Orientador: Marcos Siqueira Cavalcante / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-06T08:46:41Z (GMT). No. of bitstreams: 1 Rocha_MarcelEduardoLeal_M.pdf: 2238973 bytes, checksum: 9b9b4ac152b429840dd771a17ace25c7 (MD5) Previous issue date: 2005 / Resumo: A guitarra é um instrumento capaz de produzir música em várias texturas diferentes. Pode improvisar melodicamente como um trompete ou um saxofone, pode acompanhar solistas ou cumprir a função de instrumento harmônico num combo, ou desempenhar arranjos e composições solo como um piano ou um órgão. Tal versatilidade também constitui um dos principais atributos do músico profissional, já que vivenciamos uma época em que pouco se investe para viabilizar a música ao vivo, dificultando a formação de conjuntos musicais. Como resultado disso, freqüentemente o músico se depara com situações em que é necessário executar apenas em seu instrumento, as partes outrora destinadas a vários instrumentos. A proposta desta dissertação é direcionar o músico guitarrista à elaboração deste tipo de trabalho musical, ou seja, a criação de arranjos solo. Para tanto, serão apresentados elementos musicais baseados na prática da música popular, que serão demonstrados, analisados e exemplificados na forma de passagens musicais arranjadas para guitarra solo, bem como na forma de arranjos originais inteiros. Para auxiliar o desenvolvimento desta temática, serão apresentadas de maneira sucinta, questões a respeito da teoria da música popular, além de uma pequena investigação da história do instrumento no Brasil chamado de guitarra. Os arranjos presentes ao longo do texto surgem como uma proposta prática de demonstração das diferentes abordagens e possibilidades que podem surgir na elaboração de um arranjo para guitarra solo e serão realizados a partir do repertório musical popular brasileiro (bossa-nova e MPB), americano e europeu (jazz e pop) / Abstract: The guitar is an instrument that has proved capable of producing music in several different textures. It can improvise melodically like a trumpet or a saxophone, it can accompany soloists or play the role of the harmonic instrument in a combo, or it can play solo arrangements and compositions, like a piano or an organ. Such versatility has been one of the most needed attributes to the professional musician since we live in an era that so little investment has been made to make way to live performance music making it difficult to form musical combos. As a result, very often the musician needs to execute, by himself, musical parts originally intended to be played by an entire combo. The proposal of this work is to guide the guitarist in fulfilling this kind of work: the conception of solo arrangements. To achieve this goal, musical elements originated from performance practice will be shown, exemplified and analyzed as solo arrangements excerpts and entire pieces. In a very succinct manner, issues regarding the theory of popular music, as well as issues regarding the history of the instrument which, in Brazil, is called guitarra, will be shown to aid the fulfillment of this work¿s proposal. The original solo arrangements within this text are a practical way to demonstrate the different approaches and possibilities that can be raised when arranging for solo guitar and will be done inside the repertoire that involves Brazilian popular music (bossa-nova and the so called MPB, which stands for Brazilian Popular Music) and American and European popular music (jazz and pop) / Mestrado / Mestre em Música

Orientador: Marcos Siqueira Cavalcante / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-08T14:36:55Z (GMT). No. of bitstreams: 1 Batista_AdrianodeCarvalho_M.pdf: 713091 bytes, checksum: a2b6db85291dd1dc0d5a08dd668648f8 (MD5) Previous issue date: 2006 / Resumo: Essa dissertação é um estudo sobre a formação e aplicabilidade das chamadas Tétrades na guitarra elétrica. O presente trabalho descreve o processo de construção de tais acordes, além de sistematizar alguns procedimentos de expansão harmônica levando em consideração as características técnicas e idiomáticas do instrumento. O estudo ainda busca organizar, de maneira sistêmica, as principais aberturas de acordes usadas na guitarra elétrica para a confecção de encadeamentos harmônicos aplicados em acompanhamento de importantes gêneros da Música Popular. Por meio das análises de transcrições também é possível perceber claramente os