Oggetto di questo lavoro è un’analisi dettagliata di un campione ristretto di riprese televisive della Quinta Sinfonia di Beethoven, con l’obiettivo di far emergere il loro meccanismo costruttivo, in senso sia tecnico sia culturale. Premessa dell’indagine è che ciascuna ripresa sia frutto di un’autorialità specifica che si sovrappone alle due già presenti in ogni esecuzione della Quinta Sinfonia, quella del compositore e quella dell’interprete, definita perciò «terza autorialità» riassumendo nella nozione la somma di contributi specifici che portano alla produzione di una ripresa (consulente musicale, regista, operatori di ripresa). La ricerca esamina i rapporti che volta a volta si stabiliscono fra i tre diversi piani autoriali, ma non mira a una ricostruzione filologica: l’obiettivo non è ricostruire le intenzioni dell’autore materiale quanto di far emergere dall’esame della registrazione della ripresa, così com’è data a noi oggi (spesso in una versione già più volte rimediata, in genere sotto forma di dvd commercializzato), scelte tecniche, musicali e culturali che potevano anche essere inconsapevoli. L’analisi dettagliata delle riprese conferma l’ipotesi di partenza che ci sia una sorta di sistema convenzionale, quasi una «solita forma» o approccio standardizzato, che sottende la gran parte delle riprese; gli elementi che si possono definire convenzionali, sia per la presenza sia per la modalità di trattamento, sono diversi, ma sono soprattutto due gli aspetti che sembrano esserne costitutivi: il legame con il rito del concerto, che viene rispettato e reincarnato televisivamente, con la costruzione di una propria, specifica aura; e la presenza di un paradigma implicito e sostanzialmente ineludibile che pone la maggior parte delle riprese televisive entro l’alveo della concezione della musica classica come musica pura, astratta, che deve essere compresa nei suoi propri termini. / The research focuses on a selection of screen versions of Beethoven's Fifth Symphony; through a detailed analysis of these versions, the research aims at outlining and clarifying the structural mechanics of the screen version of a performance, in a technical and cultural perspective. The research takes as a basic assumption that filming music implies a specific authorship – comprising all the individual contributions of the team components – that sums up with the two other layers of authorship implied by musical performance, composition and performance. I call the level of screen production, the «third authorship». The research analyzes the interaction and the relationships between the three authorial levels in each recording. The aim is not to reconstruct philologically the intentions of the material third author, but rather to bring to light technical, musical and cultural decisions that could are embodied in the film, even when their authors were not fully aware of them. A thorough analysis of the recordings proves the initial hypothesis, i.e. that most telecasts are made along what can be called a standardized approach or even a «solita forma». There are several conventional features, the most relevant being two: a link with the whole rite of the concert, which is followed and televisually embodied, creating a new and specific mediatic aura; and the pervading paradigm of classical music as “pure” music, music that is to be understood in its own terms.

