Aspect-oriented programming (AOP) aims to enhance modularity and reusability in software systems by offering an abstraction mechanism to deal with crosscutting concerns. But, in most general-purpose aspect languages aspects have almost unrestricted power, eventually conflicting with these goals. This work presents Effective Aspects: a novel approach to embed the pointcut/advice model of AOP in a statically-typed functional programming language like Haskell; along two main contributions. First, we define a monadic embedding of the full pointcut/advicemodel of AOP. Type soundness is guaranteed by exploiting the underlying type system, in particular phantom types and a new anti-unification type class. In this model aspects are first-class, can be deployed dynamically, and the pointcut language is extensible, therefore combining the flexibility of dynamically-typed aspect languages with the guarantees of a static type system. Monads enable us to directly reason about computational effects both in aspects and base programs using traditional monadic techniques. Using this we extend the notion of Open Modules with effects, and also with protected pointcut interfaces to external advising. These restrictions are enforced statically using the type system. Also, we adapt the techniques of EffectiveAdvice to reason about and enforce control flow properties as well as to control effect interference. We show that the parametricity-based approach to effect interference falls short in the presence of multiple aspects and propose a different approach using monad views, a novel technique for handling the monad stack, developed by Schrijvers and Oliveira. Then, we exploit the properties of our model to enable the modular construction of new semantics for aspect scoping and weaving. Our second contribution builds upon a powerful model to reason about mixin-based composition of effectful components and their interference, based on equational reasoning, parametricity, and algebraic laws about monadic effects. Our contribution is to show how to reason about interference in the presence of unrestricted quantification through pointcuts. We show that global reasoning can be compositional, which is key for the scalability of the approach in the face of large and evolving systems. We prove a general equivalence theorem that is based on a few conditions that can be established, reused, and adapted separately as the system evolves. The theorem is defined for an abstract monadic AOP model; we illustrate its use with a simple version of the model just described. This work brings type-based reasoning about effects for the first time in the pointcut/advice model, in a framework that is expressive, extensible and well-suited for development of robust aspect-oriented systems as well as a research tool for new aspect semantics.

This study explores the different ways in which music of the early-Tudor period can be analysed. Approaching the analysis first from a performer’s perspective, it takes the surviving works of Robert Fayrfax (1464–1521) as a case study. Fayrfax was chosen both because of the important rôle he plays within the chronology of changing style in early Tudor England, and because of the lack of a convincing analytical survey of his surviving works. Various analytical methods are developed by drawing upon three areas of investigation: (1) previous analyses of renaissance polyphony; (2) sixteenth-century music theory; and (3) hermeneutics. The basic issues and problems encountered when approaching early Tudor works from an analytical perspective are addressed in the Preface, and discussed in more detail in Chapters 1-3. These chapters form a theoretical basis for the work as a whole. Chapters 4-8 provide a detailed analytical interrogation of Fayrfax’s works, addressing five areas of investigation: the selection and development of pre-compositional material; rhythm and metre; mode and cadential planning; texture and tessitura; and motif, imitation, and free counterpoint. Whilst this study focuses specifically on the works of Robert Fayrfax, it is hoped that works by other early Tudor composers can also be examined using the analytical methods developed.

The mathematical representation of semantics is a key issue for Natural Language Processing (NLP). A lot of research has been devoted to finding ways of representing the semantics of individual words in vector spaces. Distributional approaches—meaning distributed representations that exploit co-occurrence statistics of large corpora—have proved popular and successful across a number of tasks. However, natural language usually comes in structures beyond the word level, with meaning arising not only from the individual words but also the structure they are contained in at the phrasal or sentential level. Modelling the compositional process by which the meaning of an utterance arises from the meaning of its parts is an equally fundamental task of NLP. This dissertation explores methods for learning distributed semantic representations and models for composing these into representations for larger linguistic units. Our underlying hypothesis is that neural models are a suitable vehicle for learning semantically rich representations and that such representations in turn are suitable vehicles for solving important tasks in natural language processing. The contribution of this thesis is a thorough evaluation of our hypothesis, as part of which we introduce several new approaches to representation learning and compositional semantics, as well as multiple state-of-the-art models which apply distributed semantic representations to various tasks in NLP. Part I focuses on distributed representations and their application. In particular, in Chapter 3 we explore the semantic usefulness of distributed representations by evaluating their use in the task of semantic frame identification. Part II describes the transition from semantic representations for words to compositional semantics. Chapter 4 covers the relevant literature in this field. Following this, Chapter 5 investigates the role of syntax in semantic composition. For this, we discuss a series of neural network-based models and learning mechanisms, and demonstrate how syntactic information can be incorporated into semantic composition. This study allows us to establish the effectiveness of syntactic information as a guiding parameter for semantic composition, and answer questions about the link between syntax and semantics. Following these discoveries regarding the role of syntax, Chapter 6 investigates whether it is possible to further reduce the impact of monolingual surface forms and syntax when attempting to capture semantics. Asking how machines can best approximate human signals of semantics, we propose multilingual information as one method for grounding semantics, and develop an extension to the distributional hypothesis for multilingual representations. Finally, Part III summarizes our findings and discusses future work.

