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11	Uma comparação entre a PPP e o enfoque da produtividade na taxa de câmbio de longo prazo Rebelo, Helene Albuquerque 23 October 2014 (has links) Made available in DSpace on 2016-03-15T19:26:16Z (GMT). No. of bitstreams: 1 Helene Albuquerque Rebelo 1.pdf: 1046658 bytes, checksum: 341e6608b9c7f265ac5e1303f07c7667 (MD5) Previous issue date: 2014-10-23 / Fundo Mackenzie de Pesquisa / The dissertation examines the behavior of the exchange rate in the long term from the perspective of the classical model of purchasing power parity theory (PPP), developed empirically by Cassel and the alternative model proposed by Basso originating from the Marxist benchmark, which emphasizes prices and productivities to determine the exchange rate. The exchange rate behavior is examined for three countries over the 1977-2006 period, with annual frequency. To test the models, it was used the consumer price index (CPI), the GDP, the value-added price index and gross producer price index (EU KLEMS database). The essay uses the causality tests of Johansen, the Dickey-Fuller and Phillips-Perron unit root tests, the VAR (vector autoregression) and VEC (vector error correction) models and performing a projection with the Model Confidence Set. It is ascertained that PPP was not supported for any of the 12 models generated. In Basso s approach, the 48 models generated, cointegration was found in only four models, therefore it is not possible to generalize the new model. / A dissertação examina o comportamento da taxa de câmbio no longo prazo sobre a perspectiva do modelo clássico da paridade do poder de compra (PPC) ou purchasing power parity theory (PPP), desenvolvido empiricamente por Cassel e do modelo alternativo proposto por Basso oriundo do referencial marxista, enfatizando preços e produtividades para determinar a taxa de câmbio. Examina-se o comportamento da taxa de câmbio para três países no período de 1977 a 2006, com frequência anual. Para testar os modelos, foram empregados o índice de preço ao consumidor (IPC), o deflator do PIB, o deflator dos valores agregados e o deflator de produção total (base de dados EU KLEMS). O trabalho utiliza o teste de causalidade de Johansen, os testes de raiz unitária de Dickey e Fuller e Phillips-Perron, os modelos de VAR (vetores autorregressivos) e VEC (vetores autorregressivos com correção de erro) e é feito projeção com Model Confidence Set. Constata-se que a PPP não foi corroborada para nenhum dos 12 modelos gerados. Na abordagem de Basso, dos 48 modelos gerados, encontrou-se cointegração apenas em quatro, portanto, não é possível generalizar o novo modelo. paridade do poder de compra índices de preços modelo de Basso taxa de câmbio de longo prazo produtividade purchasing power parity price indices Basso model long-run exchange rate productivity
12	Komplext enkelt och ensamt : Att tala med musik Rosenholm, Louise January 2023 (has links) En enkel melodi spelad på en ensam fiol är allt som behövs för att öppna ett uiversum av funderingar, tankar och känslor. Det konstnärliga examensarbetet ”Komplext, enkelt och ensamt” är en undersökning kring likheterna mellan språk och musik. Målet är att få musiken att tala och att hitta min ärligaste tolkning av Allemandan ur Bachs andra solopartita för violin. Genom att analysera satsen som om det vore poesi, med hjälp av den grekiska metrikens versfötter, har jag hittat nya rytmiska mönster i musiken som ger en djupare förståelse av styckets form och struktur. Undersökningen har gjort en genuinare tolkning möjlig. Den har också hjälp mig att tala med musik. Johann Sebastian Bach Allemanda metrik retorik barock violin interpretation Music Musik
13	Missa Papae Marcelli: A Comparative Analysis of the Kyrie and Gloria Movements of Giovanni Pierluigi da Palestrina and an Adaptation by Giovanni Francesco Anerio Moore, Michael J. 05 1900 (has links) Missa Papae Marcelli: A Comparative Analysis of the Kyrie and Gloria Movements of Giovanni Pierluigi da Palestrina and an Adaptation by Giovanni Francesco Anerio Anerio, Giovanni Francesco, d. 1630. Pope Marcellus Palestrina G. G. Anerio sixteenth century Mass setting basso continuo
14	Georg Friedrich Händels Generalbass-Übungen als praktische Kompositionslehre Korte, Oliver 17 October 2023 (has links) No description available. info:eu-repo/classification/ddc/780 ddc:780
15	The Influence Of Basso Continuo Practice On The Composition And Performance Of Late Eighteenth- And Early Nineteenth-Century Lied Accompaniments Kane, Lynn Marie, 1977- 06 1900 (has links) xi, 387 p. / A print copy of this title is available through the UO Libraries under the call number: MUSIC MT49 .K36 2006 / The use of basso continuo in the performance of many late eighteenth- and early nineteenth-century genres is well documented, yet the influence of this practice on the Lieder during that time has never been fully explored. This dissertation analyzes Lied accompaniments of the period in relation to the recommendations found in contemporary thorough bass treatises in order to demonstrate that continuo practice did have an effect both on what composers were writing and how the songs were being performed. The majority of written-out Lied accompaniments from the late eighteenth-century conform to the recommendations given by treatise authors on matters of texture, distribution of the notes between the hands, octave doublings, parallel intervals, embellishments, and relationship of the keyboard part to the solo