La visualizzazione scientifica è la resa in forma visuale di dati, al fine di meglio comprenderli per sé e più facilmente illustrarli ad altri. I dati visualizzati sono informazioni quantitative frutto di osservazione, astrazione o calcolo. Il processo di visualizzazione presuppone una serie di regole per la codifica e decodifica dell’informazione. Normalmente il codice rappresentativo è articolato, per gestire al meglio il compromesso tra la fedeltà di rappresentazione e i limiti del mezzo usato per rappresentarla; non di rado però è sottointeso. Nei casi in cui la rappresentazione visuale è densamente figurativa, cioè imita espressamente la realtà, questo può portare a una confusione tra significante e significato oppure a un’interpretazione errata da parte dell’utente guidata dall’analogia con la memoria e l’esperienza vissuta. Questo fraintendimento può dimostrarsi particolarmente rischioso nei casi in cui la rappresentazione visuale ha come oggetto qualcosa di fisicamente esistente ma, per cause legate alla natura fisica dell’oggetto, inaccessibile alla vista e agli strumenti ottici. Abbiamo argomentato come nel caso di rappresentazioni della realtà più arbitrarie e scarsamente figurative, la corrispondenza con il contenuto informativo è più cosciente nell’utilizzatore, permettendo di superare alcuni dei limiti cognitivi delle rappresentazioni visuali. Ci siamo quindi chiesti se non fosse possibile, e magari anche conveniente, realizzare rappresentazioni sensoriali che non fanno uso della vista e ne abbiamo studiato le potenzialità. Lo studio ha guidato la realizzazione di una resa in forma tattile e uditiva dell’emissione di onde radio da parte di oggetti celesti in una regione di cielo, attraverso parametri tattili e uditivi arbitrari e non necessariamente corrispondenti ad analoghi visuali. La sperimentazione, effettuata anche con l’aiuto di utenti non vedenti, ha evidenziato una notevole efficacia in termini di trasferimento di informazione e di coinvolgimento di un pubblico diversamente abile, mostrando interessanti spunti di ricerca futuri in ambito didattico, museale e sociale. / Scientific visualization is the visual representation of data, in order to better understand and illustrate them. The displayed data is any quantitative information, resulting from observation, abstraction or calculation. The display process implies a set of rules for encoding information in a visual form. Normally the code is complex, in order to better compromise between the fidelity of representation and the limits of the medium used to represent it; not infrequently, however, it is tacit. In cases where the visual representation is densely figurative (i.e. a clear imitation of reality), this can lead to mistake signifier for signified, or to misinterpret the represented data, due to the analogy of the representation with real experience. This misunderstanding may be particularly risky in cases where the object of the visual representation is something physical, but inaccessible to the eye and to optical instruments. We argue that in the case of more arbitrary and less figurative representations, the fruition is more conscious, also allowing to overcome some of the cognitive limits of visual representations. We investigate whether it is possible, and maybe even more suitable, to create sensorial representations that do not use the view, therefore we studied the potential of such representations. This study led to the realization of a tactile and acoustic map of radio waves emitted from celestial objects in a region of the sky, using tactile and auditory parameters not necessarily corresponding to visual analogues. The experiment, carried out also with visually impaired users, showed a significant effect in terms of transfer of information and involvement of a disabled audience, presenting interesting cues for future research in education, implementations for science centers and creation of integrations projects about sensory impairment.

La riforma della musica sacra in Italia trova nella Bologna tra il 1874 e il 1907 un terreno fertile ancora non esplorato a fondo. La ricerca condotta in questo campo ha fatto emergere una visione innovativa della città ove si trovano ad operare musicisti e musicologi di fama internazionale. Accanto all'antica Accademia filarmonica si pone l'attività centrale della Diocesi e del Liceo musicale. Ad un avvio lento condotto dalla partecipazione individuale dei musicisti si giunge al momento di svolta a partire dal 1894 con Luigi Torchi e l'arcivescovo Domenico Svampa che con il loro operato fanno sì che Bologna faccia proprie le istanze ceciliane. / The reform of sacred music is most important for Bologna between 1874-1907. During this period, a lot of great musicians and musicologists slowly approach to reform's ideals. The president of Accademia filarmonica, Luigi Torchi, and Domenico Svampa archbishop, with Stefano Gamberin and Federico Parisini, are the key persons.

Katla is a hazardous volcano in south Iceland, hosting a large caldera covered by the Mýrdalsjökull glacier. The last phreatomagmatic eruption occurred in 1918 and the present repose time is the longest known in history. The 2010 eruption of the neighbouring Eyjafjallajökull volcano prompted scientists’ concerns because the two volcanoes are tectonically connected. No visible eruption occurred, but in July 2011 a 23 hour tremor burst was associated with a glacial flood which caused damage to infrastructure. Deepening of the geothermally fed ice cauldrons, increased earthquake activity within the caldera and new seismicity on the south flank were also observed. Analysis of seismic data, including development of new location strategies, and a geological field study of the south flank were conducted to interpret the seismic sources. The tremor burst consisted of two volcano-related phases originated at the active cauldrons and a third phase generated by the flood. The increased seismicity inside the caldera and evidence of rapid ice melting may indicate that the volcano-related tremor was caused by a subglacial eruption. Alternatively, tremor may have been generated by hydrothermal boiling induced by the flood. The seismicity on the south flank consists of long-period repeating events occurring with regular time intervals, modulated by seasons (higher occurrence in summer). Because of the temporal evolution, hypocentre depth distribution and coincidence with the 2011 unrest, a volcano-related source is considered more likely than a glacial one. Hydrothermal processes may be easier to reconcile with the seasonal pattern than magmatic, although no direct indication of hydrothermal activity was found. A field survey revealed previously unknown flank eruption sites within the south flank. A magmatic source for the seismicity should therefore not be discarded. This observation is of major importance for hazard assessment of the south flank of Katla.

