Die-bleibende Stadt : Quintet für fünf Bläser Nr. 1, op. 27 -- La nuit et l'extra-terrestre : Deuxième Poéme Symphonique pour Orchestra à vents, op. 28 -- Requiem no. 1 for solo soprano, mezzo-soprano, alto, tenor, bass, off-stage instruments, organ, double mixed chorus and orchestra, op. 30 -- 3 duets of strings, "Information Engineering", op. 31. / Lam, Wang Kong. / Durations: 8 min.; 8 min.; 70 min.; 8 min. / Thesis (M.Mus.)--Chinese University of Hong Kong, 2009. / Includes bibliographical references (leaves ). / Lyrics of 3rd work in Latin; abstract also in Chinese. / Abstract --- p.ii / Acknowledgements --- p.iii / Die bleibende Stadt: Quintet fur funf Blaser Nr. 1，Op.27 --- p.1 / Programme notes --- p.2 / Score --- p.3 / "La nuit et I'extra-terrestre : Deuxieme Poeme Symphonique pour Orchestre a vents, Op.28" --- p.9 / Programme notes --- p.10 / Score --- p.11 / "Requiem no. 1 for solo soprano, mezzo-soprano, alto, tenor, bass, off-stage instruments, organ, double mixed chorus and orchestra, Op.30" --- p.39 / Programme notes --- p.40 / Score: / Chapter I. --- Introit --- p.44 / Chapter II. --- Offertorio --- p.72 / Chapter III. --- Sanctus --- p.102 / Chapter IV. --- Pie Jesu --- p.121 / Chapter V. --- Agnus Dei --- p.126 / Chapter VI. --- Lux aetema --- p.137 / Chapter VII. --- Libera me --- p.141 / Chapter VIII. --- In paradisum --- p.171 / "3 Duets for strings, ""Information Engineering´ح, Op.31" --- p.184 / Programme notes --- p.185 / Score: / Chapter I. --- Fourier Transform --- p.186 / Chapter II. --- Cryptography --- p.188 / Chapter III. --- Information Theory --- p.190

Brass musicians are known to experience a performance problem that is sometimes called valsalva maneuver or musical stuttering. This problem is known to cause difficulty starting a first note, tension in the throat, and tightness in the chest. Unfortunately, the research literature lacks sufficient details for evidence-based interventions. Therefore, the purpose of this study is to characterize and define this performance problem as experienced by brass musicians. An online epidemiologic survey was developed and deployed to collect data from brass musicians who have experienced this problem in their own playing. The survey was designed to acquire data in order to characterize and define the phenomenon through a biopsychosocial framework. The survey was also designed to assess whether this problem aligns with Altenmuller's heuristic model of motor control disruptions. A diverse group of brass musicians (n = 252) participated and offered relevant details for characterizing and defining this problem. Analysis of characteristic data suggests this problem is not a form of musical stuttering. Considering these data through Altenmuller's model suggests that this problem is experienced as a spectrum of motor disruptions that can develop into a unique type of musician's dystonia. While additional research is warranted, the results of this study are applicable to brass musicians, brass pedagogues, music educators, and performing arts health clinicians.

La version intégrale de ce mémoire est disponible uniquement pour consultation individuelle à la Bibliothèque de musique de l’Université de Montréal (www.bib.umontreal.ca/MU). / Le présent mémoire est une analyse de trois pièces musicales composées dans le cadre de ma maîtrise en composition instrumentale. L’analyse se concentrera sur divers points importants pour chacune de ces œuvres et détaillera la structure formelle de chacune. Les œuvres présentées dans ce mémoire sont : 1. Groove, Fanfare & Finale pour quintette de cuivres ; 2. Voyage pour orchestre ; 3. Fantaisie pour piano et orchestre. La composition de ces œuvres s’est révélée être un laboratoire de recherche exceptionnel pour l’élaboration d’un langage musical personnel. Ce langage se caractérise entre autre par des textures hautement contrapuntiques, une économie de moyens, la recherche de transitions efficaces entre diverses idées et un souci d’unité formelle. / This memoir contains a musical analysis of three musical works. These works were composed as part of my master’s degree in instrumental musical composition. The analysis will focus on some important aspects for each of these works, and will detail the structure of each. The works analyzed in this memoir are: 1. Groove, Fanfare & Finale for brass quintet; 2. Voyage for orchestra; 3. Fantasia for piano and orchestra. The composition of these works has provided a tremendous opportunity for me to develop a personal musical style. This style is characterized by highly contrapuntal textures, economy of means, a constant search for efficient transitions between musical ideas and an emphasis on structural unity.

