Thesis (M.M.)--Bowling Green State University, 2007. / For alto saxophone in E♭, violoncello, piano, percussion (vibraphone, crystal glasses (C,E,G♯, B)) Document formatted into pages; contains 1 score (19 p.) Duration: ca. 13 min. Includes bibliographical references.

Orientador: Edmundo Medici Filho / Banca: Eduardo Kazuo Sannomiya / Banca: Gilberto Aparecido Coclete / Banca: Marlene Fenyo Soeiro de Matos Pereira / Banca: Julio Cezar de Melo Castilho / Resumo: A beleza está ligada a proporcionalidade e esta constante proporção nos dá a impressão de orientar o crescimento, a harmonia, a reprodução e a estabilidade das formas na natureza, o que vêm sendo constatados na história por estudiosos como: filósofos, matemáticos, escultores, pintores, arquitetos e Ortodontistas. Pitágoras, um estudioso da matemática, estabeleceu as proporções a partir dos padrões de beleza e harmonia estética. Sendo denominada como proporção áurea A partir desse pensamento advém o fato da utilização da proporção áurea na avaliação de estruturas craniofaciais pretendendo gerar uma análise individualizada, trazendo para cada indivíduo proporções obtidas com base em suas próprias medidas. Assim foi propósito no presente trabalho de pesquisa verificar por meio de radiografias cefalométricas laterais e fotografias frontais e laterais a relação entre a proporção áurea e estética facial antes e depois do tratamento ortodôntico. Foram utilizadas radiografias cefalométricas laterais, fotografias frontais e de perfil de 67 indivíduos antes e depois do tratamento ortodôntico. Foi desenvolvido um programa de cefalometria em Delphi 7.0, contendo a análise cefalométrica deste trabalho de pesquisa. Concluímos: no Grupo 1(melhora após o tratamento ortodôntico) as razões A-Pog/V1S-C1MS, Ena-Enp/V1S-C1MS e V1S-C1MS/C1MS-DM16 diferiram da forma estatisticamente significante comparando antes e depois do tratamento ortodôntico. A razão V1S-C1MS/C1MS-DM16 antes do tratamento não se apresentava em proporção áurea e depois do tratamento passou a se apresentar em proporção áurea. No grupo 2 (não ocorreu melhora após o tratamento) apenas a razão N-Ena/V1S-DM16 diferiru de forma estatisticamente significante comparando antes e depois do tratamento. / Abstract: The beauty is connected to the proportionality and this constant proportion gives us the impression of guiding the growth, the harmony, the reproduction and the stability of the forms in the nature, what is being evidenced in history for studious as: philosophers, mathematicians, sculptors, painters, architects and Orthodontists. Pithagoras, a mathematics studious, established the proportions from the beauty standards and aesthetic harmony. It was designated as golden proportion. From this thought comes the fact of the use of the golden proportion in the evaluation of cranium facial structures intending to generate an individualized analysis, bringing for each person proportions based in it own measures. It was the purpose in the present research work to verify by lateral cephalometry radiographies, frontals and laterals photographs the relation between golden proportion and aesthetic facial before and after the orthodontic treatment. It was used lateral cephalometry radiographies, frontal and lateral photographs of 67 individuals before and after the orthodontic treatment. It was developed a program of cephalometry in Delphi 7.0, having the cephalometry analysis of this research work. It was concluded: in the Group 1 (improvement after the orthodontic treatment) the ratios A-Pog/V1S-C1MS, Ena-Enp/V1SC1MS and V1S-C1MS/C1MS-DM16 had differed from the statically significant form comparing before and after the orthodontic treatment. The ratio V1SC1MS/ C1MS-DM16 before the treatment was not presented in aureate proportion and after the treatment becomes to present itself in aureate proportion. In group 2 (no improvement after the treatment) only the ratio N-Ena/V1S-DM16 had differed from the statically significant form comparing before and after the treatment. The ratio A-Pog/V1S-DM16, before the treatment, was presented in golden proportion before the treatment and after the treatment it was not presented in golden proportion. / Doutor

