Document (D. Mus.)--Indiana University, 2006. / Computer printout. Includes bibliographical references (leaves 145-152).

As the core of virtually all vocal and instrumental composition in the Baroque music, the basso continuo group had an extremely important role in the sacred cantatas by Johann Sebastian Bach (1685-1750). During the Baroque period, the choice of instruments was sometimes indicated by the composer, but frequently the performers had to determine which instruments were most appropriate for the particular environment and context of the music.When performing the sacred cantatas of J.S. Bach, the conductor must identify and make decisions regarding the choices and combinations of instruments for both figured and sustained continuo part. In some cases the conductor may even consider changing continuo instrument(s), movement by movement, in a cantata in which a significant shift occurs in the texture, orchestration, or dramatic function of singer's line. Since Bach's cantatas are an encyclopedia of Baroque musical style, and models of compositional techniques of the time, understanding the cantatas is a practical and effective way to gain understanding regarding his other compositions. These cantatas also present musical challenges and rewards to choirs and orchestras.In an attempt to achieve a greater understanding and establish guidelines, I will examine and propose six principles and parameters regarding choices and combinations of basso continuo instruments and obbligato instruments, examining a variety of movement types from six different sacred cantatas of J.S. Bach ; Christ lag in Todesbanden, BWV 4; Ich hatte viel bekümmernis, BWV 21; Halt im Gedächtnis Jesum Christ, BWV 67; Herr, gehe nicht ins Gericct mit deinem Knecht, BWV 105; Wachet auf, ruft uns die Stimme, BWV 140, and Erschallet, ihr Lieder, BWV 172.This study will include:1) A critical review of performance practice and historical evidence regarding the basso continuo part in Bach's sacred cantatas2) Using "4 TAV System: Six Parameters" performance considerations and suggestions for instrument choices in basso continuo group for chorus, solo, recitative, and chorale movements in the selected cantatas3) Examinations and suggestions of several possible choices and combinations of basso continuo instruments

Giuseppe Dall'Abaco was one of a small group of Italian cellists active as composers and performers in London at the midpoint of the eighteenth century. The majority of his cello sonatas, together with those of several cellist colleagues, appears in Manuscript 31528 (dated after 1760) at the British Library. Only four other Dall'Abaco cello sonatas are known to exist, and there is no record that any of his works were published during his lifetime. However, the first group of twelve sonatas in Manuscript 31528 appears to have been intended for publication since it is headed by an embryonic title page and the sonatas are arranged with regard to balance of key plan, increasing length, and progressively greater technical difficulty. Although it has been assumed that the sonatas were composed in the 1760s, this study will demonstrate that Dall'Abaco's nobility, acquired in 1766, was inscribed later on the title page of these sonatas; thus their actual date of composition presumably preceded this date. The sonatas, which exhibit style characteristics typical of the time of transition from the late baroque to the early classic era (primarily the decade of the 1740s), are shown to be a coherent collection because of common melodic, harmonic, and rhythmic gestures. Since four movements from the Dall'Abaco sonatas appear as the published works of "Signor Martino," dated 1745 by the British Library, Martino's sonatas are also evaluated. It will be shown that these four similar movements, two of which appear as part of the well-known Sonata in G major attributed to Giovanni Battista Sammartini, most probably have their origin in Dall'Abaco's manuscript. Although Martino's true identity has long been in dispute, this study will demonstrate that he was in fact the French cellist Martin Berteau. The eleven Dall'Abaco sonatas existing only in manuscript are transcribed in Part II. In Part III of this document, three of these manuscript sonatas have been realized and edited for modern performance.

Este artículo explora las consideraciones tomadas en cuenta para efectuar una propuesta de mejora de procesos en una empresa del sector metal mecánico peruano. El documento resume el marco teórico básico que define a los tipos de sistemas de producción, las técnicas para identificación de problemas y mejoramiento continuo de procesos; posteriormente pasa describir las pautas que rigieron la selección de uno de los procesos de la empresa, donde se centro detenidamente el estudio. En la última parte se detallan las conclusiones resultantes del estudio de mejora, donde se puede encontrar muchas vinculadas a la parte operativas del proceso, al estudio en sí y a la parte organizativa y metas que se maneja dentro la empresa.

