Ingeniero Civil en Computación / El contexto de este trabajo de título se enmarca en empresas que pertenecen al rubro de desarrollo de software en Chile. En particular, este trabajo se enfoca en la operación de las pequeñas y medianas empresas (PyMEs). Estas son típicamente diferentes a las grandes empresas de software en términos de su operatoria, lo cual hace que la gestión de los proyectos requiera consideraciones particulares para ellas. Un problema de las PyMEs de desarrollo de software chilenas es que carecen de un proceso automático para la generación de planes de desarrollo a partir de sus procesos formalizados. Es decir, a partir de sus procesos formalizados ellos tienen que crear manualmente sus planes de desarrollo, lo que les toma tiempo y esfuerzo considerable. El objetivo general de la memoria es el definir, diseñar e implementar una herramienta capaz de generar, en forma automática, planes de desarrollo para proyectos de software a partir del proceso de desarrollo de una empresa y de la información de los recursos asignados al proyecto. En este proyecto se implementó un sistema capaz de obtener la información de un proceso formalizado, para luego generar de forma automática un plan de desarrollo. Para ello se definieron los requisitos mínimos que el sistema debía cumplir; dentro de los más destacables, se emplean tecnologías open source y las más populares en el rubro. Las herramientas utilizadas fueron: Eclipse Process Framework Composer (EPFC) en la cual se formalizan los procesos de desarrollo de las PyMEs y Redmine, una plataforma web de gestión de proyectos, usada para crear planes de desarrollo. La solución consiste en dos plugins y un artefacto de intercambio. Uno de ellos llamado XmlGen se integra a EPFC y extrae la información del proceso formalizado y la transfiere a un artefacto de intercambio, que en este caso es un archivo XML. Finalmente el segundo plugin, llamado XmlImport, se integra con Redmine, éste lee la información del archivo XML y construye el plan de desarrollo del proyecto en la plataforma. Con el fin de validar la solución propuesta y desarrollada, se utilizó un proceso de desarrollo de software formalizado por la PyME de desarrollo de software Ki Teknology. Con él se presentó una serie de demostraciones del sistema a paneles de expertos que opinaron sobre el funcionamiento de este, lo que conllevó a su validación y, finalmente, a un potencial uso en la operación de las PyMEs. Finalmente se concluye que el sistema desarrollado logra satisfacer el problema planteado: generar automáticamente planes de desarrollo para un proyecto a partir de un proceso formalizado.

Rezension zum 1998 erschienen Werk über den serbischen Komponisten Miloje Milojević

Paul Hindemith was one of the most distinguished composers of the twentieth century. This thesis will begin with biographical information, highlighting important events in his life. Then, in an effort to understand his compositional style and his philosophy of Gebrauchsmusik, his mastery of classical form, the Sonata for Clarinet and Piano is chosen for a detailed stylistic analysis. Treated in the analysis chapter are form, melody, harmony, rhythm, dynamic, and the technically problematic areas involved such as fingering and ensemble with piano. Hindemith's musical style is conservative in form and tonality. Tonality and melodic motives constitute the dominant force throughout the entire sonata. In the analysis of harmony in this study, Hindemith's own analytical method, which he established on acoustical phenomenon, will be employed as is necessary

The thesis focuses on the personality and composer work of the contemporary Czech composer Jan Bernatek. The life and professional career of the composer are introduced; a large part of the thesis is dedicated to the author's compositions focusing on pieces meant for vocal ensembles. Essential pieces of his work were chosen from a complete list of all choir pieces, and these are introduced to a deeper extent. The most space is given to the choral piece Missa brevis and the folk cycle Mezi dvěma vinohrady. Musical analyses of these compositions contain the complete text documents and are accompanied by score samples. The scores of both given pieces are part of the thesis. We tried to describe characteristic features in Bernatek's work and to specify his compositional techniques on the basis of detailed analyses of fifteen pieces. A separate chapter is given to his composer's successes and awards.

The master's theses are meant as a monography, that informs about an important personality of the cultural life in Olomouc, doc. PhDr. Zdeněk Fridrich CSc. He made a large impact within the field of historical organ building in Moravia, where he presented the organs and made a case for the necessity of their renewal. His publications are renowned publicly both domestically and internationally. Next, he dealt with composition and created a complex work. He wrote vocal and instrumental compositions ranging from small chamber ensembles to pieces for a symphony orchestra. Not of lesser importance was his pedagogical activity. Zdenek Fridrich taught at the Institut for Music Pedagogy on the Pedagogical Faculty of Palacký University in Olomouc for thirty years where he pedagogically influenced the profiles of many graduates, that have become successful in the musical praxis. Part of this thesis is a CD with examples of Zdenek Fridrich's works.