Orientador: Krunislave Antonio Nobilo / Dissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Odontologia de Piracicaba / Made available in DSpace on 2018-07-21T23:45:22Z (GMT). No. of bitstreams: 1 Piccin_MarciaRegina_M.pdf: 1561219 bytes, checksum: a33dc6f96a29dc3881514e9f97cd0e1f (MD5) Previous issue date: 1997 / Resumo: Esta pesquisa foi realizada com a finalidade de verificar a presença da "Proporção Divina" nos segmentos da face, por meio do método fotográfico, em pacientes dentados. A "Proporção Divina" já era utilizada desde a Antiga Grécia por escultores e arquitetos na confecção de suas obras, tendo sido estudada durante o Renascimento. Esta Proporção está presente não apenas nas artes plásticas, como também na natureza. A amostra deste estudo constituiu-se de 121 indivíduos totalmente dentados, de raça branca, de ambos os sexos, cuja faixa etária variou entre 20 e 26 anos de idade. Os pacientes foram posicionados em um cefalostato de Broadbent no qual foram fotografados em norma lateral direita, na posição postural de repouso fisiológico. Sobre as fotografias foram realizadas mensuraçóes de três segmentos da face: A (distância entre os pontos faciais Lc e Sbn ) , B (distância entre os pontos faciais Sbn e St) , C (distância entre os pontos faciais St e Gn), por intermédio de um paquímetro de precisão. Tomando-se por base esses segmentos verificou-se, segundo a análise estatística pelo método de Teste de Hipótese, sua correlação com a "Proporção Divina", obedecendo à razão segundo a qual o segmento maior dividido pelo segmento menor seria igual à soma dos dois, dividido pelo segmento maior, resultando no "número divino" ou "áureo" : 1.618. Também investigou-se a presença da proporção sugerida por Willis (distância entre os pontos faciais Lc e St igual à distância entre os pontos faciais Sbn e Gn). O nível de significância adotado foi de 5%. ...Observação: O resumo, na íntegra, poderá ser visualizado no texto completo da tese digital / Abstract: The aim of this research project is to verify the presence of the Divine Proportion in the facial parts of dentate patients by means of the photographic method. The Divine Proportion has been used since Ancient Greece by sculptors and architects in the making of their works and was studied during the Renaissance. This proportion is present not only in art but also in nature. The sample group of this study is composed of 121 dentate Caucasians, of both sexes and between 20 and 26 years old. The patients were set in a Broadbent cephalostat in which they were photographed on the right side norm, in resting position. Three facial fraction measurements were taken by means of a precision caliper: A (the distance between facial points Lc and Sbn), B (the distance between facial points Sbn and St), and C (the distance between facial points St and Gn). The presence of the Divine Proportion was ascertained, based on the statistical analysis of these fractions and following the reasoning that the" largest fraction divided by the smallest should be equal to their sum, which, when divided by the largest fraction, results in the Gold Number: 1.618. The presence of the Willis proportion (the distance between facial points Lc and St as equal to the distance between facial points Sbn and Gn) was also investigated. ... Note: The complete abstract is available with the full electronic digital thesis or dissertations / Mestrado / Fisiologia e Biofisica do Sistema Estomatognatico / Mestre em Odontologia

O presente trabalho irá abordar dois temas matemáticos de diferentes contextos históricos mas que apresentam uma relação intrínseca com o número Φ, mais conhecido como número de ouro. Partiremos de uma breve descrição dos conjuntos numéricos N, Z, Q e algumas propriedades dos números racionais para, em seguida, deduzirmos os números irracionais Π e, enfim, os números reais R. Na sequência vamos trabalhar com dois problemas muito antigos: o primeiro aparece na coletânea de livros Os Elementos do matemático grego Euclides, 300 anos a.C., e diz respeito à divisão de um segmento em média e extrema razão e, o segundo, foi publicado no livro Liber Abaci do matemático italiano Leonardo Fibonacci, século XIII, e trata da reprodução de coelhos e a sequência a qual ela origina. Veremos que o número de ouro aparece em ambos os problemas e vem ao longo dos séculos desencadeando muitas teorias que tratam de padrões e beleza. Abordaremos situações do passado e do presente que fazem uso desses padrões, além de fenômenos da natureza. Também apresentaremos um conjunto de atividades para orientar professores do ensino médio de como trabalhar, numa perspectiva interdisciplinar com vários conteúdos da matemática, e o número Φ. / This work addresses two mathematical topics from different historical contexts but that have an intrinsic relationship with the number Φ, better known as the golden number. We start with a brief description of the numerical sets N, Z, Q and some properties of rational numbers, and then deduct the set of irrational numbers π and, finally, the set of real numbers R. In the sequence we work with two very old problems: the first appears in the collection of books The elements of the Greek mathematician Euclid, 300 years BC, and concerns the division of a segment in extreme and mean ratio, and the second, published in the book Liber Abaci of the Italian mathematician Leonardo Fibonacci, in the thirteenth century, and deals with the breeding of rabbits and the sequence which it originates. We will see that the golden number appears on both problems and has over the centuries triggering many theories dealing with standards and beauty. We discuss situations of past and present that makes use of these standards, as well as natural phenomena. We also present a set of activities to guide middle school teachers on how to work in an interdisciplinary perspective with various mathematical content, and the number Φ.