procedimentos estudados ao longo da pesquisa. Desta forma, esse trabalho é uma tentativa de amenizar as lacunas existentes na metodologia de ensino da guitarra, e se propõe a contribuir para a organização e elaboração do material harmônico utilizado por este instrumento. Além disso, também poderá ser utilizado como método ao estudo da harmonia e construção de tétrades na guitarra, para alunos ingressantes no ensino superior, assim como alunos dos cursos de música em nível fundamental e médio / Abstract: Four-Note Chord Voicings: A Harmonic Study of the Electric Guitar This research project is about the construction and application of four-note chord voicings for the electric guitar. The present work describes the building process of these chords and introduces a systematic procedure for harmonic expansion, taking in consideration the technical characteristics and idiomatic nature of the instrument. This study attempts to organize the main voicings used on the electric guitar to create harmonic cadences applied in the rhythm sections of important styles of Contemporary Popular Music. The procedures studied and utilized for this work are clearly evident through transcriptions and analysis. This work proposes to diminish the existing gaps in the study of four- note chord voicings and contribute to the organization and elaboration of study material for the instrument. Besides, it could be a method to the study of harmony and the building process of the four note chord voicings to the beginners in the college as well as students at basic and intermediate stages / Mestrado / Mestre em Música

Orientador: Antonio Rafael Carvalho dos Santos / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-08T03:10:40Z (GMT). No. of bitstreams: 1 Lima_AdrianoFagundesOliveira_M.pdf: 1384309 bytes, checksum: 009724025c8fc3ab9b2f5d9cd9d8d8fb (MD5) Previous issue date: 2006 / Resumo: O presente trabalho ocupa-se em pesquisar os policordes, formações acordais compostas pela sobreposição de uma ou mais tríades ou tétrades sobre uma base simples ou composta, discutindo as diferentes formas como são encontrados e oferecendo uma proposta de sistematização. Por tratar-se de uma linguagem relativamente nova, procurou-se primeiramente investigar como eles são apresentados conceitualmente e graficamente nos trabalhos de diversos autores e sugerir uma sistematização baseada nessas informações. Em seguida, buscou-se identificar, com base nesta proposta de sistematização, sua utilização no repertório de música brasileira / Abstract: This work is concerned in researching the polychords, chordal structures formed by the superimposition of one or more triads or thetrads over a simple or complex base, discussing the different ways they are found and proposing a system for it¿s use. Being such a new language, primarily this work searches for how they are presented both conceptually and graphically in different works of several authors and suggests a system based upon these informations. Secondly, this work tries to identify, based upon this system proposal, the use of the polychords in popular music / Mestrado / Mestre em Música

Orientador: Alcides Hector Rodriguez Benoit / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-08-03T14:58:14Z (GMT). No. of bitstreams: 1 Nascimento_ZilphaBarrosCarvalhodo_D.pdf: 9341938 bytes, checksum: e3689cfd3416e4fe9c31dc0852847147 (MD5) Previous issue date: 2003 / Resumo: Analisar a música em Platão pode parecer uma empresa complexa ou mesmo difícil. Mas não é a música, por definição, aquilo que escapa ao discurso racional? Apesar de existir para o mestre ateniense, nitidamente, uma música que se ouve e outra que não se ouve: a meditação sobre esta música abstraída da sonoridade é um filosofar, o mais alto grau da concepção musical, como ele mesmo assinala em seu Diálogo (phéd. 60 e 61 a) - este conceito de harmonia (?rmon?a) que nos transporta a uma harmonia pitagórica é a harmonia da música que absorve a harmonia da alma e a do universo. Entretanto, não se manterá a música para Platão, como um paradigma da contradição existente no âmbito da sua própria reflexão, quando sugere nas entrelinhas a possibilidade de que a música - a Arte das Musas, a "suprema música" ensinada pelo daimon socrático possa funcionar como uma metaxú (metax?) entre o Iogos (l?go?) e a aistkesis (aisthsiz), entre o real e as aparências? / Abstract: To analyze the music in Plato can be seem a complex or