迎親燈籠、裝點精緻的花轎、幾十人的迎親隊伍和傳統的吹打樂隊，勾勒出一幅上世紀初紹興傳統的婚禮畫面。無論排場大小，吹打樂在當時紹興婚慶中一直是不可缺少的。直到20世紀20年代，一支名為「新聲」的銅管樂隊為紹興帶來了不同以往的音響和表演形式，並很快開始在當地上層階級的婚禮中流行。從第一支樂隊創立至今，紹興已有多達百余支銅管樂隊，兩千多名樂手。但我在一年多的田野調查中卻發現一直被冠以「洋氣」、「時髦」的銅管樂隊仍延續著很強的紹興當地的傳統文化特徵。 / 這其中有很多有趣且值得思考的問題：現用的銅管樂緣何被帶入紹興並成為婚慶音樂？在演奏和傳承過程中，它是如何適應當地的禮俗以及當地人的觀念？西方樂器與紹興當地文化之間的結合又揭示了什麼？帶著這些問題，本文的論述內容主要分為三個部分：1、追溯銅管樂隊在紹興產生和發展的歷史，瞭解不同時代背景下，銅管樂隊如何適應傳統婚慶儀式；2、通過記述近期紹興婚禮儀式的描述及口述歷史中的紹興婚慶習俗，探究它們之間的關係，以及樂隊和音樂在當地婚禮中的角色；3、探討文化、社會環境和政治因素對婚禮音樂的影響，以及紹興婚禮「傳統」在不斷延續和變化中，當地人對銅管樂隊、樂手和音樂的理解和看法。 / 本文認為儘管紹興婚慶的儀式、樂手、樂器、音樂都在改變，傳統文化的影響和人們的音樂觀念仍然在看似「洋化」了的銅管樂中延續，而被改變了的銅管樂也正締造著新的傳統。 / Red lanterns, elaborate bridal sedan, traditional Chinese wind and percussion (chuida 吹打) ensembles, once characterized conventional Shaoxing weddings in the early 20th century. No matter how simple the wedding was, chuida music was a very essential part, which decorated an atmosphere of lively joyance. Since the late 1920s, a newly established western brass band named Xinsheng (New Sound) brought into this county a strikingly different sound, as well as musical practices. In smart military uniform, this band of six, performing a mixed repertoire of Western and Chinese pieces, soon became popular in the weddings of the more affluent class. / As a convenient symbol of Western taste and fashion, this new band positioned itself well by its name "New Sound," an image its members initially wanted to project. However, almost ninety years after its establishment, I have found in my fieldwork that traditional Chinese concepts and practices remalll strong in the brass band's performances and activities. These unique features of border and genre crossing are also the reason why, over the course of a century, the number of brass bands in Shaoxing has increased significantly, and has become an indispensable component of present day weddings. / However, there are some interesting and important questions I want to ask in this thesis: why was the brass band brought into Shaoxing and chosen for the wedding ceremony? How did the band and its repertoire adapt to the Chinese traditional ritual context and appeal to local tastes and aesthetics? What does the brass band's negotiation between Western practices and local culture reveal? In order to answer these questions, this thesis first tracks the band's history and transmission. Then after a chapter of wedding ethnography and a chapter of oral history on traditional wedding, it looks into the function of brass bands and their musIc at weddings, and explores the cultural, historical and political meanings behind them. This paper examines the ways in which musical concepts of local people influence the Western brass bands, performers and the brass music itself. / The paper holds that although the rituals, performers, musical instruments and musical language continued to change throughout during years, the local cultural traditions and people's concepts are still maintained III the Western musical practices. The brass bands chosen by history are also creating and reconstructing the history and tradition. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / 鄭思. / "2013年1月". / "2013 nian 1 yue". / Thesis (M.Phil.)--Chinese University of Hong Kong, 2013. / Includes bibliographical references (leaves 80-85). / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstract in Chinese and English. / Zheng Si. / 目錄 --- p.i / Abstract --- p.ii / 中文摘要 --- p.iv / Chapter 第一章、 --- 研究背景介紹 --- p.1 / Chapter 一、 --- 紹興及其婚慶禮俗 --- p.2 / Chapter 二、 --- 文獻回顧 --- p.6 / Chapter 三、 --- 研究方法 --- p.11 / Chapter 第二章、 --- 口述歷史中的紹興婚禮儀式和樂隊 --- p.16 / Chapter 一、 --- 紹興三埭街的「墮民」 --- p.15 / Chapter 二、 --- 「墮民」樂手陳順泰 --- p.18 / Chapter 三、 --- 紹興婚禮的口述歷史 --- p.19 / Chapter 第三章、 --- 紹興婚慶儀式中的銅管樂隊 --- p.26 / Chapter 一、 --- 「新聲」的新生 --- p.26 / Chapter 二、 --- 銅管樂的學習和傳承 --- p.31 / Chapter 三、 --- 銅管樂隊在歷史中的轉變和發展 --- p.31 / Chapter 1、 --- 「新聲」在轉變中適應 --- p.32 / Chapter 2、 --- 從業人員 --- p.34 / Chapter 3、 --- 收益 --- p.35 / Chapter 4、 --- 銅管樂的現在：「紹興人只要結婚，都請、銅管樂 的現在：「紹興人只要結婚，都請隊」 --- p.36 / Chapter 第四章、 --- 銅管樂隊伴奏中的紹興婚慶儀式 --- p.38 / Chapter 一、 --- 紹興婚禮田野志 --- p.38 / Chapter 二、 --- 銅管樂隊演出的節氣、吉日、時辰 --- p.51 / Chapter 三、 --- 銅管樂隊的與鬧 銅管樂隊的與鬧 --- p.55 / Chapter 1、 --- 〈老八套〉 --- p.55 / Chapter 2、 --- 媒體影響下的流行音樂 --- p.61 / Chapter 第五章、 --- 結論 --- p.63 / 參考文獻 --- p.80

