O tema para pesquisa volta-se para a entoação observada na organização do discurso do portador de afasia, entendida como uma alteração no sistema linguístico proveniente de lesão cerebral que, dentre outros comprometimentos, faz com que o afásico sinta bastante dificuldade em transmitir emoção e significado pela fala, causando afastamento social. Com o objetivo de identificar recursos prosódicos no processo de (re)organização da linguagem por meio da identificação de pistas entoacionais na produção oral do sujeito afásico e de estratégias de organização entoacional através de pistas presentes na escrita deste sujeito a partir da Teoria Interacional da Entoação, de Brazil (1985), o estudo tem como foco favorecer a oralidade do sujeito afásico pela exploração de pistas entoacionais através do uso de diferentes gêneros textuais relacionados à prática diária do afásico. Para isso, foi realizado um estudo com um sujeito afásico, do sexo masculino, com dificuldades expressivas na escrita e na oralidade. Foram selecionados dez gêneros com características predominantes da oralidade e dez com características predominantes da escrita. Todas as atividades propostas com os gêneros da modalidade oral foram realizadas pelo sujeito, enquanto apenas sete atividades da modalidade escrita foram aceitas e executadas satisfatoriamente. Os resultados apontaram a necessidade de trabalho conjunto entre aspectos verbais, não verbais e multimodais na construção discursiva. As pistas entoacionais, tanto na oralidade quanto na escrita, serviram como facilitadoras do processo de organização da linguagem do sujeito afásico. A ênfase dada pela proeminência, sobretudo, pelo destaque à sílaba pré-tonica desempenhou forte componente constitutivo de sentido para a interação. Mesmo a hesitação, comum ao discurso do afásico, considerada uma estratégia para organização do pensamento, é marcada por pista entoacional relacionada à organização sintática. Logo, conclui-se que no processo de (re)organização da linguagem, a entoação desempenha um papel muito importante na construção de sentido na interação e facilita a compreensão do enunciado / The theme for research has been observed for the intonation in the organization of the speech in patients with aphasia, understood as a change in the linguistic system from brain damage, among other commitments, which makes the aphasic feel it very difficult to convey emotion and meaning by speech, causing social withdrawal. In order to identify prosodic features in the process of (re)organization of language by identifying intonation clues of speech in the oral production by the aphasic subject and the organization of intonation strategies through clues presented in the writing of that subject from the Interactional Theory of Intonation of Brazil (1985), the study focuses on promoting the speech of the aphasic subject by exploring intonation clues through the use of different text genres related to the daily practice of aphasic. For this reason, a study was conducted with an aphasic subject, male, with significant difficulties in writing and speaking skills. We selected ten species with predominant features of speech and ten with predominant features of writing. All the proposed activities on the mode of oral genres were performed by the subject, while only seven activities of the written form were accepted and performed satisfactorily. The results indicated the need of working together both the aspects of verbal and nonverbal multimodal and discursive construction. The intonation clues, both in the oral and in the writing, served as facilitators of the process of organizing language by the aphasic subject. The emphasis of the prominence, especially the emphasis on pretonic syllable, played strong constitutive meaning in interaction. Even the hesitation, which is common in the speech of the aphasic, is considered a strategy for organization of thought, and it is marked by intonation clue related to syntactic organization. Thus, we conclude that in the process of (re)organization of language, intonation plays an important role in the construction of meaning in the interaction and facilitates understanding the statement

