Submitted by Jos? Henrique Henrique (jose.neves@ufvjm.edu.br) on 2018-07-19T18:00:38Z No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) ronan_peixoto_gontijo.pdf: 1104745 bytes, checksum: 61495fad179d3458b9a10be7203acb6e (MD5) / Approved for entry into archive by Rodrigo Martins Cruz (rodrigo.cruz@ufvjm.edu.br) on 2018-08-22T12:55:16Z (GMT) No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) ronan_peixoto_gontijo.pdf: 1104745 bytes, checksum: 61495fad179d3458b9a10be7203acb6e (MD5) / Made available in DSpace on 2018-08-22T12:55:16Z (GMT). No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) ronan_peixoto_gontijo.pdf: 1104745 bytes, checksum: 61495fad179d3458b9a10be7203acb6e (MD5) Previous issue date: 2017 / Objetivou-se avaliar os efeitos das t?cnicas de matura??o a v?cuo (wet ageing) e a seco (dry-ageing) nas caracter?sticas de qualidade da carne bovina proveniente do m?sculo dianteiro semispinales thoracis de animais Nelore. Foram processados 40 cortes, com peso ap?s toalete de aproximadente 2000g. Estes cortes foram maturados pelas duas t?cnicas de matura??o (embalados em polietileno para t?cnica a v?cuo e sem embalagem para t?cnica a seco) em c?mara fria padr?o comercial, com temperatura m?dia de 3?C e umidade relativa do ar m?dia de 69% durante 5 tempos, a saber: 0, 7, 14, 21 e 28 dias. Os cortes maturados pela t?cnica a seco foram diariamente virados e aspergidos com solu??o de 2% (v/v) de ?cido ac?tico. Os cortes da t?cnica a v?cuo foram aspergidos com a mesma solu??o e imediatamente embalados a v?cuo. Em cada tempo de matura??o foram avaliados rendimentos, for?a de cisalhamento, cor (L a* b* C and H ?), capacidade de reten??o de ?gua, perda de peso por coc??o, pH, quantifica??o superificial de coliformes totais e termotolerantes, assim como os teores de prote?na, gordura, massa seca e res?duo mineral fixo. N?o foram verificadas diferen?as (P>0,05) para a for?a de cisalhamento, perda de peso por coc??o, pH, par?metros microbiol?gicos e bromatol?gicos, com o decorrer dos 28 dias de matura??o, para ambas as t?cnicas. Na carne maturada ? v?cuo foram observados (P<0,05) aumento no croma e diminui??o na capacidade de reten??o de ?gua. A carne maturada a v?cuo apresentou os maiores rendimentos totais (P<0,05) comparada com a carne maturada a seco. A carne maturada ? seco apresentou maior capacidade de reten??o de ?gua e menor perda de peso por coc??o, em compara??o a carne maturada a v?cuo. A matura??o a seco por 21 dias proporcinou estabilidade da cor sem altera??es nos par?metros f?sico-qu?micos e redu??o na for?a de cisalhamento da carne proveniente do m?sculo semispinalis thoracis. A matura??o a v?cuo por 28 dias proporcionou redu??o da for?a de cisalhamento da carne proveniente do m?sculo semispinalis thoracis. / Disserta??o (Mestrado) ? Programa de P?s-Gradua??o em Zootecnia, Universidade Federal dos Vales do Jequitinhonha e Mucuri, 2017. / The objective of this study was to evaluate the effects of vacuum (wet-ageing) and dry-ageing techniques on the quality characteristics of bovine meat from the semispinales thoracis muscle of Nellore animals. 40 cuts were processed, with weight after trim of approximately 2000g. These cuts were matured by the two maturation techniques (packed in polyethylene for vacuum technique and without packaging for dry technique) in a commercial standard cold chamber, with a mean temperature of 3?C and a relative humidity of 69% for 5 times , namely: 0, 7, 14, 21 and 28 days. The sections matured by the dry-ageing technique were tacked daily and sprayed with a 2% (v / v) solution of acetic acid. The vacuum technique cuts were sprayed with the same solution and immediately vacuum packed. At each maturation time, yields, shear force, color (L a* b* C and H ?), water retention capacity, weight loss by cooking, pH, superificial quantification of total and thermotolerant coliforms, the levels of protein, fat, dry matter and fixed mineral residue were evaluated. No differences (P> 0.05) were observed for the shear force, weight loss per cooking, pH, microbiological and bromatological parameters, during the 28 days of maturation, for both techniques. In the vacuum packed meat (P <0.05), chroma increase and decrease in water retention capacity were observed. The vacuum packed meat had the highest total yields (P <0.05) compared to dry-aged meat. Dry-aged meat had a higher water retention capacity and less weight loss per cooking compared to vacuum packed meat. Dry maturation for 21 days provided color stability without changes in the physical-chemical parameters and reduction in the shear force of the meat from the semispinalis thoracis muscle. The 28-day vacuum maturation provided a reduction in the shear force of meat from the semispinalis thoracis muscle.

