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Typescript. Bibliography: leaves 129-130. Includes discographies.

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The purpose of this study was to investigate factors related to teaching listening in elementary school music and to make recommendations toward an ideal course of study in listening.

Abstract The purpose of this study was firstly to evaluate the optical instrument tracking system integrated to the MRI scanner as a guidance facility in performing bone biopsy and secondly to develop and evaluate clinical musculoskeletal applications of interventional MRI at 0,23T. The clinical results and feasibility of MR-guided bone biopsy (n=14), periradicular nerve root therapy (n=61), discography (n=12) and percutaneous laser therapy of osteiod osteomas (n=5) were studied. Bone biopsies were performed with the optical instrument tracker and bone biopsy set modified for the tracker system. The biopsy system and optical tracker mounting proved to be safe and reliable tool for bone biopsies. 14 consecutive bone biopsies and 13 fine needle aspirations were performed under MR-guidance. The clinical accuracy of MR-guided bone biopsy was 95%. The periradicular therapy was applied to the anatomical region of lumbosacral area of 61 consecutive patients with sciatic pain. Procedural success rate was 98,5%. Of patients, 51,5% had good or excellent effect with regard to radicular pain from procedure. The therapy effect achieved with MR-guided procedure was comparable to that achieved with conventional techniques. MR-guided discography technique and imaging protocol was developed as part of diagnostic pain provocation for patients suspected for intervertebral pain source at lumbosacral area. 34 MR-guided discographies were performed on 12 patients. In all patients positive or negative pain provocation response was obtained. Laser induced thermal therapy for osteiod osteoma was studied in MRI. The initial guidance of the instrument and monitoring of the thermal procedure were done under MRI control. All the 5 patients were successfully treated. The MR-guidance in musculoskeletal applications seems safe and accurate.

Orientador: Rita de Cássia Lahoz Morelli / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas / Made available in DSpace on 2018-08-17T05:56:23Z (GMT). No. of bitstreams: 1 Lacerda_AyeskaOasseLuisPaulafreitasde_D.pdf: 2338985 bytes, checksum: ed882c7e55109cb7f779bf4fa4cba53b (MD5) Previous issue date: 2010 / Resumo: A partir da década de 1980, configurou-se em Salvador, Bahia, a cena musical da axé music, que se caracteriza por acolher canções de diversos estilos e ritmos produzidos para o carnaval de Salvador e executados por bandas de trio elétrico e bandas afro percussivas. Esta produção notabilizou-se no Brasil, principalmente após a eclosão do samba-reggae, ritmo criado por Neguinho do Samba, e ganhou a mídia nacional nos anos 90, proporcionando aos compositores e intérpretes da axé music uma relativa independência, no que se refere à etapa da produção, do pólo fonográfico situado no sudeste. Na década de 2000, classificada como world music, a axé music chegou a vários países da Europa, Ásia, África e Américas através de apresentações ao vivo de vários de seus artistas. O músico e compositor baiano Carlinhos Brown participou, ainda como percussionista, do nascimento dessa cena, para a qual vem contribuindo com dezenas de composições, equipamentos, bandas, trios elétricos e performances até os dias atuais. A partir da criação de uma organização não-governamental denominada Associação Pracatum Ação Social, Brown desenvolveu projetos sociais em sua comunidade de origem, o Candeal Pequeno de Brotas, que proporcionaram melhoria da qualidade de vida da população local, com a construção e reforma de habitações, pavimentação e implantação de rede de esgoto no local, além da construção e instalação da Escola Profissionalizante de Música Pracatum, com uma pedagogia própria que reúne música e formação para a cidadania. No Candeal ele instalou também o centro cultural Candyall Guetho Square e o estúdio Ilha dos Sapos, onde gravaram artistas nacionais e estrangeiros. O projeto musical mais conhecido de Carlinhos Brown é a banda Timbalada, criada em 1991 com uma proposta inovadora que se diferenciava das demais bandas percussivas do carnaval baiano, mas há outras bandas: Vai Quem Vem, Lactomia, Bolacha Maria, Zárabe, Hip Hop Roots e Camarote Andante. A produção autoral de Carlinhos Brown se caracteriza pela hibridação, conceito formulado por Néstor García Canclini que explica as operações segundo as quais são selecionados, reunidos, combinados e recriados elementos tradicionais e modernos, de diferentes origens, religiões (candomblé e catolicismo), línguas (do iorubá ao inglês), ritmos (samba, salsa, zouk), enfim, elementos de diversas culturas hibridizados através de processos artesanais acústicos e tecnologia eletrônica digital. Nascido para a arte em um tempo e lugar em que a negritude era valorizada, Brown preferiu defender a mestiçagem, que ele realça usando um grande cocar sobre os seus dreadlocks, sendo por isso chamado de Cacique do Candeal. Este trabalho oferece um estudo da sua trajetória artística, considerando-se o contexto estético e sócio-político em que ela foi construída, e das suas relações com o mercado da música / Abstract: From 80's decade onwards, has been configured in Salvador, Bahia, the scene of axé music, which is characterized by grouping songs of diverse styles and rythms produced for Salvador's carnival and played by electric trio and afro percussive bands. That product was noticed in Brazil, specially after the creation of samba-reggae, rythm created by Neguinho do Samba, and gained national media in the 90's, providing axé music composers and interpreters with a relative independence from the phonograpic hub in southeast, when it comes about the production stage. In the 2000's first decade, classified as world music, axé music made it to many countries of Europe, Asia, Africa and America through live presentations of its various artists. The bahian Carlinhos Brown joined, by time as a percussionist, the birth of that scene, to which he's been contributing with dozens of compositions, equipments, bands, electric trios and performances until actual days. From the creation of a nongovernmental organization named Associação Pracatum Ação Social, Brown started developing social projects in the comunity he came from, the Candeal Pequeno de Brotas, which brought improvements in the life quality of local population, with the building and reform of houses, pavement and implementation of sewage, beyond the building and establishment of the Escola Profissionalizante de Música Pracatum, with its own pedagogy which combines music and citizenship preparation. In Candeal he also established the cultural center Candyall Guetho Square and the Ilha dos Sapos studio, where national and foreign artists have recorded. The most known musical project of Carlinhos Brown is the band Timbalada, created in 1991 with an innovative proposal that differed from the other percussive bands of bahian carnival, but there are other bands: Vai Quem Vem, Lactomia, Bolacha Maria, Zárabe, Hip Hop Roots e Camarote Andante. The autoral production of Carlinhos Brown is characterized by hybridization, a concept thought by Néstor García Canclini that explains operations through which traditional and modern elements, from different religions (candomblé and catolicism), languages (from iorubá to english), rythms (samba, salsa, zouk), in other words, elements from diverse cultures, are selected, grouped, combined and recreated, through acoustic processes and digital technology. Born for art in a time and place where being negro was valued, Brown preferred to defend the mixture, what he highlights by using a big cocar on top of his dreadlocks, being for this called Cacique of Candeal. This work offers a study on his artistic trajectory, considering the aesthetic and socio-political context through where it was built / Doutorado / Cultura e Politica / Doutor em Ciências Sociais