Submitted by Alison Vanceto (alison-vanceto@hotmail.com) on 2016-10-10T12:01:20Z No. of bitstreams: 1 DissFHM.pdf: 1287843 bytes, checksum: 28edf993874a5dff03dbe80664dce484 (MD5) / Approved for entry into archive by Ronildo Prado (ronisp@ufscar.br) on 2016-10-11T13:44:03Z (GMT) No. of bitstreams: 1 DissFHM.pdf: 1287843 bytes, checksum: 28edf993874a5dff03dbe80664dce484 (MD5) / Approved for entry into archive by Ronildo Prado (ronisp@ufscar.br) on 2016-10-11T13:44:11Z (GMT) No. of bitstreams: 1 DissFHM.pdf: 1287843 bytes, checksum: 28edf993874a5dff03dbe80664dce484 (MD5) / Made available in DSpace on 2016-10-11T13:51:26Z (GMT). No. of bitstreams: 1 DissFHM.pdf: 1287843 bytes, checksum: 28edf993874a5dff03dbe80664dce484 (MD5) Previous issue date: 2015-07-01 / Não recebi financiamento / This study aims to understand the song genre from the perspective of Bakhtin (2010) and dialogical relations that it establishes with its fields or social spheres in which arises and manifests. We will take as objects of study two hymns of contemporary social movements and a statement chanted during Marches July 2013 namely: the Anthem of the Landless Rural Workers (MST), the Hymn of the Zapatista Movement and the statement concrete "Come To street ". Mirando such objects and articulating the concept of gender in the theoretical orbit circle which was part Bakhtin, I want to understand how is the transition from primary to secondary and genres such as the hymn, through its expressiveness, brand valuation of part of the story Movement embodied in the narrative of militants Settlement Monte Alegre, located in the region of Araraquara-SP, thus indicating the passage of the ethical to the aesthetic field. / O presente trabalho tem como objetivo compreender o gênero hino a partir da perspectiva de Bakhtin (2010) e as relações dialógicas que o mesmo estabelece com seus campos ou esferas sociais nos quais surge e se manifesta. Tomaremos como objetos de estudos dois hinos de Movimentos Sociais contemporâneos e um enunciado entoado durante as Marchas de Julho de 2013 quais sejam: o Hino do Movimento dos Trabalhadores Rurais sem Terra (MST), o Hino do Movimento Zapatista e o enunciado concreto “Vem Pra Rua”. Mirando tais objetos e articulando o conceito de gênero na órbita teórica do Círculo do qual fazia parte Bakhtin, pretendo compreender como se dá a passagem dos gêneros primários aos secundários e como o hino, por meio de sua expressividade, marca a valoração de parte da história do Movimento concretizada na narrativa de militantes do Assentamento Monte Alegre, localizado na região de Araraquara-SP, desse modo, evidenciando a passagem do campo ético ao estético.

Автор представляемого исследования изучает одно из самых значимых произведений Вилла-Лобоса – 16 Cirandas (Сирандас). Он предлагает анализ и различные интерпретационные концепции каждой музыкальной пьесы цикла. При поиске принципов, которые лежат в основе семантики и синтаксиса музыкального произведения, автор опирался в своем анализе на выдающиеся работы Б. Асафьева «Теория интонации» и «Музыкальная форма как процесс», критически представленные в этом исследовании в контексте других созданных в 20 веке музыкальных теорий. В анализе каждой из музыкальных пьес, называемом в работе «Интонационный анализ», как единый комплекс рассматривались следующие элементы: структурирование музыкального материала; звуковой поток в единицу времени в свете теории энергетики искусства Асафьева, импульсы музыкального движения, музыкальное движение, функции синхронных и последовательных звуковых элементов и их сочетаний; присущие музыкальной структуре семантические и синтаксические аспекты; пианистический язык Вилла-Лобоса; такие вопросы исполнительского искусства как аппликатура, туше, движения рук и плеч. Музыкальное исполнение, с точки зрения «Теории интонации», понимается как интонирование музыкального произведения, таким образом, звуковое воплощение происходит в руках и голосе интерпретатора, который передает свое психологическое/ интеллектуальное/эмоциональное/смысловое состояние в данном историческом и культурном контексте. В соответствии с пониманием Б. Асафьева, музыка – это «искусство интонируемого смысла». Вилла-Лобос, будучи неотъемлемой частью своего времени, интонирует в Сирандас культурные универсалии через исторически кристаллизованные интонации бразильского социального сознания. / Este trabalho investiga parte significativa da obra para piano de Villa-Lobos, as 16 Cirandas, com objetivo de apresentar concepções analíticas e interpretativas para a execução de cada uma das peças. Partindo da busca por um conhecimento que abordasse as questões semânticas e sintáticas, expressas no ato da execução musical, foram adotados, para as análises, os trabalhos de B. Asafiev, Teoria da Entonação e Forma Musical como Processo apresentados e contextualizados frente às teorias analíticas do século XX. Em cada concepção analítica das peças, neste trabalho, com o título de análises entonacionais, os itens a seguir foram tratados: a estruturação do material musical; o fluxo sonoro no tempo manifestado por intermédio dos conceitos “asafianos” de energia, impulso ao movimento musical, movimento musical e seu término, funções dos elementos e conjuntos