Konstanz, Univ., Bachelorarb., 2004.

abstract: The combination of soprano, trumpet, strings and continuo was used with much frequency by Baroque composers in their cantatas, oratorios and operas of the time, giving the trumpet a very important place as a solo instrument from 1600 to 1750. The discovery of two pieces by Neapolitan Baroque composers Domenico Sarro (1679-1744) and Gennaro Manna (1715-1779) enlarges the already important body of known works for this instrumentation. Presenting them in performance editions is a valuable contribution to this repertory. Making performance editions available to performers is always an important and exciting task, especially if they exhibit features that have rarely been seen in this combination of instruments and voices. This is specifically the case with Manna's Tuba Sonora Exclama, which shows many interesting features of the Early Classical style. Both works were discovered by the author in a digital archive sponsored by the Ministry of Heritage and Culture for the Italian Government. The original copies of these works are held at two Neapolitan libraries: Biblioteca Statale Oratoriana del Monumento Nazionale del Girolamini (Manna's piece), and Biblioteca del Conservatorio di musica San Pietro a Majella (Sarro's Per abbattere il mio core, from his opera Partenope.) The manuscripts, obtained in digital format, are well preserved and easy to understand. Along with the scores prepared for this document, some historical background about each composer, a discussion of the use of the trumpet as a solo instrument in arias with voice, and descriptions of the pieces are presented. Other important information, such as editorial procedures and critical notes, is also given. / Dissertation/Thesis / D.M.A. Music 2011

The thesis entitled The Chronicles of Burghers from České Budějovice Jan Jiří Millauer and Jan Eichler and His Son Jan Antonín Eichler from the Second Half of 18th Century and Their Mutual Comparison is divided into four chapters. The first one is devoted to the chronicle of Jan Jiří Millauer and is divided into several other parts, which describe externals of this manuscript, present the content of the book in detail and characterize the person of writer or recorder Jan Jiří Millauer. The first chapter is also devoted to issues of filiation of the chronicle, reasons of its emergence and its further history. The second chapter is also divided into several parts, which are devoted to the same issues as the first chapter, but this time in the context of the chronicle of Jan Eichler and his son Jan Antonín Eichler. Records from both chronicles are closely compared in the third chapter. The last chapter presents an attempt to compare records with each other extant chronicle of burghers from České Budějovice from the early modern period, especially to compare them with chronicles from the second half of 18th century. The thesis includes a list of references and sources and in the appendix of the thesis there are the editorial note, the scientific editions of the Chronicle of Jan Jiří Millauer and of the Chronicle of Jan Eichler and his son Jan Antonín Eichler, the local index and writing samples of the edited chronicles.

Vladimír Holan is one of the most important Czech poets of the 20th century. However, his rich correspondence with plenty of significant people of Czech culture is out of broad the concern of literary scientists. The Holan's correspondence is the main deal of this diploma theses and for its purpose the student will collect, classify and prepare for potential edition a part of poet's correspondence. The selection of correspondence of Vladimír Holan, which is deposited in The Literary archive of The Museum of Czech literature in Prague, will be consisted of approximately ten letter-conversation threads between Vladimír Holan and the significant people of Czech cultural context mainly. The thesis will also include the study in which the student will try to interpret the change of Holan's period poetics by analysis of Holan's statements the convolute of the selected letter will contain.