The study of Bela Bartok's Four Dirges for piano (1909- 1910) is significant in that this period of 1908 to 1910 was particularly experimental and formative for Bartók, especially in tonal aspects of his compositional style. Furthermore, very little research and analysis has been done on these smaller works. This thesis contributes an analytical study of this early style and also shows its influence on larger mature works in subsequent years. A complete analysis on each dirge contains graphs of tonal structures and patterns constructed by Bartok within each composition. The concluding chapter summarizes overall characteristics of the dirges.

Paul Hindemith's compositions are, for the most part, contrapuntal; and since the construction of such a traditionally contrapuntal medium as the fugue was brought to such a high degree of musical expression in the fugal writing of J. S. Bach, it is the purpose of this thesis to compare Hindemith's fugal style with the standard set by J. S. Bach.

Sergei Prokofiev experimented with styles which shocked the public because his ideas were far ahead of his time. In the 1930's, the Soviet composer turned to a neoclassical style. His Sonata, Opus 119, for violoncello and piano, is a product of this final period of composition. The purpose of this study is to determine the stylistic characteristics of this sonata. This study includes a detailed description of the compositional techniques Prokofiev used in this work. These techniques are categorized according to the basic stylistic elements. The sources of data are comprised of the score of Prokofiev's Sonata, Opus 119, as well as books on twentieth-century music and on Prokofiev as a man and as a composer. The score was used for purposes of analysis.