La más constante mujer is a Spanish Golden Age play written by Juan Pérez de Montalbán in 1631 and published for the first time in 1632. Although he was once one of the most famous playwrights in Madrid, known for running in the same literary and social circles as Lope de Vega and Calderón de la Barca, the bulk of the dramatist's work has been greatly ignored by scholars, or is referred to as being of second rate, and the author himself has nearly tragically been forgotten throughout the centuries following his short life. Although research has been conducted to chronicle the literature produced by Montalbán, his plays have been generally overlooked by modern scholars and very little of the dramatist's theatrical production has been analyzed within the last one hundred years. As a result, there are no modern editions of his plays. The intention of this thesis is to provide a regularized critical edition of La más constante mujer, together with an in-depth analysis of the life and times of its author, and the play's main themes, topics, influences, and characteristics.

The feeding ecology, general behaviour, size of groups and use of habitat of the golden-backed uacari, Cacajao melanocephalus ouakary, was monitored for 14 of a 19-month period in Jaú National Park, Amazonian Brazil between October 2006 and April 2008. The botanical composition and phenology of the habitats was also studied. The diet is dominated by seeds of immature hard-husked fruits. Leaves, flowers and pith served as fall-back foods. The diet items eaten were the most abundant at the moment, with items previously ignored incorporated when the abundance of other foods dropped relative to them. Most feeding occurred in the forests upper strata, but with occasional visits to the ground and low bushes when little food was available elsewhere. Feeding bouts were short, with uacaris generally spending less than three minutes in a feeding patch before moving to the next. Individual adults generally foraged one-per-patch, though up to five animals might forage simultaneously in canopies of very large trees. Uacaris were recorded feeding on 136 plant species. Micropholis venulosa, Echweilera tenuifolia, Buchenavia ochrograma, Pouteria elegans and Mabea nitida were the most abundant species in the diet, and were eaten for both leaves and seeds. Flowers of E. tenuifolia were also eaten. The most important diet families were Sapotaceae, Fabaceae and Lecythidaceae. Invertebrates represented less than 2% of the diet, and were mostly ants, termites and caterpillars. Many were free-ranging, but shoot-boring larvae were also extracted and eaten. Additionally, fruits of five species were recorded being eaten with insect larvae still living inside them. ii Uacaris use two habitats, terra firme (a never-flooded mosaic of several forest sub-types) and igapó (a seasonally-flooded forest that occurs between terra firme and the open river). Igapó’s fruiting season match the flood pulse and so are strongly condensed. Those of terra firme are less so. In 14 month, uacaris were seen exclusively in terra firme during 3 months, only in igapó during 9 months and in both during 2 months. Movement between the habitats appears to follow fruit availability. When there is little fruit in either, uacaris remain in the igapó and feed (mostly) on new leaves. The activity budget was dominated by moving, paused feeding and feeding-while-moving. Very little resting was observed and almost no physical social interactions such as aggression or grooming. Adult C. m. ouakary were rarely seen closer than 6m apart, and groups were often diffuse, spreading over several hundred meters. Reproduction appears to occur twice a year, very young animals being seen in December and May. Observed group size varied between 2 and 51. Groups of 6-15 were most commonly seen. Group size varied with the season and habitat, being largest (30-51) in never-flooded rainforest and smallest (4-6) in the igapó when little fruit was available and fall-back foods dominated the diet. At least 10 of the species in the C. m. ouakary diet are used as timber in Amazonia. While this is not a cause of conflict in Jaú National Park, it might be so elsewhere in the animal’s range. This has been the first long-term study of the ecology of golden-backed uacaris in Brazil and suggestions are made for future research.

This thesis describes the how Miguel de Cervantes used proverbs and popular sayings to help compose his work, Don Quijote.

No description available.

Rhapsody for Piano and Small Orchestra is a one-movement composition in a concerto fashion for seventeen players, and is about nine minutes in duration. The overall form of this work is A B C D E D1 C1 B1 A1. This work contains various hidden compositional devices such as the golden section principle and a palindrome structure. These devices are applied not only to the structure of the work, but also to the pitch related and rhythm-related matters. Also, certain melodic and rhythmic cells are employed for each section in the developmental procedure of that section almost exclusively. Since this work is a concerto-like piece, there are two cadenza-like passages for the piano with an accompanying solo instrument, which plays the obbligato passage. The following essay addresses the form, pitch materials, harmony, rhythm and technical difficulties, orchestration, and variant elements between the corresponding sections used in this work.

During the spring of 1969 and 1970, 28 Golden Eagle eyries in four locales in central Utah were observed to determine the prey utilized during the nesting season. Visits were made every two weeks to the eyries. Prey were removed from the nests upon counting to avoid recounting at the next visit. Sixteen species of vertebrates were found as prey for nesting Golden Eagles. Mammals comprised 96 per cent of the prey, and lagomorphs alone accounted for 92 per cent. The blacktail jackrabbit occurred as 77.8 per cent of all prey items. Avian species constituted 3.9 per cent of prey items brought to the nests. Game animals utilized as prey were exclusively birds, and accounted for 2.7 per cent of all prey. No remains of domestic animals were found in the nests.