This research presents a novel framework for automatic chroma keying and the optimizations for real-time and stereoscopic 3D processing. It first simulates the process of human perception on isolating foreground elements in a given scene by perceptual analysis, and then predicts foreground colours and alpha map based on the analysis results and the restored clean background plate rather than direct sampling. Besides, an object level depth map is generated through stereo matching on a carefully determined feature map. In addition, three prototypes on different platforms have been implemented according to their hardware capability based on the proposed framework. To achieve real-time performance, the entire procedures are optimized for parallel processing and data paths on the GPU, as well as heterogeneous computing between GPU and CPU. The qualitative comparisons between results generated by the proposed algorithm and other existing algorithms show that the proposed one is able to generate more acceptable alpha maps and foreground colours especially in those regions that contain translucencies and details. And the quantitative evaluations also validate our advantages in both quality and speed.

Four works are selected to demonstrate the stature and demands of this craft and to represent a pinnacle in the art of contemporary woodwind doubling. Concerto for Doubles, by Thomas Filas, Concerto Tri-Chroma. by Michael Kibbe, Rhapsody Nova, by Clare Fischer and Suite for Solo Flute. Clarinet and Alto Saxophone by Claude Smith all represent rare, major solo works written specifically for three individual woodwind doublers. The paper will begin with a history of the practice of woodwind doubling from the fifteenth century to the present. The four works will then be examined by considering form, style and related performance practices.

Oblasti jako automatické otáčení stránek nebo automatický hudební doprovod jsou studovány již několik desetiletí. Tato práce shrnuje současné metody pro počítačové sledování not v reálném čase. Zabývá se také hudebními příznaky jako jsou chroma třídy a syntetizované spektrální šablony. Dále popisuje klíčové části systému jako krátkodobou Fourierovu transformaci a Dynamické borcení času. V rámci projektu byl navrhnut a vyvinut vlastní systém pro sledování pozice hráče v notách, který byl následně implementován jako mobilní aplikace. Výsledný systém dokáže sledovat i skladby s výrazně odlišným tempem, pauzami během hry nebo drobnými odchylkami od předepsaných not.

The thesis aims at complex assessment of absolute pitch both theoretically and practically. It describes the functioning of ear and main issues related to processing of sound and tone height. In addition, it clarifies related terms stemming from musical psychology. Especially, it endeavours to identify causes of absolute pitch and factors which form it. The thesis surveys several phenomena connected with absolute pitch, for example with synesthesia, and with other aspects such as occurrence of absolute pitch among population. More practical part of research consists in a questionaire used for verification of hypotheses related to absolute pitch. The thesis uses not only the Czech but especially English written literature which has not yet been used in such a scope in the Czech musical research.

The thesis aims at complex assessment of absolute pitch both theoretically and practically. It describes the functioning of ear and main issues related to processing of sound and tone height. In addition, it clarifies related terms stemming from musical psychology. Especially, it endeavours to identify causes of absolute pitch and factors which form it. The thesis surveys several phenomena connected with absolute pitch, for example with synesthesia, and with other aspects such as occurrence of absolute pitch among population. It uses not only the Czech but especially English written literature which has not yet been used in such a scope in the Czech musical research.