This is a study where I examine and compare the perceived emotional expression of brass instruments and reed instruments to investigate whether one group have an inherent tendency to better express a certain emotion than the other group. Based on scientifically proven methods, I have composed two musical pieces, where one of them represents the emotion of happiness and the other one represents the emotion of sadness. I have then written 5 arrangements per musical piece, where one of them consists of piano, two consists of solo instruments from each instrument group accompanied by piano, and two consists of a trio from each instrument group. This makes a total of 10 arrangements. These arrangements serve as audio examples in a web survey where I compare the two instrument groups based on how the audience perceive their emotional expression. A total of 36 people participated in the survey. Regarding the emotion of happiness, 71 % of the participants felt that trumpet and piano was the solo instrument version that best expressed happiness while 18 % chose oboe and piano. 44 % chose the brass trio as the happiest version while 36 % felt that the reed trio best expressed happiness. When it came to the emotion of sadness, 19 % of the participants chose trumpet and piano as the saddest solo instrument version, while 72 % felt that oboe and piano sounded the saddest. 25 % chose the brass trio as the saddest version while 67 % chose the reed trio.

Esta tesis doctoral tiene como objetivo principal el estudio de las veintidós obras sinfónicas del compositor Manuel Berná, (Albatera, Alicante-España 22/ agosto/ 1915). Se subraya la importancia de su estilo propio, encuadrado en la armonía tonal alterada, que huye de la duplicación de la octava, prefiriendo sextas y séptimas alteradas. Asimila el impresionismo, con gran dominio del color de la orquesta; el puntillismo, donde tienen valor las notas individualmente, fragmentando mucho las melodías; y el simbolismo, buscando la representación de la esencia del objeto o la psicología del personaje. Esto unido a una mentalidad contemporánea, elevando la música popular a la categoría de sinfónica. Predomina el tono sobre el modo: dentro de la politonalidad e incluso de una pantonalidad, aportando la idea estética de la influencia del semitono.Atento a las nuevas corrientes, vivo ejemplo de tenacidad, sabiendo evolucionar y aportar su estética a futuras generaciones, como compositor clásico. - / The aim of this thesis is to study the twenty-two symphonic works of the composer Manuel Berná, (born Albatera, Alicante, Spain, 22/08/1915).It emphasises the importance of his style within the framework of altered tonal harmony, which avoids doubling the octave, rather using altered sixths and sevenths. It assimilates Impressionism with its command of the orchestral colours; Pointillism, in which every note has equal importance, producing fragmentation in the melodies; and Symbolism, with its search for the representation of the essence of the objects or the psychology of the characters. These techniques and his contemporary mentality raise Popular Music to the category of Symphonic Music. Key takes precedence over mode within polytonality and even pantonality, contributing the aesthetic idea of influence of the semitone. As a classical composer, he was up to date with new trends, a living example of tenacity, evolving and contributing his aesthetics to new generations.