even a difficult task. But is not the music, by defmition, that what escapes the rational speech? Although, for the athenian mas ter, clearly, is a music that is heard and another that it is not heard: the meditation on this no sonority music is to philosophize, the highest degree of the musical conception, as he stress in his Dialogue (Phéd. 60e 61a) - this harmony concept that transports us to a pitagórical harmony is the harmony of the music that absorbs the harmony of the soul and of the universe. However, the music for Plato won't stay as a paradigm of the existent contradiction in his own reflection, when he suggest, between the lines, the possibility that the music - the Art of the Muses, the "supreme music "teached by the Socratic daimon can function as a melaxú (metax?) among the logos (l?go?) and the aísthesis (aisthsiz), between the real and the appearances? / Doutorado / Doutor em Filosofia

Insect-human interactions are very complex; one example is the relationship between humans and the multicolored Asian lady beetle (ALB; Harmonia axyridis). ALB, a native to Asia, was introduced into North American agricultural fields and orchards as a biological control agent for aphids and other soft-bodied insects. However, it is considered a pest by some humans as it invades houses in the fall and winter months. Additionally, ALBs feed on fruits when aphids are scarce, and the hemolymph secreted by ALBs contaminates fruit and affects the taste of fruit products. ALBs invasive behavior has led to concern that this non-native species may be outcompeting native lady beetle species, perhaps leading toward the latter’s extinction. Our study aims to provide genomic and proteomic framework for further study and management of ALB. Insect genomes represent gateways into their complex physiological, behavioral, and structural characteristics, and consequently can be leveraged in the development of highly targeted strategies for the control of pests, the propagation/protection of beneficial species, and responsible stewardship of insect biodiversity. For this study, ALBs were collected on the Mississippi State University campus in Starkville, MS, and their DNA was sequenced using Illumina and Oxford Nanopore technologies. The data was assembled and annotated using multiple computational biology techniques. Over 40K protein-coding genes were predicted with high confidence from the ALB sequence assembly. To complement the genome assembly, the proteome of ALB was explored using LC-MSMS analysis and 2-D electrophoresis. Annotation was used to characterize and identify the proteins found in the proteomic analysis of ALB. Before completing our study, a Japanese H. axyridis genome assembly was published by the Beijing Institute of Science. The Japanese ALB genome had a higher assembly quality than ours, but it was not annotated. We annotated both the Japanese and Mississippi ALB genomes. Comparative analyses were performed to identify possible variations that could have resulted from adaptation, but the data revealed no significant differences between Japanese and Mississippi assemblies. Overall, the results from our study, including the annotation of the Japanese ALB assembly, provide a better understanding of the biology of the ALB and inform further research aimed at managing interactions of this species with humans, their crops, and the environment.

Este trabalho analisa a estruturação harmônica do episódio lírico Artémis, de Alberto Nepomuceno, buscando demonstrar que a técnica usada pelo compositor emprega sistematicamente os princípios da linguagem do cromatismo pós-wagneriano. Observa-se, inicialmente, que o projeto dessa obra encontra-se na vanguarda das estéticas de seu tempo, alinhando-se com as correntes progressistas do período. Nesse sentido verifica-se que, apesar de Nepomuceno ter sido identificado pela historiografia modernista como precursor do nacionalismo musical brasileiro, nesta obra prevalece sua inclinação cosmopolita. Para o desenvolvimento da pesquisa examinou-se inicialmente qual ferramenta de análise harmônica, dedicada ao repertório do cromatismo romântico do final do século XIX, seria mais adequada ao Artémis. Apresenta-se, por isso, uma introdução às teorias analíticas aplicáveis ao repertório com tonalidade expandida do século XIX, focando nos trabalhos de Hugo Riemann, Arnold Schoenberg e David Kopp. As teorias harmônicas de Riemann, sendo a matriz