Abstract The purpose of this study was to evaluate the role of diminished arterial blood flow in painful disc degeneration. Diffusion in intervertebral discs of 37 asymptomatic adults measured by magnetic resonance imaging (MRI) and their lumbar arterial blood supply measured by magnetic resonance angiography (MRA) correlated significantly. End plate degeneration in intervertebral discs evaluated with MRI was analysed with reference to disc distress evaluated with computed tomography (CT) discography, and a significant correlation between end plate degeneration and disc degeneration was found among 36 low back pain patients. Intradiscal pain caused by discography did not correlate with end plate degeneration. There were significantly more atheromatous plaques in the abdominal aorta among 29 chronic low back pain patients compared to 52 asymptomatic people, especially in the age group under 50 years. Occlusion of lumbar arteries in MRA correlated significantly with disc degeneration in MRI among 113 sciatica patients. Furthermore, the disc degeneration and the occlusion of lumbar arteries were severe among 41 sciatica patients and 41 asymptomatic people. During a three-year follow-up, the occlusion of lumbar arteries in MRA correlated significantly with physical and mental ability measured by a self-efficacy questionnaire at every assessment point (1,2,3 years). Furthermore, the intensity of back pain at 1 year and leg pain at 2 years correlated with the occlusion of lumbar arteries. Re-stenosis of lumbar arteries within 3 years correlated significantly with medical consultations for low back pain, prolonged low back pain and prolonged sciatica during one year before the baseline assessment.

A stylistic analysis of John Stevens' second brass quintet, Fabrics, which discusses the composer's use of orchestration, harmonic language, rhythmic activity, melodic and formal considerations, and performance practice issues. Collaboration between composer and performer is investigated, particularly through Stevens' status as member of the Wisconsin Brass Quintet, the ensemble for which Fabrics was composed. Biographical information about Stevens and the Wisconsin Brass Quintet is provided, with appendices providing information regarding Stevens' activities as composer and performer and the activities of the Wisconsin Brass Quintet. Stevens was extensively interviewed as source material for this dissertation.