La programmation orientée aspect (AOP) vise à améliorer la modularité et la réutilisation des couches logiciels en proposant un mécanisme d’abstraction pour faire face aux préoccupations transversales. Cependant, dans la plupart des langages d’aspects généralistes, les aspects ont un pouvoir presque illimité, rentrant éventuellement en conflit avec ces objectifs. Dans ce travail, nous présentons Effective Aspects : une nouvelle approche pour incorporer le modèle pointcut/advice de l’AOP dans un langage de programmation fonctionnel statiquement typé comme Haskell. Notre travail comprend deux contributions principales. Premièrement, nous définissons un plongement monadique du modèle pointcut/advice complet de l’AOP. La correction du typage est garantie par l’exploitation du système de type sous-jacent, en particulier les types fantômes et une nouvelle classe de type pour faire de l’anti-unification de types. Dans ce modèle, les aspects sont de première classe, peuvent être déployés de façon dynamique, et le langage de pointcuts est extensible, combinant donc la flexibilité des langages d’aspect typés dynamiquement avec les garanties d’un système de type statique. Les monades nous permettent de raisonner directement sur les effets du calcul à la fois dans les aspects et les programmes de base en utilisant des techniques monadiques traditionnelle. Avec ce système, nous étendons la notion de “open modules” avec des effets, et aussi avec les interfaces de pointcut protégés à l’extérieur d’un advice. Ces restrictions sont appliquées statiquement par le système de type. Aussi, nous adaptons les techniques de EffectiveAdvice afin de raisonner sur des propriétés du flot de contrôle. En outre, nous montrons comment contrôler l’interférence des effets en utilisant l’approche fondée sur la paramétricité de EffectiveAdvice. Nous montrons que cette approche n’est pas satisfaisante en présence de multiples aspects et proposons une approche différente en utilisant des vues monadiques, une nouvelle technique pour le traitement de la pile monadique, développée par Schrijvers et Oliveira. Ensuite, nous exploitons les propriétés de notre modèle pour permettre la construction modulaire de nouvelles sémantiques pour la portée d’aspects et le tissage. Notre deuxième contribution s’appuie sur un modèle puissant pour raisonner sur la composition de mixins avec effets et leur interférence, fondée sur un raisonnement équationnelle, paramétrique, et les lois algébriques sur les effets monadiques. Notre contribution est de montrer comment raisonner sur l’interférence en présence de quantification sans restriction pour les pointcuts. Nous montrons que le raisonnement global peut être compositionnelle, ce qui est essentiel pour le passage à l’échelle de l’approche face aux évolutions de grands systèmes. / Aspect-oriented programming (AOP) aims to enhance modularity and reusability in software systems by offering an abstraction mechanism to deal with crosscutting concerns. But, in most general-purpose aspect languages aspects have almost unrestricted power, eventually conflicting with these goals. This work presents Effective Aspects: a novel approach to embed the pointcut/advice model of AOP in a statically-typed functional programming language like Haskell; along two main contributions. First, we define a monadic embedding of the full pointcut/advicemodel of AOP. Type soundness is guaranteed by exploiting the underlying type system, in particular phantom types and a new anti-unification type class. In this model aspects are first-class, can be deployed dynamically, and the pointcut language is extensible, therefore combining the flexibility of dynamically-typed aspect languages with the guarantees of a static type system. Monads enable us to directly reason about computational effects both in aspects and base programs using traditional monadic techniques. Using this we extend the notion of Open Modules with effects, and also with protected pointcut interfaces to external advising. These restrictions are enforced statically using the type system. Also, we adapt the techniques of EffectiveAdvice to reason about and enforce control flow properties as well as to control effect interference. We show that the parametricity-based approach to effect interference falls short in the presence of multiple aspects and propose a different approach using monad views, a novel technique for handling the monad stack, developed by Schrijvers and Oliveira. Then, we exploit the properties of our model to enable the modular construction of new semantics for aspect scoping and weaving. Our second contribution builds upon a powerful model to reason about mixin-based composition of effectful components and their interference, based on equational reasoning, parametricity, and algebraic laws about monadic effects. Our contribution is to show how to reason about interference in the presence of unrestricted quantification through pointcuts. We show that global reasoning can be compositional, which is key for the scalability of the approach in the face of large and evolving systems. We prove a general equivalence theorem that is based on a few conditions that can be established, reused, and adapted separately as the system evolves. The theorem is defined for an abstract monadic AOP model; we illustrate its use with a simple version of the model just described. This work brings type-based reasoning about effects for the first time in the pointcut/advice model, in a framework that is expressive, extensible and well-suited for development of robust aspect-oriented systems as well as a research tool for new aspect semantics.

Dados composicionais são constituídos por vetores cujas componentes representam as proporções de algum montante, isto é: vetores com entradas positivas cuja soma é igual a 1. Em diversas áreas do conhecimento, o problema de estimar as partes $y_1, y_2, \\dots, y_D$ correspondentes aos setores $SE_1, SE_2, \\dots, SE_D$, de uma certa quantidade $Q$, aparece com frequência. As porcentagens $y_1, y_2, \\dots, y_D$ de intenção de votos correspondentes aos candidatos $Ca_1, Ca_2, \\dots, Ca_D$ em eleições governamentais ou as parcelas de mercado correspondentes a industrias concorrentes formam exemplos típicos. Naturalmente, é de grande interesse analisar como variam tais proporções em função de certas mudanças contextuais, por exemplo, a localização geográfica ou o tempo. Em qualquer ambiente competitivo, informações sobre esse comportamento são de grande auxílio para a elaboração das estratégias dos concorrentes. Neste trabalho, apresentamos e discutimos algumas abordagens propostas na literatura para regressão sobre dados composicionais, assim como alguns métodos de seleção de modelos baseados em inferência bayesiana. \\\\ / Compositional data consist of vectors whose components are the proportions of some whole. The problem of estimating the portions $y_1, y_2, \\dots, y_D$ corresponding to the pieces $SE_1, SE_2, \\dots, SE_D$ of some whole $Q$ is often required in several domains of knowledge. The percentages $y_1, y_2, \\dots, y_D$ of votes corresponding to the competitors $Ca_1, Ca_2, \\dots, Ca_D$ in governmental elections or market share problems are typical examples. Of course, it is of great interest to study the behavior of such proportions according to some contextual transitions. In any competitive environmet, additional information of such behavior can be very helpful for the strategists to make proper decisions. In this work we present and discuss some approaches proposed by different authors for compositional data regression as well as some model selection methods based on bayesian inference.\\\\