This disertation turns its focus to one of the most significant personage of violin history. It portrays Eugène Ysaÿe not only as an interpret, conductor and pedagogist, but also as unconventional composer which established underlying milestone influented violin techniques of 20th century. We will point out to amity with leading artistic personalities which affected not only his evolution as composer. On musical examples, we will demonstrate his musical language, composition technique and personal input. This work should serve as complex oversight of Ysaÿe's life and persisting legacy.

Por meio da mútua colaboração, compositores e intérpretes sempre buscaram novas maneiras de explorar as possibilidades sonoras, tímbricas e técnicas dos instrumentos. Na música contemporânea, essa busca revela-se principalmente no que chamamos de técnicas estendidas. Este estudo tem como objetivo investigar, sob a ótica da cooperação compositor-intérprete, as técnicas estendidas aplicadas nas obras Vitrais, para fagote, cordas e percussão, composta por Nelson Almeida, e Fantasia, para fagote e piano, composta por Ricardo Brafman. Traça-se um panorama histórico da parceria entre o compositor e o intérprete ao longo da história da música, no qual se discute a importância de todo esse processo colaborativo. Em se tratando da música composta a partir do século XX, como é o caso das peças em questão nesta pesquisa, a metodologia utilizada baseia-se, principalmente, nos trabalhos do compositor italiano Bruno Bartolozzi e do fagotista italiano Sérgio Penazzi, que desenvolveram trabalhos colaborativos nas pesquisas relacionadas às técnicas estendidas. Além disso, por meio dos diálogos, das comunicações pessoais e das entrevistas realizadas pelo autor deste trabalho com os compositores Nelson Almeida e Ricardo Brafman, relatamos todo o processo composicional que envolveu as referidas peças. Ao focar na interpretação das obras, este trabalho traz a análise em duas partes. A primeira, sob o prisma das particularidades individuais das técnicas estendidas aplicadas, tece considerações acerca de dedilhados e das maneiras de execução. A segunda parte destaca os aspectos da forma, do ritmo, do timbre e textura e dos materiais musicais usados. Pela cooperação, obtiveram-se resultados satisfatórios na aplicação das técnicas estendidas utilizadas tanto em Vitrais quanto na Fantasia. Dessa forma, o processo colaborativo mostra-se eficiente como uma ferramenta importante no auxílio da busca do material sonoro esperado pelos compositores. / In their collaborations, composers and performers have always sought to find new ways of exploring musical instruments sonic, timbral and technical possibilities. In contemporary music today, that exploration is noticeable above all in what are called extended techniques. The present study\'s objective is to investigate, from the perspective of composer-performer collaboration, the use of extended techniques in the following works: Vitrais, for bassoon, strings and percussion, composed by Nelson Almeida, and composer Ricardo Brafman\'s Fantasia for bassoon and piano. The study offers a historical view of collaborations between composer and performer throughout the history of western music, and the importance of all this joint work is discussed. The present study focuses on works from the twentieth century; for that reason the methodology employed is based principally on the work of the Italian composer Bruno Bartolozzi, as well as that of the Italian bassoonist Sergio Penazzi. Both undertook collaborative projects in their research relating to extended techniques. In addition, the present study describes the compositional process involved in the aforementioned compositions, by means of dialogue, personal communications and interviews undertaken by the researcher with composers Nelson Almeida and Ricardo Brafman. The interpretation of these works is also discussed here, being analyzed from two perspectives. The first of these involves the specific details of the extended techniques employed; fingerings and means of execution are discussed. The second part highlights those elements of form, rhythm, timbre and texture and musical materials that were used. The collaboration that took place led to satisfactory results in the employment of extended techniques both in Vitrais and in the Fantasia. The collaborative process can thus be seen to be effective as an important tool, aiding in the search for the sonic results desired by the composers.