primordial dessas teorias, são extensamente investigadas. Comparamos, a seguir, as propostas dos três teóricos no que se refere a ferramentas de análise para peças com estrutura cromática. Discorrendo sobre aspectos positivos e negativos de cada teoria investigada, apontamos a recente teoria neorriemanniana de Kopp como a que melhor sistematizou, para nossos propósitos, os avanços acadêmicos no entendimento dos problemas harmônicos do repertório cromático do século XIX. Defendendo a importância de se atrelar, adequadamente, teoria, análise e repertório, confrontamos teoria e prática analítica, aplicando ao Artémis a sistemática das transformações cromáticas de Kopp. Conseguimos assim demonstrar, na prática do processo analítico, através de uma ferramenta de análise perfeitamente ajustada ao repertório proposto, resultados que atestam a coerência estrutural do texto musical abordado aos princípios transformacionais da harmonia cromática pós-wagneriana. / This dissertation analyses the harmonic structure of the \"lyric episode\" Artémis, composed by Alberto Nepomuceno, aiming to demonstrate that the technique used by the composer employs, systematically, the principles of the post-Wagnerian chromatic language. We observe, initially, that the project of this piece fits the avant-garde aesthetics of its time, aligning itself to the progressive trends of the period. In this sense we verify - although Nepomuceno has been identified by the modernistic Brazilian historiography as a forerunner of the Brazilian musical nationalism - that his cosmopolitan inclinations prevailed in this composition. At first, for the adequate development of the research, we examined which tool of harmonic analysis, dedicated to the chromatic repertoire of the final of the XIX Century, would be more adequate to the music of Artémis. We present, therefore, an introduction to the analytical theories that might be useful to the repertoire of expanded tonality of the XIX Century, focusing in the texts of Hugo Riemann, Arnold Schoenberg and David Kopp. The harmonic theories of Riemann, as the matrix for all these theories, are extensively investigated. We compare, in the sequence, the proposals of three theoreticians that developed analytical tools for pieces with chromatic structures. Revealing the positive and negative aspects of each of these theories, we pointed out the recent neoriemannian theory by Kopp as the one that better systematizes, for our purposes, the academic advances in the understanding of the harmonic problems of the chromatic repertoire composed at the end of the XIX Century. Because we defend the importance of considering simultaneously theory, analysis and repertoire, we confront theory and practice, applying to Artémis, Kopp\'s chromatic transformations systematic theory. This way we were able to demonstrate, in the practice of the analytical process, through an analytic tool perfectly fit to proposed repertoire, results that attest the structural coherence of the studied musical text with the transformational principles of post-Wagnerian chromatic harmony.

Este trabalho analisa a estruturação harmônica do episódio lírico Artémis, de Alberto Nepomuceno, buscando demonstrar que a técnica usada pelo compositor emprega sistematicamente os princípios da linguagem do cromatismo pós-wagneriano. Observa-se, inicialmente, que o projeto dessa obra encontra-se na vanguarda das estéticas de seu tempo, alinhando-se com as correntes progressistas do período. Nesse sentido verifica-se que, apesar de Nepomuceno ter sido identificado pela historiografia modernista como precursor do nacionalismo musical brasileiro, nesta obra prevalece sua inclinação cosmopolita. Para o desenvolvimento da pesquisa examinou-se inicialmente qual ferramenta de análise harmônica, dedicada ao repertório do cromatismo romântico do final do século XIX, seria mais adequada ao Artémis. Apresenta-se, por isso, uma introdução às teorias analíticas aplicáveis ao repertório com tonalidade expandida do século XIX, focando nos trabalhos de Hugo Riemann, Arnold Schoenberg e David Kopp. As teorias harmônicas de Riemann, sendo a matriz primordial dessas teorias, são extensamente investigadas. Comparamos, a seguir, as propostas dos três teóricos no que se refere a ferramentas de análise para peças com estrutura cromática. Discorrendo sobre aspectos positivos e negativos de cada teoria investigada, apontamos a recente teoria neorriemanniana