sonoros simultâneos e sucessivos; os aspectos semânticos e sintáticos, imanentes e emanantes das estruturas musicais; a linguagem pianística de Villa-Lobos; aspectos do processo de execução, como dedilhados, movimentos de dedos, mãos e braços. Integrada à Teoria da Entonação, a execução musical é entendida como entonação de uma obra musical, ou seja, manifestação sonora originada das mãos e voz dos intérpretes, que comunica seu estado psicológico intelectual/emocional/semântico em um contexto cultural e histórico. Por sua vez, a música é entendida por Asafiev como “a arte do sentido entonado”. Conectado à sua contemporaneidade, Villa-Lobos entoa, nas Cirandas, um universo cultural por meio de entonações historicamente cristalizadas no consciente social brasileiro. / This work investigates a substantial part of Villa-Lobos’ work for piano, the 16 Cirandas. It proposes analytical and interpretive conceptions to the performance of each musical piece. Searching for principles that would encompass the semantics and syntax expressed in the act of musical performance, B. Asafiev’s Intonation Theory and Musical Form as Process was used as the basis for analysis, being presented and contextualized with the analytical theories of the 20th century. In each analytical conception of the pieces, entitled here as intonation analyses, the following items were treated as a complex: structuring of the musical material; sound flow within time manifested through the Asafie’s concepts of energy, impulse to the musical movement, musical movement and its conclusion; functions of simultaneous and successive sound elements and sets; semantic and syntactic aspects immanent and emanating of musical structures; pianistic language of Villa-Lobos; aspects of the performing process such as fingering, finger, hand and arm movements. Musical performance, integrated to the Theory of Intonation, is understood as intonation of a work of music, thus, manifestation of sound originated in the hands and voice of the interpreters, which communicates their psychological/intellectual/emotional/semantic state in a historical and cultural context. According to Asafiev’s understanding, music is the “art of intoned meaning”. Villa-Lobos, in touch with his contemporaneity, intones in his Cirandas a cultural universe through historically crystallized intonations of the Brazilian social consciousness.

Автор представляемого исследования изучает одно из самых значимых произведений Вилла-Лобоса – 16 Cirandas (Сирандас). Он предлагает анализ и различные интерпретационные концепции каждой музыкальной пьесы цикла. При поиске принципов, которые лежат в основе семантики и синтаксиса музыкального произведения, автор опирался в своем анализе на выдающиеся работы Б. Асафьева «Теория интонации» и «Музыкальная форма как процесс», критически представленные в этом исследовании в контексте других созданных в 20 веке музыкальных теорий. В анализе каждой из музыкальных пьес, называемом в работе «Интонационный анализ», как единый комплекс рассматривались следующие элементы: структурирование музыкального материала; звуковой поток в единицу времени в свете теории энергетики искусства Асафьева, импульсы музыкального движения, музыкальное движение, функции синхронных и последовательных звуковых элементов и их сочетаний; присущие музыкальной структуре семантические и синтаксические аспекты; пианистический язык Вилла-Лобоса; такие вопросы исполнительского искусства как аппликатура, туше, движения рук и плеч. Музыкальное исполнение, с точки зрения «Теории интонации», понимается как интонирование музыкального произведения, таким образом, звуковое воплощение происходит в руках и голосе интерпретатора, который передает свое психологическое/ интеллектуальное/эмоциональное/смысловое состояние в данном историческом и культурном контексте. В соответствии с пониманием Б. Асафьева, музыка – это «искусство интонируемого смысла». Вилла-Лобос, будучи неотъемлемой частью своего времени, интонирует в Сирандас культурные универсалии через исторически кристаллизованные интонации бразильского социального сознания. / Este trabalho investiga parte significativa da obra para piano de Villa-Lobos, as 16 Cirandas, com objetivo de apresentar concepções analíticas e interpretativas para a execução de cada uma das peças. Partindo da busca por um conhecimento que abordasse as questões semânticas e sintáticas, expressas no ato da execução musical, foram adotados, para as análises, os trabalhos de B. Asafiev, Teoria da Entonação e Forma Musical como Processo apresentados e contextualizados frente às teorias analíticas do século XX. Em cada concepção analítica das peças, neste trabalho, com o título de análises entonacionais, os itens a