We aim to characterize the rupture dynamics along the subduction zones. We investigated the shear/normal stress coupling when geometrical discontinuities and/or realistic velocity fields induce normal traction perturbations. The Spectral Element Method (SEM) is shown to be a powerful numerical tool to perform dynamic simulations for subduction earthquakes due to its geometrical flexibility and to the easy implementation of classical seismological boundary conditions. Sharp variations of normal stress are induced when a rupture propagates between dissimilar materials. Performing dynamic simulations along bimaterial interfaces, we show how the Coulomb friction law leads to unstable solutions due to the missing time/length scale of shear/normal coupling. We also show how the shear stress response has to be properly delayed to provide stable physical reliable solutions and how this delay can allow to define a length, comparable with the dissipation zone, which can be interpreted as the length of coupling. Free surface interaction is shown to generate a break of symmetry in the shallow part of dipping faults. In particular larger ground motion on the hanging wall and thus larger coseismic slip is evidenced. Due to the fault/free surface interaction this slip is shown to be generally associated with low-frequency radiation. Finally, exploiting these results some dynamic models of Tohoku earthquake are presented. The main source features of that event can be addressed in terms of influence of geometry and structure and thus of shear/normal coupling. Along dip we find a bilateral rupture faster trenchward where the largest coseismic slip is measured. Strong rupture accelerations due to geometrical and velocity discontinuities imply high-frequency sub-sources in the deep part of the subduction. We finally show how taking into account these dynamic features the tsunami scenarios for the Tohoku earthquake lead to higher estimates for tsunami hazard.

In the last years, geodetic measurements have shown that temporal variations in total groundwater content induce transient deformations of the crust that are mostly reflected in the vertical component. Here we present new GPS observations showing a noticeable non-tectonic transient deformation in the Apennines (Italy), mostly evident in the horizontal components, that correlate with multi-annual hydrological signals as measured by rainfall, GRACE (Gravity Recovery and Climate Experiment) and discharge of karst springs. The observed transient signal is superimposed on the long-term ~3mm/yr NE-SW directed active extension, correlates with the seasonal recharge/discharge cycle of groundwater flow and its multi-annual variations and appears to modulate the intensity of tectonic extensional opening in those regions characterized by large carbonate aquifers. In particular, periods of increasing discharge from karstic spring correlate with an enhanced extensional signal, whereas exhaustion periods correlate with reduced extensional signal. Vertical observations, being correlated with GRACE data, reflect the hydrological load variation over regional (European) scale. Horizontal deformations, conversely, affect mostly the sites located near the large carbonate massifs of the Apennines and can't be explained as load induced response. We suggest that the horizontal observed deformation is related to the presence of highly fractured shallow crust that deforms according to variable conditions of the hydraulic head within the large carbonate aquifers. We therefore propose two different models that simulates the effect of a medium permeated with sub-vertical opening fractures. These new findings could contribute to the understanding of the deformation of the large carbonate aquifers and to an improved management of these important natural resources. By focusing on the 2009 L'Aquila earthquake, we finally highlight the difficulties that arise for the estimation of interseimic trends and small tectonic signals in areas affected by such significant non-tectonic deformations.