Medicine was an important aspect of ancient Greek philosophy, which also associated sanity with reason. The Platonic and Aristotelian threads initiated then were intertwined in the Middle Ages. Medieval Scholasticism equated insanity with the gift of prophecy and melancholy with heroism. As the seventeenth century opened new horizons in science, characters suffering from mental illness and despair were frequently depicted in Restoration semi-opera and song. The term "mad song" refers to a solo song with continuo accompaniment in which the singer impersonates an individual who is genuinely mad or feigning madness. Songs of despair typically share some characteristics of the earlier lute-song tradition and display a fast harmonic rhythm. Healing songs induce a state of hypnosis during which the mad individual no longer suffers. I attempt to show how seventeenth-century English continuo song reflects the evolution from neo-Platonic philosophy to scientific thinking both thematically and structurally. Early songs of melancholy reflect the notion that the individual afflicted by love-sickness may be regarded as a martyr. Any conscious scheme in form or text underlay is absent, and specific word-painting is minimal. Large-scale text-painting plays a more significant role. In the Purcellian mad song the scene changes radically. Iatromechanical scientific thinking, based on a Cartesian causality that evokes Aristotelian neo-Scholasticism, seems evident in the precision of the word-painting. Composers connect words and figures of speech to specific harmonic structures in the bass. Causality is also apparent in that the loosely defined melancholy of earlier songs is now largely replaced by a realistic depiction of insanity. Scientific progress was reserved for scholars working within university enclaves, but theatergoers could experience a reflection thereof reproduced on stage. Although the theme of madness was essential in seventeenth-century plays, there is a gap in the academic literature with regard to the depiction of mental disease in English vocal music. One must view music and words as cotexts bound to serve Baroque rhetorical purposes. Detailed analysis of these songs throw new light on the medical, cultural and social factors which shaped aesthetics in seventeenth-century England.

Thesis (Ph. D.)--Tulane University, 1971. / Typescript. Words of the musical selections also printed as text (v. 2, leaves vi-xxix). Contains vita. Includes bibliographical references (v. 1, leaves 305-313).

Thesis (Ph. D.)--Princeton University, 1983. / Typescript. Includes bibliographical references (v. 1, leaves 395-419) and index.

Los procesos de post cosecha aplicados a la fruta fresca toman una gran importancia al considerar que la fruta, en particular la uva, es una componente gravitante para las exportaciones de Chile. Dentro de dichos procesos, el pre frío o enfriamiento rápido, es muy importante para la posterior calidad del producto. El pre frío es un proceso que se lleva a cabo justo después de la cosecha, en el cual la fruta se pasa muy rápidamente desde la temperatura ambiente hasta aproximadamente 0°C. Para lograr esta meta existen diversos métodos, la mayoría de los cuales enfrían la fruta por lotes, lo cual implica tiempos de espera. El estudio se realizará para un proceso de prefrío por convección forzada llamado enfriamiento continuo, el cual, como el nombre lo indica, recibe continuamente fruta fresca y la entrega continuamente a la temperatura deseada. El producto final posee temperatura uniforme, y en principio, gasta menos energía en enfriarse. Este método implica un túnel equipado con evaporadores y ventiladores, además de una correa que atraviesa dicho túnel, donde se ubican los cajones de fruta. El estudio busca determinar si este método es energética y económicamente factible para capacidades de enfriamiento comparables con las existentes en la actualidad en la mayoría de las plantas del país. Para la factibilidad energética se calcularán requerimientos de energía necesaria para el enfriamiento de una determinada cantidad de kilogramos por hora, mientras que para la factibilidad económica se considerarán los costos de producción y de adquisición de los equipos asociados al método de enfriamiento continuo. Ambos resultados serán comparados con los de los procesos actuales.

The diploma thesis The summer project In the cellar of the Theater Continuo is about my experience at the summer workshop organized by the Continuo Theatre concretely on site-specific project In the cellar. At first I write in a style of diary and later on I describe particular approaches of work, exercises and creating of the performance itself. The final section is devoted to the author's own project Coco.on, which was created as part of a school project Left on my own. This creation was based on the experience gained from the summer workshop.

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