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1	Effects of genotype and planting density on light use and dry matter partitioning in strawberry Perez de Camacaro, Maria Encarnacion January 2001 (has links) No description available. 630 Elsanta; Bolero; Everest; Cultivars
2	Dokumentárny akreditív a zmeny vyvolané revíziou UCP 600 Daňo, Peter January 2008 (has links) Práce charakterizuje dokumentární akreditiv jako jeden z významných platebních a zajišťovacích instrumentů v mezinárodním obchodě. V jednotlivých kapitolách jsou uvedené výhody a nevýhody jeho použití, typy dokumentárních akreditivů, použitelnost akreditivu a dokumenty používané při akreditivních operacích. Poslední kapitola je zaměřená na eUCP, elektronický akreditiv a systémy elektronického akreditivu.
3	Orkestrering i fokus : En studie i orkestreringstekniker och arrangering Axelsson, Jimmy January 2023 (has links) Syftet med detta examensarbete är att fördjupa mig i hur Ravel har orkestrerat sitt verk Bolero och tillämpa hans orkestreringstekniker i egna kompositioner och orkestreringar. Orkestreringen i Bolero har alltid tilltalat mig och orkestrering som hantverk är en viktig kunskap för en kompositör att bemästra. För att bli bättre inom hantverket orkestrering och bygga ut min verktygslåda med orkestreringstekniker valdes just detta verk av Ravel. För att uppnå syftet har orkestreringen i Bolero analyserats, varje repetitionssiffra för sig och delats upp i tre olika musikaliska beståndsdelar, melodi, rytm och den harmoniska bakgrunden. För att undersöka om det var möjligt att tillämpa Ravels orkestreringstekniker av Bolero i mina egna kompositioner och orkestreringar så arrangerade jag två pianosatser som jag tidigare komponerat. Arrangemanget är i stil med Bolero och använder sig av samma instrumentering, orkestrering och tekniker som Ravel gör i sitt verk Bolero. Studien resulterade i fem orkestreringstekniker, större kunskap inom hantverket orkestrering och ett arrangemang för orkester av två egen skrivna pianosatser. Komposition orkestrering orkestreringsteknik arrangering Ravel Bolero Music Musik
4	The Use of Latin American Bolero as a Tool for the Teaching Bel Canto Techniques to an Undergraduate Mezzo Soprano González-Cobos, Fabiana Beatriz 05 1900 (has links) As it was established in its origins, the compositional form of the bolero consists of 32 measures divided into two sections of 16 measures. The melodies incorporate sequences of melodic lines that are usually 4 measures long and are easily accessible, helping students to practice musical memory and stimulating their ear-training development. The poetry in Spanish gives the student the opportunity to be trained to sing pure vowels that are essential for the unification of the registers and the development of a healthy singing technique. This dissertation discusses the teaching the Latin American bolero genre to undergraduate mezzo-sopranos, combining it with the bel canto approach, as found in four elements from the method of the famous pedagogue, Manuel Garcia (1805-1906). These four elements are the clean onset or coup de la glotte, the unification of the registers, legato, and expressive devices or bel canto idioms like timbre and tempo rubato. The guidelines used to choose the repertoire are range, tessitura, simple meter and rhythm, tonal melodic lines, and piece duration. The boleros chosen for this study are "Solamente una vez" by Agustín Lara (1897-1970), "La gloria eres tú" by José Antonio Méndez (1927-1989), "Bésame mucho" by Consuelo Velázquez (1916-2005), "Aquellos ojos verdes" by Nilo Menéndez (1902-1987), "La mentira" by Álvaro Carrillo (1921-1969), "Tú me acostumbraste" by Frank Domínguez (1927-2014), "Alma mía," and "Así" by María Grever (1885-1951). bel canto bolero Manuel Garcia mezzo soprano vocal pedagogy Music Education, Music
5	"Así me gustas gordita": Representaciones de la gordura en la música popular y la literatura del Caribe hispano Braden, Emily 17 December 2007 (has links) This thesis examines contemporary musical and literary representations of female fatness in the Hispanic Caribbean. Chapter I explores the stereotype of a greater acceptance and valorization of fatness within the African Diaspora using contemporary feminist scholarship on cultural aesthetics and the body. Fatness is discussed as being both sexually transgressive and traditionally feminine. Chapter II juxtaposes male representations of “la gorda” in the lyrics of popular music of from Cuba, the Dominican Republic and Puerto Rico with the feminist politics of underground hip hop. Chapter III analyzes Guillermo Cabrera Infante’s hyperbolic representation of La Estrella, his fictionalization of Cuban bolero singer Fredy Rodriguez, in Ella cantaba boleros y “Metafinal” (1996). The aquatic subtexts and grotesque characterization of La Estrella’s body construct her as an icon of musical authenticity and exceptionality as well as a symbol of strength and resistance. gordura fatness Cabrera Infante, Guillermo Tres tristes tigres Dominican Republic República Dominicana Cuba Puerto Rico fat gorda popular music música popular la gorda Fredy La Estrella Fredesvinda García Rodríguez salsa merengue reggaeton body cuerpo representation representación feminista feminismo Hispanic Caribbean Caribe hispano Shaw, Andrea women mujer lyrics letras Krudas La Sista lyrical analysis black negra negritud gordo feminism feminist corporal literatura latino latina body image beauty ideals ideales belleza Matafinal bolero cantante singer contemporary contemporánea African Diaspora cultural aesthetics sexuality la gorda aquatic authenticity
6	"Así me gustas gordita": Representaciones de la gordura en la música popular y la literatura del Caribe hispano Braden, Emily 17 December 2007 (has links) This thesis examines contemporary musical and literary representations of female fatness in the Hispanic Caribbean. Chapter I explores the stereotype of a greater acceptance and valorization of fatness within the African Diaspora using contemporary feminist scholarship on cultural aesthetics and the body. Fatness is discussed as being both sexually transgressive and traditionally feminine. Chapter II juxtaposes male representations of “la gorda” in the lyrics of popular music of from Cuba, the Dominican Republic and Puerto Rico with the feminist politics of underground hip hop. Chapter III analyzes Guillermo Cabrera Infante’s hyperbolic representation of La Estrella, his fictionalization of Cuban bolero singer Fredy Rodriguez, in Ella cantaba boleros y “Metafinal” (1996). The aquatic subtexts and grotesque characterization of La Estrella’s body construct her as an icon of musical authenticity and exceptionality as well as a symbol of strength and resistance. gordura fatness Cabrera Infante, Guillermo Tres tristes tigres Dominican Republic República Dominicana Cuba Puerto Rico fat gorda popular music música popular la gorda Fredy La Estrella Fredesvinda García Rodríguez salsa merengue reggaeton body cuerpo representation representación feminista feminismo Hispanic Caribbean Caribe hispano Shaw, Andrea women mujer lyrics letras Krudas La Sista lyrical analysis black negra negritud gordo feminism feminist corporal literatura latino latina body image beauty ideals ideales belleza Matafinal bolero cantante singer contemporary contemporánea African Diaspora cultural aesthetics sexuality la gorda aquatic authenticity

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