Por meio da mútua colaboração, compositores e intérpretes sempre buscaram novas maneiras de explorar as possibilidades sonoras, tímbricas e técnicas dos instrumentos. Na música contemporânea, essa busca revela-se principalmente no que chamamos de técnicas estendidas. Este estudo tem como objetivo investigar, sob a ótica da cooperação compositor-intérprete, as técnicas estendidas aplicadas nas obras Vitrais, para fagote, cordas e percussão, composta por Nelson Almeida, e Fantasia, para fagote e piano, composta por Ricardo Brafman. Traça-se um panorama histórico da parceria entre o compositor e o intérprete ao longo da história da música, no qual se discute a importância de todo esse processo colaborativo. Em se tratando da música composta a partir do século XX, como é o caso das peças em questão nesta pesquisa, a metodologia utilizada baseia-se, principalmente, nos trabalhos do compositor italiano Bruno Bartolozzi e do fagotista italiano Sérgio Penazzi, que desenvolveram trabalhos colaborativos nas pesquisas relacionadas às técnicas estendidas. Além disso, por meio dos diálogos, das comunicações pessoais e das entrevistas realizadas pelo autor deste trabalho com os compositores Nelson Almeida e Ricardo Brafman, relatamos todo o processo composicional que envolveu as referidas peças. Ao focar na interpretação das obras, este trabalho traz a análise em duas partes. A primeira, sob o prisma das particularidades individuais das técnicas estendidas aplicadas, tece considerações acerca de dedilhados e das maneiras de execução. A segunda parte destaca os aspectos da forma, do ritmo, do timbre e textura e dos materiais musicais usados. Pela cooperação, obtiveram-se resultados satisfatórios na aplicação das técnicas estendidas utilizadas tanto em Vitrais quanto na Fantasia. Dessa forma, o processo colaborativo mostra-se eficiente como uma ferramenta importante no auxílio da busca do material sonoro esperado pelos compositores. / In their collaborations, composers and performers have always sought to find new ways of exploring musical instruments sonic, timbral and technical possibilities. In contemporary music today, that exploration is noticeable above all in what are called extended techniques. The present study\'s objective is to investigate, from the perspective of composer-performer collaboration, the use of extended techniques in the following works: Vitrais, for bassoon, strings and percussion, composed by Nelson Almeida, and composer Ricardo Brafman\'s Fantasia for bassoon and piano. The study offers a historical view of collaborations between composer and performer throughout the history of western music, and the importance of all this joint work is discussed. The present study focuses on works from the twentieth century; for that reason the methodology employed is based principally on the work of the Italian composer Bruno Bartolozzi, as well as that of the Italian bassoonist Sergio Penazzi. Both undertook collaborative projects in their research relating to extended techniques. In addition, the present study describes the compositional process involved in the aforementioned compositions, by means of dialogue, personal communications and interviews undertaken by the researcher with composers Nelson Almeida and Ricardo Brafman. The interpretation of these works is also discussed here, being analyzed from two perspectives. The first of these involves the specific details of the extended techniques employed; fingerings and means of execution are discussed. The second part highlights those elements of form, rhythm, timbre and texture and musical materials that were used. The collaboration that took place led to satisfactory results in the employment of extended techniques both in Vitrais and in the Fantasia. The collaborative process can thus be seen to be effective as an important tool, aiding in the search for the sonic results desired by the composers.

Over the past ten to fifteen years, there has been a trend to perform multicultural choral works in the United States, including Chinese music. Although there are a number of studies about Chinese choral music, there is not much written specifically on Hong Kong choral music. Lin Sheng-shih was one of the most important Hong Kong music leaders in the twentieth century. Lin, an immigrant from mainland China, was a patriotic musician who dedicated his life to promoting Chinese music through his professional career in Hong Kong. This study confirms that he contributed tremendously to his new home. Chapter One contains a brief historical and sociological background of Hong Kong choral music under British sovereignty and the biographical overview of Lin’s life into four periods from his early life in China to his immigration to Hong Kong. Chapter Two presents findings of Lin’s philosophical beliefs as an educator, composer and conductor through his own writings. Last, Chapter Three contains a discussion and analysis of his compositional styles chronologically with supporting examples from fifteen of his most representative choral works. The analysis leads to a greater understanding of the development of his evolving compositional style, from his continual search for new techniques in Western Classical-Romantic style to his use of Chinese elements with effective and illustrative piano accompaniments. This study illustrates that through his distinctive compositional periods, he combined Chinese idiomatic sonorities with Western compositional techniques in order to create his own voice.

Lili Boulanger (1893-1918) is the first female composer to win the Prix de Rome in France. She had an early death due to Crohn¡¦s Disease at the age of twenty-four. During her brief and difficult life, she completed more than thirty musical pieces, one third of which were choral works. The 1913 Prix de Rome award is a clear line of demarcation of Lili's choral compositions. The early secular choral works, composed for the preparation of the first round of Prix de Rome(1911 to 1913), are much less known; her four well-known grand sacred choral works¡Ð¡§Psaume 24¡¨, ¡§Psaume 129¡¨, ¡§Psaume 130¡¨ and ¡§Vieille prière bouddhique¡¨¡Ðwere written between 1913 and 1918. Regrettably, the early secular works have been overwhelmed by the four splendor sacred works in the past century. Nine of the early works survive, and they were: ¡§Sous bois¡¨, ¡§Renouveau¡¨, ¡§Les sirènes¡¨, ¡§Soleils de septembre¡¨, ¡§Pentant la tempête¡¨, ¡§La source¡¨, ¡§Hymne au soleil¡¨, ¡§Pour les funérailles d¡¦un soldat¡¨ and ¡§Soir sur la plaine¡¨. The lyrics are from nineteen-century French poems; the music has such extreme intensity, dramatic power, demanding vocal techniques, as well as challenging piano skills. This thesis consists of five parts: an introduction, a basic review of Lili Boulanger¡¦s life and works, the analysis of the nine secular choral works, the interpretation of the works and a conclusion. There are also three appendices attached. Appendix 1 offers the translation and a pronunciation guide of the nine works. Appendix 2 is the program of the conducting recital. Appendix 3 is the program of the lecture recital.