Esta tese apresenta o estudo sobre microconformação, no caso microextrusão de quatro materiais diferentes, um aço SAE 1020, um aço inoxidável AISI 304, um alumínio AA6531 e um latão ASTM C34000. Para avaliar o efeito do tamanho da peça sobre o processo de microextrusão, dois tamanhos de corpos de prova foram utilizados, um com ∅ 4 mm e outro com ∅ 1 mm. Para cada tamanho de corpo de prova, três ângulos de extrusão foram utilizados, 30°, 45° e 60°. A primeira parte do trabalho se resume a caracterização dos materiais, com analise química e metalográfica. Após a caracterização dos materiais, as curvas de escoamento através do ensaio de compressão utilizando dois tamanhos de corpos de prova foram feitos em todos os materiais. O atrito foi determinado utilizando o ensaio de anel de atrito com três tamanhos diferentes de corpos de prova. As curvas de calibração foram feitas utilizando o software SIMUFACT. Os ensaios de extrusão foram feitos em uma máquina de ensaio universal com capacidade de captura de dados como força e deslocamento. Um modelo matemático foi utilizado para comparar a força de extrusão calculada com o medido no processo. Os resultados indicam que as curvas de escoamento de tamanho macro podem ser aplicadas a peças de tamanho meso. O atrito medido pelo ensaio de anel de atrito mostrou que os valores de atrito de tamanho micro tem um pequeno valor maior que para tamanho macro. Os valores de força de extrusão calculada e medido no ensaio para peças de tamanho meso tem boa aproximação com diferença de 3,2% para o aço inoxidável. Para peça de tamanho micro, a diferença entre o valor medido e o calculado aumenta chegando a diferença de 995% para o corpos de prova de aço comum. / This thesis presents the study about microforming, in this case microextrusion of the four different materials, an SAE 1020 steel, an AISI 304 stainless steel, an AA6531 aluminum and a C34000 brass. To evaluate the size effect about microextrusion process, two sizes of specimens were used, with a ∅ 4 mm and another with ∅ 1 mm. For each size of specimen, three extrusion angles were used, 30 °, 45 ° and 60 °. The first part of the work was to materials characterizations with chemical and metallographic analysis. Following the materials characterization, the flow stress curves was made using the compression test with two sizes of specimens. The friction was determined using the friction ring test with the three different size. Calibration curves were performed using the software SIMUFACT . The extrusion tests were performed in a universal testing machine capable of capturing such as force and displacement data. A mathematical model was used to compare the extrusion force it was calculated and the force measured in microextrusion. The results indicate that the flow stress curves of macro size can be applied to meso sizes. The ring friction test indicate that the friction values of the micro size has a small value greater than macro size. The extrusion force calculated and measured in the test to meso size has good approximation with a difference of 3.2% in the stainless steel. To pieces of the micro size, the difference between the measured and calculated force increases 995% for the samples of SAE 1020 steel.

La petite métallurgie du cuivre – laiton, bronze, plaqué, dorure, argenture – et la quincaillerie fine associée sont, en France, après la Guerre de Sept Ans jusqu’à la veille de la Révolution, de 1765 à 1790 environ, un secteur de l’économie du luxe à la pointe de l’innovation et très concurrentiel, capable de rivaliser avec l’Angleterre, une nation jusque là tenue comme « invincible ». Une première série de travaux en micro-histoire a aidé à redresser l’image de la « révolution » industrielle, mais la vision hiérarchisée des relations entre les différents acteurs subsistant, profitait à certains (gros merciers et entrepreneurs ; techniciens) au détriment d’autres. Au fil des recherches, s’est dégagée une vision plus complexe du milieu parisien de la curiosité, démontrant que les acteurs principaux, les merciers, étaient en général entourés de nombreux correspondants associés à leurs affaires et qui n’étaient pas de simples exécutants. Il fallait en retrouver trace par un dépouillement systématique des archives de Paris et de Londres.A la lumière des sources nous avons poussé les portes d’ateliers