Definované markery tvoří základ určování polohy kamery pro velké množství aplikací s rozšířenou realitou, v případě že jsou přísné požadavky na rychlost a robustnost. Tato práce popisuje účinnou metodu pro určení pózy kamery pomocí Uniformního pole markerů a několik realistických aplikací na bázi popsané metody. Metoda je velice výpočetně levná a poskytuje spolehlivou detekci pro několik výpočetních platforem, včetně běžných chytrých telefonů. Markery jako část zobrazené informace na monitorech jsou použité v této práci pro určení relativní orientaci mezi poskytovatelem obsahu a užívatelským zařízením, sloužícím pro výběr prvků užívatelského rozhraní při  interakci a migraci úkolů. Ve filmařském průmyslu poskytuje popsaná metoda pro zjištění polohy kamery jako součást klíčovaní pozadí filmářům živý náhled virtuální scény. Výsledky ukazují, že popsaná metoda pro detekci pole markerů má srovnatelnou úspěšnost a přesnost v porovnání s ostatními metodami na bázi markerů a je několikrát rýchlejší. Aplikace zahrnuté v této práci podle výsledků testů jsou životaschopné - rychlejší a levnější - alternativy k existujícím řešením.

This thesis proposes a novel approach to extracting pose information from image sequences. Current state of the art techniques focus exclusively on the image space occupied by the body for pose and action recognition. The method proposed here, however, focuses on the negative spaces: the areas surrounding the individual. This has resulted in the colour-coded negative space approach, an image preprocessing step that circumvents the need for complicated model fitting or template matching methods. The approach can be described as follows: negative spaces surrounding the human silhouette are extracted using horizontal and vertical scanning processes. These negative space areas are more numerous, and undergo more radical changes in shape than the single area occupied by the figure of the person performing an action. The colour-coded negative space representation is formed using the four binary images produced by the scanning processes. Features are then extracted from the colour-coded images. These are based on the percentage of area occupied by distinct coloured regions as well as the bounding box proportions. Pose clusters are identified using feedback from an independent action set. Subsequent images are classified using a simple Euclidean distance measure. An image sequence is thus temporally segmented into its corresponding pose representations. Action recognition simply becomes the detection of a temporally ordered sequence of poses that characterises the action. The method is purely vision-based, utilising monocular images with no need for body markers or special clothing. Two datasets were constructed using several actors performing different poses and actions. Some of these actions included actors waving their arms, sitting down or kicking a leg. These actions were recorded against a monochrome background to simplify the segmentation of the actors from the background. The actions were then recorded on DV cam and digitised into a data base. The silhouette images from these actions were isolated and placed in a frame or bounding box. The next step was to highlight the negative spaces using a directional scanning method. This scanning method colour-codes the negative spaces of each action. What became immediately apparent is that very distinctive colour patterns formed for different actions. To emphasise the action, different colours were allocated to negative spaces surrounding the image. For example, the space between the legs of an actor standing in a T - pose with legs apart would be allocated yellow, while the space below the arms were allocated different shades of green. The space surrounding the head would be different shades of purple. During an action when the actor moves one leg up in a kicking fashion, the yellow colour would increase. Inversely, when the actor closes his legs and puts them together, the yellow colour filling the negative space would decrease substantially. What also became apparent is that these coloured negative spaces are interdependent and that they influence each other during the course of an action. For example, when an actor lifts one of his legs, increasing the yellow-coded negative space, the green space between that leg and the arm decreases. This interrelationship between colours hold true for all poses and actions as presented in this thesis. In terms of pose recognition, it is significant that these colour coded negative spaces and the way the change during an action or a movement are substantial and instantly recognisable. Compare for example, looking at someone lifting an arm as opposed to seeing a vast negative space changing shape. In a controlled research environment, several actors were instructed to perform a number of different actions. After colour coding the negative spaces, it became apparent that every action can be recognised by a unique colour coded pattern. The challenge is to ascribe a numerical presentation, a mathematical quotation, to extract the essence of what is so visually apparent. The essence of pose recognition and it's measurability lies in the relationship between the colours in these negative spaces and how they impact on each other during a pose or an action. The simplest way of measuring this relationship is by calculating the percentage of each colour present during an action. These calculated percentages become the basis of pose and action recognition. By plotting these percentages on a graph confirms that the essence of these different actions and poses can in fact been captured and recognised. Despite variations in these traces caused by time differences, personal appearance and mannerisms, what emerged is a clear recognisable pattern that can be married to an action or different parts of an action. 7 Actors might lift their left leg, some slightly higher than others, some slower than others and these variations in terms of colour percentages would be recorded as a trace, but there would be very specific stages during the action where the traces would correspond, making the action recognisable.In conclusion, using negative space as a tool in human pose and tracking recognition presents an exiting research avenue because it is influenced less by variations such as difference in personal appearance and changes in the angle of observation. This approach is also simplistic and does not rely on complicated models and templates