techniques (TE) applied to acoustic bass performance practices and teaching procedures in this instrument in Brazil. The concept of extended techniques used here includes the two points of view commonly accepted by scholars these days: innovating elements and traditional elements within different contexts (Ray, 2011). The annotaded bibliography includes relevant Brazilian literature on the subject as well as foreign titles. Within this context, five compositions were selected from the contemporary Brazilian contrabass solo or chamber repertoire using of TE. They are: Interação (1985) for contrabass and piano by Raul do Valle (b.1936), Die Berge (1990) for contrabass solo by Silvia Lucca (b.1960), Adagio (2001) for contrabass quartet by João Pedro Oliveira (b.1959), Gestos (2010) for contrabass, clarinet and trumpet by Danilo Rosseti (b.1978) and o Resto do Copo (2010) for contrabass and live-eletronics by Rael Bertarelli Gimenes Toffolo (b.1976). These compositions served as basis for a study on the use of the TE in the process of performance preparation. The experience of using TE in the process of teaching bass students at the Baccarelli Institute (IB) was reported. The results include optimization of the learning process and collective creations of pieces for bass groups. As main conclusion this work presents possibilities of TE mixed with tradiotional techniques applied to both performance preparation and technical studies of the intrument / Mestre

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O presente projeto pretende analisar os fundamentos mecânicos das atividades musculares, com estudos detalhados e relacionados que trarão à baila aspectos práticos, biomecânicos, fisiológicos e teóricos, como também distinções técnicas, vantagens e desvantagens em certos métodos adotados no passado, na atualidade e perspectivas do Contrabaixo Acústico, no século XXI. / This project aims to examine the fundamentals of mechanical muscle activity, with detailed and related studies. It will bring to the fore the practical aspects, biomechanical, physiological and theoretical distinctions as well as technical advantages and disadvantages of certain methods adopted in the past, present and prospects Acoustic Bass, in the twenty-first century.

The concert features an eclectic variety of blues, rags, fiddle tunes and consort music arranged for both historic and modern instruments. The program includes works by numerous composers, from Johann Groh and Thomas Lupo, who were born in the late 16th century, to George Linus Cobb and Doc Roberts of the early 20th century.

Thank you for coming to celebrate the vibrant Latino culture in an evening jam-packed with fun family activities, delicious food, free dancing lessons, and live entertainment. For this year's festival, we highlighted the beautiful connection between the Latino and Appalachian communities here in our area, making this festival like no other! This year's festival included: Corazón Sano – Awareness and prevention of health issues, such as blood pressure and glucose screening, healthy living, and self-care management Arte – Exposure to the Latino roots and culture in the art exhibit, Ni de Aquí ni de Allá (Neither from Here Nor from There) at ETSU’S Tipton Art Gallery ChicoZone – Area for children to enjoy face painting, piñatas, and art coloring Entertainment – Zumba, “Running of the Bulls” with the Little City Roller Girls, “Los Embajadores” Mariachi/Bluegrass live band, Dance Lessons with Bj Goliday, and music by DJ Torrado Pasaporte A Las Américas – A trip across Latin American countries without leaving Main St! Cultural Ambassadors will guide visitors through the beauty and traditions of each country Food – A variety of food trucks will represent the Latino and Appalachian cultures