d’artisans-fabricants parisiens, découvrant leurs mises en scène de la technique et l’expression d’une pensée technologique : les équipements et les outils matérialisant leurs capacités à s’organiser ; les matières et matériaux, affichant leurs capacités à diversifier les nouveaux alliages et à en affiner les qualités ; les nombreux modèles affichant des intentions de décliner des gammes d’objets et de jouer sur les complémentarités entre métiers; les techniques de finition par jeux d’éclats, imitations, raffinement prouvant leurs implications dans une quête de la perfection.Mais la technicité et la spécialisation exigent de la sous-traitance, donc le recours à d’autres métiers et réseaux. Or, les contraintes corporatives à Paris à l’époque interdisent à l’artisan de vendre ce qu’il ne fabrique pas. Son corollaire est le privilège marchand de vendre tout ce qu’on n’a pas fabriqué, une prérogative qui donne à ce Corps l’ascendance sur les autres. Notre dépouillement de grosses affaires commerciales à Paris mais aussi à Londres démontre que le secteur du luxe prospère grâce à l’économie marchande et à la dynamique basée sur la multiplicité des métiers et des cultures. Cette dynamique est d’autant activée par la polyvalence de certains intermédiaires, dont la minorité de marchands juifs de Londres. Les archives de faillite confirment que les communications entre les marchands parisiens et les membres de ce réseau ont été porteuses de savoirs technologiques pratiques et que l’histoire de la technologie est inscrite dans ces alliances. / In between the end of the Seven Year War and the beginning of the Revolution, from 1765 to 1790, the French hardware trade and the “toy” industry - brass, bronze, plating, gilding, silvering - emerged as one of the most innovative and competitive luxury sector, able to compete with its English counterpart still held as the “hero” in the history of the industrial “revolution”. As a result of many new inquiries and reassessment of the subject through micro-history approaches, inherited historiography has been revised. Yet, a hierarchical vision of relationships among its actors (mercers, producers, and technicians alike) still prevails, leaving apart and undetected some more modest and seemingly ordinary people. As a result of additional recent studies, a new and more complex perception of the Parisian context has demonstrated that the main actors of this achievement usually worked in close association with a number of people that were far from being mere “hands”. Archival resources in Paris and London had to be explored much thoroughly.Perusing through the sources has led us first to visit craftsmen’s workshops and discover “the technique” which reflects the emergence of technological thought : the equipment and tools materialising their capacity to devise and organise the job ; products and materials including new alloys showing their ability to diversify and to refine ; numerous models testifying to their plan to increase the ranges of product relying on analogies and complementarities between trades; finishing and decorating through brilliance, imitations, refinements, proved that their quest for perfection was one of their ultimate challenge.But technique and specialisation mean expansion therefore sub-contracting, that is recruiting other trades and networks. Yet, under the Parisian corporative regulations, a craftsman is denied the right to sell what he does not produce himself, the corollary being that a merchant is allowed under that rule to sell whatever he does not make. This gives him predominance over artisans. Our study of significant mercers’ businesses in Paris and in London demonstrates that the luxury sector has been stimulated by trade and that it involved many arts and crafts; that under this impulse, though originating in France mainly Paris, it went beyond frontiers through different countries one of which being Great Britain, the economy of which was prospering; that the boost was reinforced by the involvement of networks of multi-skilled actors, among them the minority of Jewish traders from London.Thus, progress in historical research has led to the conclusion that between Parisian merchants and the members of this particular network, exchanges involved technology concerns and that, as a result of these alliances, technology had been greatly promoted.