O intento deste trabalho é investigar e comparar processos composicionais utilizados na música brasileira contemporânea no final do século XX. O período de recorte, de 1980 até 2000, foi escolhido por se situar após a dissolução da principal oposição ideológica vivida no século passado, a querela nacionalismo versus vanguarda. Como objeto de estudo, foram tomadas três peças de compositores atuais das mais variadas tendências: Ginga (1994), de Marisa Rezende - para flauta, clarineta, fagote, violoncelo, trombone, contrabaixo e piano; Diálogos (1988), de Rodolfo Coelho de Souza - para marimba e vibrafone; e Dramatic Polimaniquexixe ou \"Quinto movimento para uma suíte implacavelmente longa e erótica\" (1985), de Jorge Antunes - para clarinete, violoncelo e piano. Tais obras possuem como denominador comum o uso de materiais musicais relacionados à cultura nacional. Assim, o foco da pesquisa incide sobre dois pontos: os principais processos composicionais utilizados e as maneiras escolhidas para trabalhar os elementos culturais brasileiros na construção das partituras. Conclui-se que novas formas de expressão e concepção da identidade cultural brasileira na música estão se desenvolvendo e se articulando nos dias de hoje. / The purpose of this work is to investigate and compare compositional processes used in the contemporary Brazilian music in the late twentieth century. The selected period, from 1980 to 2000, was chosen since it was situated after the dissolution of the main ideological opposition experienced in the last century, the disagreement between nationalism and vanguard. As object of the study, three musical works by composers of various current trends were taken: Ginga (1994), by Marisa Rezende - for flute, clarinet, bassoon, violoncello, trombone, contrabass and piano; Diálogos (1988), by Rodolfo Coelho de Souza - for marimba and vibraphone; and Dramatic Polimaniquexixe or \"Quinto movimento para uma suíte implacavelmente longa e erótica\" (1985), by Jorge Antunes - for clarinet, violoncello and piano. Such compositions have as a common denominator the use of musical materials related to the national culture. Thus, the aim of the research focuses on two points: the main compositional processes used and the ways chosen to work the Brazilian cultural elements in the construction of the scores. It follows that new forms of expression and conception of the Brazilian cultural identity in music are being developed and articulated nowadays.

A presente tese tem por objeto a produção para violão solo de Mozart Camargo Guarnieri (1907 - 1993), que consiste em seis peças: Três Estudos, um Ponteio e duas Valsaschoro. Essas peças, escritas entre 1944 e 1986, são pouco executadas, apesar de terem partido da pena de um compositor central na história da música erudita brasileira. Dessa contradição, deriva a hipótese de que essas obras não teriam relevância dentro da produção do compositor e dentro do repertório violonístico brasileiro. Por esse motivo, a presente tese estuda essas seis peças de Guarnieri com objetivo de compreendê-las dentro do universo estético e da produção do compositor e também em relação ao repertório violonístico brasileiro. A metodologia empregada consistiu na análise estrutural das obras e no confronto dos dados obtidos em tal análise, com os dados encontrados na bibliografia específica a respeito do compositor e do repertório violonístico Brasileiro. Os resultados podem ser resumidos na constatação de que essa pequena produção possui notável elaboração técnica e é representante, no repertório violonístico, de uma das principais correntes estéticas da música erudita brasileira, sendo sua execução, preterida por questões idiomáticas e pela complexidade do discurso guarnieriano. / The object of this thesis focuses on a production of six works for guitar solo of Mozart Camargo Guarnieri (1907 - 1993): \"Três Estudos\", one \"Ponteio\" and two \"Valsas-choro\". These pieces, written between 1944 and 1986, are rarely performed, although belongs to a central composer in Brazilian classical music history. This contradiction derives the hypothesis that these works would not have its relevance within the composer´s production or within the Brazilian guitar repertoire. For this reason, the present thesis studies the six works of Guarnieri in order to relate these pieces into the aesthetic universe, the composer´s production and also into the Brazilian guitar repertoire. The methodology applied consists in the structural analysis of these works and the confrontation between the data obtained in such analysis with the material available in the specific bibliography toward the composer and Brazilian guitar repertoire. Results can be summarized in the fact that this small production has remarkable technical drafting in the guitar repertoire and represents one of a major aesthetic movements of Brazilian classical music however it execution was deprecated due to idiomatic aspects and also due to the complexity of the Guarnieri\'s musical language