Les images de synthèse sont désormais omniprésentes dans les domaines de création artistique, en particulier celui du cinéma. Dans ce cadre, un infographiste modélise une scène virtuelle, qui est ensuite rendue par un algorithme spécialisé, appelé moteur de rendu, pour produire une image résultat, le rendu. La description de la scène et l'algorithme de rendu reposent tous deux sur des modèles physiques afin d'assurer un résultat réaliste. Cependant, l'infographiste ne recherche pas seulement un résultat réaliste mais aussi un objectif artistique, relatif à l'oeuvre concernée. Cet objectif artistique peut être en opposition avec le réalisme physique du rendu, de la même manière qu'en peinture, des techniques comme le clair-obscur ne correspondent pas à une réalité physique mais répondent à un objectif artistique précis. Dans cette thèse, nous commençons par définir la problèmatique de contrôle artistique du rendu en synthèse d'images et établissons trois critères d'évaluation des méthodes d'édition du rendu. Nous proposons une taxonomie caractérisant les différents paradigmes d'approches permettant de contrôler le rendu. Dans nos travaux, nous nous intéressons aux approches comportementales permettant de répondre équitabement à tous les critères d'évaluation retenus. Ces méthodes agissent sur le comportement du transport lumineux. Suivant cette approche, nous proposons un formalisme théorique d'édition du rendu par téléportation du transport lumineux, que nous intégrons aux équations de radiométrie, bases des algorithmes de rendu. Nous proposons ensuite une implémentation pratique, appelée portails, dans laquelle le contrôle du transport se fait à l'aide d'un couple de surfaces, entrée et sortie, représentant la téléportation dans l'espace 3D du transport lumineux. Nous intégrons les portails à différents moteurs courants, et analysons les résultats obtenus, à la fois nouveaux et en comparaison des travaux précèdents. Finalement, nous proposons une analyse préliminaire de la structure de l'espace des chemins et faisons un tour d'horizon des travaux futurs. / Nowadays, computer-generated imagery (CGI) is a standard in digital content creation, as in the context of film production. Visual artists design a model of the virtual scene. The renderer, a specific software, then produces the resulting image, called rendering. Both the 3D model and the renderer rely on physical laws in order to give photorealism. However, for artistic purposes, the visual artist does not necessarily seeks photorealism but is more inclined to care about artistic goals, mostly based on the related work of art. These artistic goals may be in opposition to physically-based rendering, in a similar way to techniques such as chiaroscuro in painting which do not yield a photorealistic result but rather aim at a precise artistic goal. In this PhD thesis, we first define the question of artistic control in rendering and specify three criteria to evaluate editing techniques. We propose a taxonomy to characterise the suitable paradigms to edit rendering. In our work, we focus on behavioural approaches, which properly suit all the evaluation criteria we defined. These methods act on the behaviour of light transport. Following this approach, we propose a theoretical formalism to edit rendering through the teleportation of light transport. We integrate this formalism in the underlying concept of rendering techniques, the rendering equation. We propose a practical tool we call \emph{RayPortals}. Using RayPortals, the rendering is edited using a pair of surfaces, input and output, defining the teleportation in 3D space of ligth transport. We integrate RayPortals in usual rendering techniques. We compare to previous work and also show some novel results. Ultimately, we propose a preliminary analysis of the path-space structure and summarize the future works.

abstract: The German pianist and composer Johannes Brahms (1883-1897) wrote more than 122 works for a wide variety of ensembles and genres. Despite this remarkable productivity, and his widely heralded talent for innovation and technique as a composer, few of his works have been arranged for solo guitar, and these have focused primarily on his simpler, more melodic works. Conventional wisdom is that his music is "too dense" to be played on the guitar. As a result, there are no arrangements of orchestral works by Brahms in the standard repertoire for the guitar. In arranging Brahms's Serenade in D Major, movt. 1 for the guitar, I provide a counter argument that not all of Brahms's orchestral music is too dense all of the time. In Part I, I provide a brief overview of the history of, and sources for, the Serenade. Part II describes a step-by-step guide through the process of arranging orchestral repertoire for the solo guitar. Part III is an examination of the editing process that utilizes examples from the guitar arrangement of the Serenade in order to illustrate the various techniques and considerations that are part of the editing process. Part IV is a performance edition of the arrangement. In summary, the present arrangement of Brahms's Serenade, op.11 is the beginning of a conversation about why the "guitar world" should be incorporating the music of Brahms into the standard repertoire. The lessons learned, and the technical challenges discovered, should help inform future arrangers and guitar performers for additional compositions by Brahms. / Dissertation/Thesis / D.M.A. Music 2013