de Kopp como a que melhor sistematizou, para nossos propósitos, os avanços acadêmicos no entendimento dos problemas harmônicos do repertório cromático do século XIX. Defendendo a importância de se atrelar, adequadamente, teoria, análise e repertório, confrontamos teoria e prática analítica, aplicando ao Artémis a sistemática das transformações cromáticas de Kopp. Conseguimos assim demonstrar, na prática do processo analítico, através de uma ferramenta de análise perfeitamente ajustada ao repertório proposto, resultados que atestam a coerência estrutural do texto musical abordado aos princípios transformacionais da harmonia cromática pós-wagneriana. / This dissertation analyses the harmonic structure of the \"lyric episode\" Artémis, composed by Alberto Nepomuceno, aiming to demonstrate that the technique used by the composer employs, systematically, the principles of the post-Wagnerian chromatic language. We observe, initially, that the project of this piece fits the avant-garde aesthetics of its time, aligning itself to the progressive trends of the period. In this sense we verify - although Nepomuceno has been identified by the modernistic Brazilian historiography as a forerunner of the Brazilian musical nationalism - that his cosmopolitan inclinations prevailed in this composition. At first, for the adequate development of the research, we examined which tool of harmonic analysis, dedicated to the chromatic repertoire of the final of the XIX Century, would be more adequate to the music of Artémis. We present, therefore, an introduction to the analytical theories that might be useful to the repertoire of expanded tonality of the XIX Century, focusing in the texts of Hugo Riemann, Arnold Schoenberg and David Kopp. The harmonic theories of Riemann, as the matrix for all these theories, are extensively investigated. We compare, in the sequence, the proposals of three theoreticians that developed analytical tools for pieces with chromatic structures. Revealing the positive and negative aspects of each of these theories, we pointed out the recent neoriemannian theory by Kopp as the one that better systematizes, for our purposes, the academic advances in the understanding of the harmonic problems of the chromatic repertoire composed at the end of the XIX Century. Because we defend the importance of considering simultaneously theory, analysis and repertoire, we confront theory and practice, applying to Artémis, Kopp\'s chromatic transformations systematic theory. This way we were able to demonstrate, in the practice of the analytical process, through an analytic tool perfectly fit to proposed repertoire, results that attest the structural coherence of the studied musical text with the transformational principles of post-Wagnerian chromatic harmony.

Thesis (MSc)--Stellenbosch University, 2015. / ENGLISH ABSTRACT: Invasive arthropod predators are one of the largest and most diverse groups of invasive insects in the world. Many are generalist predators, with cosmopolitan distributions due to their use as biological control agents in agriculture. Harmonia axyridis (Coleoptera: Coccinellidae), an invasive arthropod predator species native to Asia, which now has a world-wide distribution. It is considered one of the most successful biological control predator species and is generally considered to be economically beneficial. However, negative effects have recently emerged in agricultural and natural systems. Harmonia axyridis poses a threat to biodiversity as it outcompetes native species for food resources. It can also feed directly on native predatory arthropods that disrupt natural ecosystem processes. Their movement in-and-out of agricultural landscapes may depend on food availability with natural vegetation alongside agricultural areas often utilised for refuge and alternative food resources. This beetle has also been recorded in urban areas. The aim of this study was to determine how the invasive H. axyridis beetle uses the local landscape in the Western Cape province, South Africa, and to determine its threat to native species. I sampled urban landscapes, vineyards, natural vegetation/vineyard edge zones and pristine natural areas for arthropods every second month using a suction sampler. Data collected included the abundance and diversity of H. axyridis, herbivores, local predators and non-Harmonia ladybeetles. Most H. axyridis were collected in urban areas during