seguir foram tratados: a estruturação do material musical; o fluxo sonoro no tempo manifestado por intermédio dos conceitos “asafianos” de energia, impulso ao movimento musical, movimento musical e seu término, funções dos elementos e conjuntos sonoros simultâneos e sucessivos; os aspectos semânticos e sintáticos, imanentes e emanantes das estruturas musicais; a linguagem pianística de Villa-Lobos; aspectos do processo de execução, como dedilhados, movimentos de dedos, mãos e braços. Integrada à Teoria da Entonação, a execução musical é entendida como entonação de uma obra musical, ou seja, manifestação sonora originada das mãos e voz dos intérpretes, que comunica seu estado psicológico intelectual/emocional/semântico em um contexto cultural e histórico. Por sua vez, a música é entendida por Asafiev como “a arte do sentido entonado”. Conectado à sua contemporaneidade, Villa-Lobos entoa, nas Cirandas, um universo cultural por meio de entonações historicamente cristalizadas no consciente social brasileiro. / This work investigates a substantial part of Villa-Lobos’ work for piano, the 16 Cirandas. It proposes analytical and interpretive conceptions to the performance of each musical piece. Searching for principles that would encompass the semantics and syntax expressed in the act of musical performance, B. Asafiev’s Intonation Theory and Musical Form as Process was used as the basis for analysis, being presented and contextualized with the analytical theories of the 20th century. In each analytical conception of the pieces, entitled here as intonation analyses, the following items were treated as a complex: structuring of the musical material; sound flow within time manifested through the Asafie’s concepts of energy, impulse to the musical movement, musical movement and its conclusion; functions of simultaneous and successive sound elements and sets; semantic and syntactic aspects immanent and emanating of musical structures; pianistic language of Villa-Lobos; aspects of the performing process such as fingering, finger, hand and arm movements. Musical performance, integrated to the Theory of Intonation, is understood as intonation of a work of music, thus, manifestation of sound originated in the hands and voice of the interpreters, which communicates their psychological/intellectual/emotional/semantic state in a historical and cultural context. According to Asafiev’s understanding, music is the “art of intoned meaning”. Villa-Lobos, in touch with his contemporaneity, intones in his Cirandas a cultural universe through historically crystallized intonations of the Brazilian social consciousness.

Made available in DSpace on 2017-06-01T18:24:39Z (GMT). No. of bitstreams: 1 dissertacao_chirlene.pdf: 1604978 bytes, checksum: d238dc58dd5a4e4d4b01825d6886f7d2 (MD5) Previous issue date: 2012-02-10 / The theme for research has been observed for the intonation in the organization of the speech in patients with aphasia, understood as a change in the linguistic system from brain damage, among other commitments, which makes the aphasic feel it very difficult to convey emotion and meaning by speech, causing social withdrawal. In order to identify prosodic features in the process of (re)organization of language by identifying intonation clues of speech in the oral production by the aphasic subject and the organization of intonation strategies through clues presented in the writing of that subject from the Interactional Theory of Intonation of Brazil (1985), the study focuses on promoting the speech of the aphasic subject by exploring intonation clues through the use of different text genres related to the daily practice of aphasic. For this reason, a study was conducted with an aphasic subject, male, with significant difficulties in writing and speaking skills. We selected ten species with predominant features of speech and ten with predominant features of writing. All the proposed activities on the mode of oral genres were performed by the subject, while only seven activities of the written form were accepted and performed satisfactorily. The results indicated the need of working together both the aspects of verbal and nonverbal multimodal and discursive construction. The intonation clues, both in the oral and in the writing, served as facilitators of the process of organizing language by the aphasic subject. The emphasis of the prominence, especially the emphasis on pretonic syllable, played strong constitutive meaning in interaction. Even the hesitation, which is common in the speech of the aphasic, is considered a strategy for organization of thought, and it is marked by intonation clue related to syntactic organization. Thus, we conclude that in the