This work focuses on the role of SAR Interferometry (InSAR) in the study of many phenomena characterizing the Earth's surface. We propose an advanced integration method in order to merge the InSAR data with other geodetic data, i.e. Multiple Aperture Interferometry (MAI), Pixel Offset Tracking (POT) and Global Positioning System (GPS). We apply the method to constrain the full 3D displacement field produced by the Mw 6.1 2014 South Napa Valley earthquake and then we used the results from the integration to perform the source modeling. The first Chapter is meant to introduce the topic of the progressive use of Remote Sensing geodetic data to support the activities of monitoring and hazard mitigation related to natural phenomena. Chapter 2 shows the application of the InSAR technique to reconstruct and model surface displacement fields induced by several phenomena. In Chapter 3, the 3D coseismic displacement map due to the 2014 Mw 6.1 South Napa earthquake, close the San Andreas Fault system (California), is estimated by using a method to merge InSAR and GPS data. InSAR data are provided by the latest satellite of the European Space Agency (ESA), i.e. Sentinel-1, whereas the GPS data were obtained from the BARD network and several online archives. In Chapter 4 we propose an improved algorithm for the data integration and test it on the Napa earthquake. Geodetic data from MAI and POT are added in the processing chain and the GPS data interpolation is modified according to the specific phenomenon. Futhermore, the source modeling is performed by inversion of the obtained 3D displacement component. The best fit is obtained by simulating a fracture in the fault segment in agreement with previous works. Finally, in the last chapter we discuss about the advantages and disadvantages of the data integration and the future perspectives.

The interaction between earthquakes and crustal fluids is a very complex topic due to several mechanisms that are involved and which influence each other. Some phenomena, like the alterations of springs discharge rates and fluid flow, liquefaction and changing of the water levels in phreatic wells are largely documented in the literature, but their explanation is not yet fully clear. Furthermore, these phenomena can greatly change with the rock type, the earthquake magnitude and the observation distance from the fault. Within a distance of a few fault lengths from the epicenter, an earthquake can alter both the regional stress field and the hydraulic properties of the rocks, influencing the underground fluid distribution. In this thesis, I apply the numerical simulator TOUGH2 to represent the changes in water level of some wells after the ML 5.9 earthquake that took place in Italy in 2012. The model shows that the wells response to the seismic event can be represented imposing a static stress change and highlights the role of the soil stratigraphy. This zone is also well known for localized methane seepages associated with anomalous soil temperatures. I simulate the process and draw some conclusions on the nature of this phenomenon and on the possible interactions with the local seismicity. Finally, I study the earthquake-fluid interaction from the opposite point of view: looking at how fluids can promote seismicity. I present the results obtained by coupling the TOUGH2 geothermal simulator with a stochastic seed model of seismicity. The coupled simulation could capture the main characteristics of the seismicity induced by the fluid injection in a seismically active area. / L'interazione tra terremoti e fluidi crostali è un argomento molto complesso per via dei numerosi meccanismi che sono coinvolti e che si influenzano a vicenda. Alcuni fenomeni, come l'alterazione delle sorgenti e del flusso di fluidi, la liquefazione e il cambiamento del livello d'acqua nei pozzi freatici, sono largamente documentati in letteratura, tuttavia la loro spiegazione non è ancora del tutto chiara. Oltretutto, questi fenomeni possono cambiare sensibilmente in base al tipo di roccia, alla magnitudo del terremoto e alla distanza dalla faglia. Entro una distanza di poche lunghezze di faglia dall'epicentro, un terremoto può modificare sia il campo di sforzo regionale che le proprietà idrauliche della roccia, influenzando la distribuzione dei fluidi nel sottosuolo. In questa tesi utilizzo il simulatore numerico TOUGH2 per rappresentare la variazione del livello d'acqua di alcuni pozzi successivamente al terremoto di magnitudo ML5.9 che avvenne in Italia nel 2012. Il modello mostra che la risposta dei pozzi al terremoto può essere rappresentata imponendo una variazione di stress statico ed evidenzia l'importanza della stratigrafia del sottosuolo. Questa zona è ben nota anche per emissioni di metano localizzate, associate a riscaldamenti anomali del sottosuolo. In questa tesi presento delle simulazioni per rappresentare questo processo e traggo alcune conclusioni circa la natura di questo fenomeno e sulle sue possibili interazioni con la sismicità locale. In ultimo, studio la relazione tra fluidi e terremoto dal punto di vista opposto: come I fluidi possono facilitare la sismicità. Presento i risultati ottenuti accoppiando il simulatore geotermico TOUGH2 con un modello sismico, stocastico, a “seed”. La simulazione accoppiata è in grado di catturare le caratteristiche principali della sismicità indotta dall'iniezione di fluidi in un'area sismicamente attiva.