Esta tese apresenta o estudo sobre microconformação, no caso microextrusão de quatro materiais diferentes, um aço SAE 1020, um aço inoxidável AISI 304, um alumínio AA6531 e um latão ASTM C34000. Para avaliar o efeito do tamanho da peça sobre o processo de microextrusão, dois tamanhos de corpos de prova foram utilizados, um com ∅ 4 mm e outro com ∅ 1 mm. Para cada tamanho de corpo de prova, três ângulos de extrusão foram utilizados, 30°, 45° e 60°. A primeira parte do trabalho se resume a caracterização dos materiais, com analise química e metalográfica. Após a caracterização dos materiais, as curvas de escoamento através do ensaio de compressão utilizando dois tamanhos de corpos de prova foram feitos em todos os materiais. O atrito foi determinado utilizando o ensaio de anel de atrito com três tamanhos diferentes de corpos de prova. As curvas de calibração foram feitas utilizando o software SIMUFACT. Os ensaios de extrusão foram feitos em uma máquina de ensaio universal com capacidade de captura de dados como força e deslocamento. Um modelo matemático foi utilizado para comparar a força de extrusão calculada com o medido no processo. Os resultados indicam que as curvas de escoamento de tamanho macro podem ser aplicadas a peças de tamanho meso. O atrito medido pelo ensaio de anel de atrito mostrou que os valores de atrito de tamanho micro tem um pequeno valor maior que para tamanho macro. Os valores de força de extrusão calculada e medido no ensaio para peças de tamanho meso tem boa aproximação com diferença de 3,2% para o aço inoxidável. Para peça de tamanho micro, a diferença entre o valor medido e o calculado aumenta chegando a diferença de 995% para o corpos de prova de aço comum. / This thesis presents the study about microforming, in this case microextrusion of the four different materials, an SAE 1020 steel, an AISI 304 stainless steel, an AA6531 aluminum and a C34000 brass. To evaluate the size effect about microextrusion process, two sizes of specimens were used, with a ∅ 4 mm and another with ∅ 1 mm. For each size of specimen, three extrusion angles were used, 30 °, 45 ° and 60 °. The first part of the work was to materials characterizations with chemical and metallographic analysis. Following the materials characterization, the flow stress curves was made using the compression test with two sizes of specimens. The friction was determined using the friction ring test with the three different size. Calibration curves were performed using the software SIMUFACT . The extrusion tests were performed in a universal testing machine capable of capturing such as force and displacement data. A mathematical model was used to compare the extrusion force it was calculated and the force measured in microextrusion. The results indicate that the flow stress curves of macro size can be applied to meso sizes. The ring friction test indicate that the friction values of the micro size has a small value greater than macro size. The extrusion force calculated and measured in the test to meso size has good approximation with a difference of 3.2% in the stainless steel. To pieces of the micro size, the difference between the measured and calculated force increases 995% for the samples of SAE 1020 steel.

Esta tese apresenta o estudo sobre microconformação, no caso microextrusão de quatro materiais diferentes, um aço SAE 1020, um aço inoxidável AISI 304, um alumínio AA6531 e um latão ASTM C34000. Para avaliar o efeito do tamanho da peça sobre o processo de microextrusão, dois tamanhos de corpos de prova foram utilizados, um com ∅ 4 mm e outro com ∅ 1 mm. Para cada tamanho de corpo de prova, três ângulos de extrusão foram utilizados, 30°, 45° e 60°. A primeira parte do trabalho se resume a caracterização dos materiais, com analise química e metalográfica. Após a caracterização dos materiais, as curvas de escoamento através do ensaio de compressão utilizando dois tamanhos de corpos de prova foram feitos em todos os materiais. O atrito foi determinado utilizando o ensaio de anel de atrito com três tamanhos diferentes de corpos de prova. As curvas de calibração foram feitas utilizando o software SIMUFACT. Os ensaios de extrusão foram feitos em uma máquina de ensaio universal com capacidade de captura de dados como força e deslocamento. Um modelo matemático foi utilizado para comparar a força de extrusão calculada com o medido no processo. Os resultados indicam que as curvas de escoamento de tamanho macro podem ser aplicadas a peças de tamanho meso. O atrito medido pelo ensaio de anel de atrito mostrou que os valores de atrito de tamanho micro tem um pequeno valor maior que para tamanho macro. Os valores de força de extrusão calculada e medido no ensaio para peças de tamanho meso tem boa aproximação com diferença de 3,2% para o aço inoxidável. Para peça de tamanho micro, a diferença entre o valor medido e o calculado aumenta chegando a diferença de 995% para o corpos de prova de aço comum. / This thesis presents the study about microforming, in this case microextrusion of the four different materials, an SAE 1020 steel, an AISI 304 stainless steel, an AA6531 aluminum and a C34000 brass. To evaluate the size effect about microextrusion process, two sizes of specimens were used, with a ∅ 4 mm and another with ∅ 1 mm. For each size of specimen, three extrusion angles were used, 30 °, 45 ° and 60 °. The first part of the work was to materials characterizations with chemical and metallographic analysis. Following the materials characterization, the flow stress curves was made using the compression test with two sizes of specimens. The friction was determined using the friction ring test with the three different size. Calibration curves were performed using the software SIMUFACT . The extrusion tests were performed in a universal testing machine capable of capturing such as force and displacement data. A mathematical model was used to compare the extrusion force it was calculated and the force measured in microextrusion. The results indicate that the flow stress curves of macro size can be applied to meso sizes. The ring friction test indicate that the friction values of the micro size has a small value greater than macro size. The extrusion force calculated and measured in the test to meso size has good approximation with a difference of 3.2% in the stainless steel. To pieces of the micro size, the difference between the measured and calculated force increases 995% for the samples of SAE 1020 steel.