Esta dissertação tem como objetivo analisar o trabalho de jornalistas que editam livros, sejam eles donos de editoras ou editores contratados. Foram entrevistados, a partir de um questionário não-diretivo, editores de livros que se declaram jornalistas por formação acadêmica ou prática profissional, e também editores de livros com formação direcionada a este mercado. As entrevistas foram analisadas e divididas em temas, determinados a partir de técnicas de análise de conteúdo. A pesquisa permite afirmar que os jornalistas, mesmo quando trabalham em outro campo como a edição de livros, se sentem ainda muito aderentes ao jornalismo, veem o livro como um objeto a ser reverenciado e têm uma percepção diferente dos editores de outras formações no que diz respeito às etapas de produção do livro, nas quais declaram utilizar muito da experiência obtida nos veículos jornalísticos. / The aim of this dissertation is to analyze the working process of journalists who edit books, whether publishing company owners or hired editors. Based on a nondirective questionnaire, interviews were applied to book editors who declared themselves as journalists by academic education or professional experience, and editors majored in book editing as well. The interviews were examined and categorized by themes, settled by content analysis techniques. This research allows to assert that journalists, even when working in other field as book editing, still feel themselves related to journalism, see book as an object to be venerated and have a different perception of book production from traditional editors\' perspective, in which the journalist-editors claim to use their news background.

O objetivo deste trabalho é ajudar a solucionar alguns dos problemas interpretativos encontrados nas partes de percussão da música sinfônica brasileira. Rica em timbres e ritmos, essas partes podem trazer dúvidas que vão desde a nomenclatura dos instrumentos a assuntos editoriais ou ainda de natureza técnica. Foi selecionado um número delimitado de obras de diferentes compositores, especialmente apropriadas para um profundo estudo dessas dificuldades. Quando necessário, os manuscritos originais foram consultados, assim como fontes que tiveram acesso direto aos compositores, na procura de suas reais intenções e assim ajudar a esclarecer as dúvidas surgidas. Esta análise, associada à experiência na execução e gravação dessas e outras obras, ajudaram a levar a conclusões importantes quanto ao uso e notação do vasto arsenal dos instrumentos de percussão convencionais ou não que inclui a revisão de partes existentes e a solução de problemas de nomenclatura e performance encontrados em obras de Antônio Carlos Gomes, Mozart Camargo Guarnieri, César Guerra-Peixe, Francisco Mignone, Claudio Santoro, Rubens Ricciardi e Heitor Villa-Lobos. / The objective of this dissertation is to help solve some of the interpretation problems which arise in the percussion parts of Brazilian symphonic music. Rich in timbre and rhythm, these parts may cause doubts which stem from the nomenclature of the instruments as well as editorial or technical issues. A number of works by different composers were selected that are especially suited for a thorough examination of these difficulties. When necessary the original manuscripts, as well as the sources which came directly from the composers, were consulted, in order to clarify the real intentions behind these usages and to help solve the problems that arise. This analysis, associated with the experience of playing and recording these and other pieces, has helped to arrive at important conclusions which regard the use and notation of the vast arsenal of percussion instruments - both common and uncommon - which include the revision of existing parts and the solution of nomenclature and performance practice problems found in works by Antônio Carlos Gomes, Mozart Camargo Guarnieri, César Guerra-Peixe, Franciso Mignone, Claudio Santoro, Rubens Ricciardi and Heitor Villa-Lobos.