La dissertazione è uno studio monografico delle cantate dialogiche e delle serenate a più voci e strumenti composte da Händel in Italia negli anni 1706-1710. Insieme ai drammi per musica e agli oratori coevi, le quattro cantate "Aminta e Fillide" HWV 83, "Clori, Tirsi e Fileno" HWV 96, "Il duello amoroso" HWV 82, "Apollo e Dafne" HWV 122 e le due serenate "Aci, Galatea e Polifemo" HWV 72 e "Olinto pastore arcade alle glorie del Tebro" HWV 143 costituiscono le prime importanti affermazioni di Händel come compositore di musica vocale. Le sei composizioni sono state studiate sotto l’aspetto storico-letterario, drammaturgico-musicale e della committenza, con l’obiettivo di individuare intersecazioni fra questi piani. I testi poetici, di cui si è curata l’edizione, sono stati analizzati da un punto di vista storico e stilistico e collocati nel particolare contesto romano del primo Settecento, in cui la proibizione di ogni spettacolo teatrale determinò, sotto la spinta di una raffinata committenza, un ‘drammatizzazione’ dei generi della cantata e della serenata. L’analisi musicale di ciascuna composizione è stata dunque finalizzata a una lettura ‘drammaturgica’, che ha portato alla individuazione dei dispositivi di ascendenza teatrale nella scelte compositive di Händel. Lo studio si conclude con un selettivo confronto con le cantate e le serenate scritte negli stessi anni a Roma da Alessandro Scarlatti. / The dissertation is a monographic study on the Dialogue Cantatas and Serenatas for more voices and instruments composed by Handel in Italy between 1706 and 1710. Along with his coeval operas and oratorios, the four Cantatas "Aminta e Fillide" HWV 83, "Clori, Tirsi e Fileno" HWV 96, "Il duello amoroso" HWV 82, "Apollo e Dafne" HWV 122 and the two Serenatas "Aci, Galatea e Polifemo" HWV 72 and "Olinto pastore arcade alle glorie del Tebro" HWV 143 represent his first great successes as a composer of vocal music. The six compositions have been studied from various points of view, that is the literary and historical aspect, the dramaturgical and musical characteristics and the different facets and features of the patrons, with the aim of identifying a range of intersections between these plans. The poetic texts, which have been edited studying the 18th century sources, were analysed from a historical and stylistic point of view, and placed in the particular context of the early Eighteenth century, in which the prohibition of every theatrical performance, urged on by refined patrons, determined a 'dramatization' of the genres of the cantata and the serenata. The analysis of each composition was therefore aimed at a 'dramaturgical reading', which led to the identification of the devices of the theatrical ancestry in Handel's compositional choices. The study concludes with a selective comparison with the cantatas and serenatas written at about the same time in Rome by Alessandro Scarlatti.

In recent years, thanks to the technological advances, electromagnetic methods for non-invasive shallow subsurface characterization have been increasingly used in many areas of environmental and geoscience applications. Among all the geophysical electromagnetic methods, the Ground Penetrating Radar (GPR) has received unprecedented attention over the last few decades due to its capability to obtain, spatially and temporally, high-resolution electromagnetic parameter information thanks to its versatility, its handling, its non-invasive nature, its high resolving power, and its fast implementation. The main focus of this thesis is to perform a dielectric site characterization in an efficient and accurate way studying in-depth a physical phenomenon behind a recent developed GPR approach, the so-called early-time technique, which infers the electrical properties of the soil in the proximity of the antennas. In particular, the early-time approach is based on the amplitude analysis of the early-time portion of the GPR waveform using a fixed-offset ground-coupled antenna configuration where the separation between the transmitting and receiving antenna is on the order of the dominant pulse-wavelength. Amplitude information can be extracted from the early-time signal through complex trace analysis, computing the instantaneous-amplitude attributes over a selected time-duration of the early-time signal. Basically, if the acquired GPR signals are considered to represent the real part of a complex trace, and the imaginary part is the quadrature component obtained by applying a Hilbert transform to the GPR trace, the amplitude envelope is the absolute value of the resulting complex trace (also known as the instantaneous-amplitude). Analysing laboratory information, numerical simulations and natural field conditions, and summarising the overall results embodied in this thesis, it is possible to suggest the early-time GPR technique as an effective method to estimate physical properties of the soil in a fast and non-invasive way.