all sampling periods. Highest abundance was recorded in May and July (winter). This indicates that urban areas were the preferred landscape feature and that these act as ovipositing areas, particularly as larval H. axyridis were also only collected in urban areas. Significantly, vineyards and natural vegetation had very low abundance of H. axyridis, questioning their value as a biological control agent in this region. Harmonia axyridis had a negative effect on the overall local arthropod community, as well as the predator and herbivore guilds, although it was positively correlated with the abundance of non-Harmonia ladybeetles. This suggests that H. axyridis and non-Harmonia ladybeetles are responding to the same resources in these landscapes. A negative correlation found between H. axyridis and the abundance of predators is most likely due to competition for the same resources (e.g. prey items). These negative impacts, along with their negligible value as biological control agents in agriculture, suggest that a programme should be implemented to control this invasive species. More specifically, control should be aimed in urban areas during winter when and where the species aggregates and when larvae are present. / AFRIKAANSE OPSOMMING: Geleedpotige roofdiere is een van die grootste en mees diverse groepe van uitheemse insekte in die wêreld. Die meeste is veelsydige roofdiere, met wêreldwye verspreiding te danke aan hul gebruik as biologiese beheer agente in landbou gebiede. Byvoorbeeld, Harmonia axyridis (Coleoptera: Coccinellidae), 'n indringer geleedpotige roofdier spesies inheems aan Asië, het nou 'n wêreldwye verspreiding. Dit word beskou as die mees suksesvolle roofdier spesies wat gebruik word vir biologiese beheer en word oor die algemeen beskou as ekonomies voordelig. Negatiewe effekte was onlangs aangeteken beide in landbou gebiede en natuurlike areas. Harmonia axyridis hou 'n bedreiging in vir inheemse biodiversiteit as dit inheemse spesies uitkompeteer vir voedsel bronne. Dit kan ook direk voed op plaaslike roofsugtige geleedpotiges wat trofiese vlakke ontwrig en uiteindelik, biodiversiteit. Hulle beweging in-en-uit landbou landskappe kan gekoppel word aan die beskikbaarheid van voedsel, en gebruik natuurlike plantegroei langs landbou gebiede dikwels as 'n toevlugs oord en area vir alternatiewe voedsel bronne. Harmonia axyridis word ook in stedelike gebiede aangeteken. Die doel van hierdie studie was om te bepaal hoe die indringer Harlekynkewer die plaaslike landskap gebruik met die fokus op wingerde in die Wes-Kaap provinsie van Suid-Afrika, en tweedens om die bedreiging wat hierdie kewer moontlik vir inheemse spesies te bepaal. Ek het arthropoda in stedelike landskappe, wingerde, natuurlike plantegroei / wingerd rand sones en ongerepte natuurlike areas elke twee maande met behulp van 'n D-vac versamel. Monsters was ontleed deur gebruik te maak van die getalle van H. axyridis, herbivore, plaaslike roofdiere en nie-Harmonia liewenheers kewers. Die meeste H. axyridis was in stedelike gebiede versamel gedurende al die seisoene, maar meeste individue was gedurende Mei en Julie (winter) versamel. Hierdie toon dat stedelike gebiede die voorkeur-landskappe is vir hierdie kewers en dat hierdie gebiede opgetree as eierleggende gebiede, veral omdat larwes van H. axyridis slegs in hierdie gebiede aangeteken was. Wingerde en die natuurlike plantegroei het baie lae getalle H. axyridis gehuisves wat hul waarde as biobeheermiddel bevraagteken. Harmonia axyridis het 'n negatiewe uitwerking op die algehele plaaslike geleedpotige gemeenskappe gehad, asook op die die roofdier en herbivoor gildes, maar hul getalle was positief gekorreleer met die getalle van nie-Harmonia liewenheerskewers. Dit dui daarop dat H. axyridis en nie-Harmonia liewenheerskewers beide reageer op dieselfde hulpbronne in hierdie landskappe. 'n Negatiewe korrelasie was gevind tussen die getalle van H. axyridis en die getalle van ander predatoriese geleedpotiges at waarskynlik te danke was aan mededinging tussen hierdie groepe vir dieselfde hulpbronne (bv prooi). Hierdie negatiewe invloede, asook hul verminderde waarde as biobeheeragente in die landbou, dui daarop dat 'n program in werking gestel moet word om hierdie indringerspesies te beheer. Meer spesifiek, beheer moet gedurende die winter en in stedelike gebiede geskied, waar en wanneer hierdie spesie op sy volopste is en waar larwes teenwoordig is.