Durant la période de prospérité des années 1920, avec l’accroissement de la consommation résultant de la seconde révolution industrielle, de nouvelles stratégies commerciales se mettent en place. Alors que la publicité moderne en est à ses premiers balbutiements, les Éditions Paul-Martial — qui sont créées à Paris en 1926 — deviennent, grâce à leur fondateur Paul Martial Haeffelin, une des entreprises les plus novatrices dans le domaine. Elles proposent plusieurs types de prestations : la conception de lignes graphiques, de logotypes, d’affiches, d’annonces, d’encarts qui sont publiés dans les magazines, l’édition de brochures, catalogues et ouvrages publicitaires, ou encore la conception de stands d’exposition. L’entreprise se spécialise dans le domaine industriel. Elle est dotée d’un atelier de graphisme et de typographie, d’une imprimerie et d’un studio photographique. Entre 1929 et 1960, de nombreux reportages extérieurs sont également réalisés sur l’ensemble du territoire français à la demande de grandes sociétés comme la Compagnie des Forges et Aciéries de la Marine et d'Homécourt, les Établissements Arbel, la Société des aéroplanes Henry Potez, la SNCF, Schneider & Cie, Moët & Chandon ou encore l’OTUA. Les archives du studio photographique de l’entreprise sont aujourd’hui réparties dans quatre grandes collections : celle du musée d’art moderne et contemporain de Saint Étienne Métropole, celle du département des estampes et de la photographie de la Bibliothèque nationale de France, celle du Kunstmuseum de Bâle et celle du collectionneur Marc Pagneux. Elles permettent de constater que l’entreprise a œuvré à la promotion de l’industrie durant plus de trente ans en développant une esthétique photographique propre à l’époque, faisant preuve de nombreuses affinités avec l’avant-garde artistique. / During the prosperity period of the 1920’s, new commercial strategies are implemented since the consumers society expands as the result of the second industrial revolution. At the beginnings of modern advertising, the Éditions Paul-Martial — created in Paris in 1926 — became, thanks to their founder Paul-Martial Haeffelin, one of the most innovative compagny in this field.Specialized in the field of the industry, the Éditions Paul-Martial offer several kinds of services : the design of graphical lines, logos, posters, advertisements, inserts that are published in magazines, the edition of brochures, catalogs and advertising works, or the design of exhibition stands. The compagny is equipped with a workshop of graphic design and typography, a printing press and a photographic studio. From 1929 to 1960, many external reports were also made on the whole French territory at the request of large companies such as the Compagnie des Forges et Aciéries de la Marine et d'Homécourt, the Établissements Arbel, the Société des aéroplanes Henry Potez, the SNCF, Schneider & Cie, Moët & Chandon or the OTUA.Today, the archives of the company’s photographic studio are mainly divided into four large collections: that of the musée d’art moderne et contemporain de Saint-Étienne Métropole, of the departement des estampes et de la photographie of the Bibliothèque nationale de France, of the Kunstmuseum Basel and that of the Marc Pagneux collection. Their study allows to note that the Paul Martial editions have worked for the promotion of industry for over thirty years. During the years between the two world wars, the photographers of the company have developed an aesthetic which is characteristic of this period, having many affinities with the avant-garde art movement.

Master’s thesis deals with developing of multimedia application that allow play and receive multimedia files as audio and video. In thesis introduction, there is theory overview about programming language J2ME, its parts and divisions in couple of chapters. The applications developing begin by choosing focus groups and also group of devices that agree with present trends about mobile devices. The next part undertakes selecting development tool NetBeans IDE based on requirements for multimedia develop and also undertakes selecting software development kit Nokia SDK and its short definition. Afterwards, the application and its basic classes and methods are briefly characterized. The chapters of classes and methods are divided according algorithm level, following development description dividing aspect. Program functions are enriched with flow diagrams completing written text, which have marked important points of program. The main chapters describing algorithm parts begin with define audio and video play. The other pages include description of network connection a data transfers. In every part the programmer part, algorithm is analyzed first and than general options and functionality of this area. In file play part, it is selection of file and proceeding to launch playing with function control possibility. In case of network connection, it is access to network and data handling, eventually communication with each other in client - server hierarchy and consequential multimedia content playing. In the end of development part, reader is cognizant of application fault handling that is inherently part of every application working with I/O data. Next chapter is devoted to future development a design resulting to present process. In the thesis it can be found also application description from user’s point of view, user manual a solving incurred problem situations. In the instructions, there are contained screenshots of described parts of program. Reached results and reviews are summarized on the end of the thesis.