line. Furthermore, figured basses were still printed in some songs into the early part of the nineteenth century. Well-known nineteenth-century Lied composers, such as Schubert, Mendelssohn, and Brahms also frequently use these simple, continuo-like keyboard parts, and incorporate common continuo techniques for filling out chords into their more complex accompaniments. The fact that continuo practice, a tradition in which improvisation played a large role, continued to have such a pervasive influence on the printed Lied suggests that additions and embellishments can be made to what is written on the page. Furthermore, evidence from secondary sources, statements by musicians of the period, and clues in the music itself confirm that composers did not always intend for performers to play exactly what is notated. In this dissertation, I argue that in many of these songs the musical score should be viewed as only a basic outline, which can then be adapted depending on the skill level of the performers, the available keyboard instruments, and the context of the performance. Principles from the continuo treatises serve as a guide for knowing what additions to make, and I offer suggestions of possible applications. Appendices detail the contents of 50 continuo treatises published between 1750 and 1810. / Adviser: Dr. Anne Dhu McLucas Committee: Dr. Marc Vanscheeuwijck, Dr. Marian Smith, Dr. Kenneth Calhoon Lied Basso continuo 18th century performance practice 19th century performance practice Figured bass German song Piano accompaniment Continuo Musical accompaniment
16	Reinventing Tradition: Brahms, Progress, and Basso Ostinato Hines, Jane 29 April 2015 (has links) No description available. Music Johannes Brahms opus 18 opus 56a Arnold Schoenberg Harold Bloom anxiety of influence Thomas Stearns Eliot tradition and the individual talent progress tradition influence basso ostinato passacaglia chaconne folia orchestral variations
17	Les cantates de Nicolaus Bruhns (1665-1697) / The cantatas of Nicolaus Bruhns (1665-1697) Fructus, Michel 03 December 2009 (has links) Nicolaus Bruhns (1665-1697) fut organiste à la Marienkirche de Husum (Schleswig-Holstein), et Kapellmeister au service des ducs de Schleswig-Holstein-Gottorf. Si nous ne possédons aujourd’hui qu’une poignée de ses pièces pour orgue (quatre praeludia et un choral-fantaisie), nous pouvons apprécier l’ingéniosité de cet auteur à travers sa production d’œuvres sacrées, douze cantates où règne une énergie comparable à celle de son professeur Dietrich Buxtehude.Soucieux de mieux cerner les enjeux de l’identité créatrice, nous proposerons une approche contradictoire, fondée sur deux conceptions opposées de l’œuvre d’art : elle est par voie de conséquence le produit d’une culture (parce qu’elle est liée au contexte artistique qui la précède, au regard des éléments qui la constituent et qui sont facilement identifiables dans les œuvres du passé, toute œuvre peut être perçue et pensée comme une synthèse de différents modèles, une forme d’aboutissement culturel), mais aussi le fruit d’une individualité (une œuvre d’art est une élaboration unique, indépendante de toute autre production, au regard des facteurs d’unité qui la structurent ; toute œuvre peut alors être perçue et pensée comme une entité autonome).Cette étude nous permettra de mettre à jour un soubassement de l’activité psychique : l’estimation de la distance entre le fixe et le muable. / Nicolaus Bruhns (1665-1697) was an organist at the Marienkirche in Husum (Schleswig-Holstein), and Kapellmeister to the dukes of Schleswig-Holstein-Gottorf. If we own today only a handful of his pieces for organ (four praeludia and a chorale-fantasia), we can appreciate the cleverness of this author through his production of sacred works, twelve cantatas where the energy which appears is similar to that of his professor Dietrich Buxtehude.With the concern to better define the stakes of creative identity, we shall put forward a contradictory approach based on two opposite conceptions of the work of art : it is in essence the product of a culture (since it is linked to the artistic context which precedes it, according to the elements which constitute it and which are easily identifiable in the works of the past, any work can be perceived and thought as a synthesis of various models, a form of cultural achievement), but also the result of individuality (a work of art is a unique construction, independent from any other production according to the factors of unity which structure it ; any work may then be perceived and thought as an autonomous entity).This study will enable us to bring to light a basis of the psychic activity : the appraisal of the distance between the fixed and the changing. Baroque Basse continue Bokemeyer (Heinrich) Buxtehude (Dietrich) Cantate Chiffrages Continuo Figures musicales Fixe Héritage Husum Identité Kapellmeiter Luther Luthéranisme Motif générateur Muable Musique allemande Musique luthérienne Musique sacrée Œuvres vocales Organiste Orgue Protestantisme Réduction mélodique Réduction harmonique Ritornello Schleswig-Holstein Sinfonia Baroque Basso continuo Bokemeyer (Heinrich) Buxtehude (Dietrich) Cantate Figuring Continuo Musical figure Fixed Heritage Husum Identity Kapellmeiter Luther Lutheranism Pattern generator Changing German music Lutheran music Sacred music Vocal works Organist Organ Protestantism Melodic reduction Harmonic reduction Ritornello Schleswig-Holstein Sinfonia

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