Native to Asia, Harmonia axyridis (Pallas) (Coleoptera: Coccinellidae) is an invasive non-native ladybird in Europe and North America, where it was widely introduced as a biological control agent of aphids and coccids. There were three main objectives of this study: firstly, to investigate the spread and distribution of H. axyridis in Europe from the start of the invasion process; secondly, to study its ecology in Great Britain; and thirdly, to examine its effects on native ladybirds in Britain. In Europe, collaborations with a network of scientists allowed the collation of H. axyridis occurrence data from across the continent. In Great Britain, a web-based public survey (www.harlequin-survey.org) was used, leading to the receipt of over 10,000 verified records of H. axyridis between 2004 and 2008. National land cover data enabled the habitats used by H. axyridis to be identified across Great Britain. These datasets were analysed in order to study the spread and ecology of H. axyridis in Europe and Britain. Fieldwork over a three year period (2006 to 2008) was carried out to examine changes in ladybird species assemblages during the invasion phase of H. axyridis in eastern England. Laboratory work was conducted to detect intraguild predation by H. axyridis, through PCR analyses of gut contents of field-collected ladybirds. In Europe, H. axyridis has spread since 2001 at the rate of approximately 200km yr-1. It has become established in at least 23 European countries. The established range extends from Norway in the north to southern France in the south, and from Ukraine in the east to Great Britain in the west. In the first five years of establishment H. axyridis spread north through Britain at the rate of 105km yr-1 and west at the rate of 145km yr-1. Evidence of the production of two generations per year was found, giving H. axyridis an advantage over most native ladybirds in Britain. Although H. axyridis was very common in urban habitats, it increasingly used semi-natural habitats. In addition, whilst the species was most common on deciduous trees, it was increasingly found on herbaceous plants. Aceraceae, Rosaceae and Malvaceae were the dominant plant families used by H. axyridis, especially for breeding. In eastern England H. axyridis increased from 0.1% to 40% of total ladybirds in three years, whilst native aphidophagous ladybirds declined from 84% to 41% of total ladybirds in the same period. Three species in particular experienced declines: Adalia 2-punctata, Coccinella 7-punctata and Propylea 14-punctata. Harmonia axyridis was the most abundant species by the end of the study. Detection of intraguild predation by one coccinellid on another, in the field in Europe, was shown for the first time using PCR techniques: A. 2-punctata DNA was detected in the gut of one of 112 field-collected H. axyridis. Harmonia axyridis has spread very quickly since 2001 and has become one of the most widely distributed coccinellids in Europe. Populations of native aphidophagous ladybirds were negatively affected by the arrival of H. axyridis, partly through intraguild predation.

Memoria para optar al Título Profesional de Médico Veterinario / Harmonia axyridis o chinita arlequín es un coccinélido invasor que ha provocado numerosos efectos negativos en otras regiones del mundo, tales como pérdidas económicas para la agricultura, perjuicios ecológicos, daños estéticos a nivel domiciliario y reacciones alérgicas o mordeduras en humanos. En Chile se han registrado hallazgos sucesivos de la especie desde 2008 y se ha detectado un aumento progresivo de estos a través del tiempo. La presente memoria de título consistió en la creación, mantención y difusión de un sitio en Internet donde se informó a la población general sobre el fenómeno H. axyridis en Chile y se recopiló información sobre su distribución y otras características de la especie mediante una encuesta electrónica. Entre Julio de 2011 y Julio de 2012 se recibieron 508 reportes de hallazgos de H. axyridis distribuidos entre las regiones de Coquimbo y del Libertador General Bernardo O’Higgins. El número de comunas confirmadas con la presencia de la especie se incrementó 2,6 veces entre los años 2010 y 2012. No obstante, reportes posteriores al periodo de estudio de esta memoria indican que esta especie ha aumentado su distribución hacia el sur, llegando hasta la Región de Los Ríos. En total, el portal web recibió 10.122 visitas, las que según el análisis realizado mediante Google Analytics ® fueron de buena calidad. El sitio en Internet resultó ser un medio eficiente para difundir el fenómeno de H. axyridis en Chile y mejorar el conocimiento sobre su dinámica de distribución en el país, la que se ha expandido considerablemente en los últimos años. Sin embargo, esta estrategia de difusión debe ser complementada con otros métodos, de manera de mejorar el acceso a la información sobre este fenómeno en la población / Financiamiento: Proyecto Fondecyt 1100159