process of (re)organization of language, intonation plays an important role in the construction of meaning in the interaction and facilitates understanding the statement / O tema para pesquisa volta-se para a entoação observada na organização do discurso do portador de afasia, entendida como uma alteração no sistema linguístico proveniente de lesão cerebral que, dentre outros comprometimentos, faz com que o afásico sinta bastante dificuldade em transmitir emoção e significado pela fala, causando afastamento social. Com o objetivo de identificar recursos prosódicos no processo de (re)organização da linguagem por meio da identificação de pistas entoacionais na produção oral do sujeito afásico e de estratégias de organização entoacional através de pistas presentes na escrita deste sujeito a partir da Teoria Interacional da Entoação, de Brazil (1985), o estudo tem como foco favorecer a oralidade do sujeito afásico pela exploração de pistas entoacionais através do uso de diferentes gêneros textuais relacionados à prática diária do afásico. Para isso, foi realizado um estudo com um sujeito afásico, do sexo masculino, com dificuldades expressivas na escrita e na oralidade. Foram selecionados dez gêneros com características predominantes da oralidade e dez com características predominantes da escrita. Todas as atividades propostas com os gêneros da modalidade oral foram realizadas pelo sujeito, enquanto apenas sete atividades da modalidade escrita foram aceitas e executadas satisfatoriamente. Os resultados apontaram a necessidade de trabalho conjunto entre aspectos verbais, não verbais e multimodais na construção discursiva. As pistas entoacionais, tanto na oralidade quanto na escrita, serviram como facilitadoras do processo de organização da linguagem do sujeito afásico. A ênfase dada pela proeminência, sobretudo, pelo destaque à sílaba pré-tonica desempenhou forte componente constitutivo de sentido para a interação. Mesmo a hesitação, comum ao discurso do afásico, considerada uma estratégia para organização do pensamento, é marcada por pista entoacional relacionada à organização sintática. Logo, conclui-se que no processo de (re)organização da linguagem, a entoação desempenha um papel muito importante na construção de sentido na interação e facilita a compreensão do enunciado

Tato diplomová práce pojednává o využití algoritmu Dynamic Time Warping (DTW) pro automatické hodnocení výslovnosti anglického jazyka. Práce se zaměřuje na vylepšení již existující aplikace pro výuku výslovnosti, a to ve třech oblastech: uživatelské rozhraní, samotný algoritmus a korektivní zpětná vazba uživateli. První část se věnuje přehledu technik používaných v této oblasti, následně je představen nový design uživatelského rozhraní, popsán navržený systém a experimenty. Experimenty se zaměřují na problematiku detekce chyb na úrovni fonémů, na detekci chyb v primárním důrazu na úrovni slabik a na hodnocení intonace na úrovni slov. Všechny použité metody jsou navrženy tak, aby poskytovaly korektivní zpětnou vazbu uživateli. V poslední části je popsáno, jak byly všechny tři vylepšené oblasti aplikace otestovány.

The diploma thesis is divided into two parts. The first part summarizes the theoretical knowledge of musical-psychological categories, which also includes musicality. The next chapter of the theoretical part is also focused on this theme. The last chapter is creativity and its characteristics and specifics in use in primary school. In the practical part was used the method of parallel group technique. Twenty two pupils took part in the experimental teaching and the same number of pupils represented the control group. The respondents were from two 4th grade classes of primary school. Moreover, in the practical part there is an analysis of the results of empirical research, which was realized by collective screening of musicality. Research has shown that pupils developed through creative intonation achieve better musicality than pupils trained in conventional music education. KEYWORDS musicality, musical creativity, creative intonation, screening of musical creativity, music education, primary school, experimental teaching

B. Štěpánková K funkci výrazů částicové povahy ve výstavbě textu... ABSTRACT This dissertation is devoted to a specific type of particle unit which we refer to as the actualizer. Actualizers are differentiated from other particles primarily due to a combination of the following properties: the ability to imply a presupposition and the ability to actualize or emphasize a nearby expression. They play an important role in the topic-focus articulation of a sentence by drawing attention to elements with a greater degree of communicative dynamism, not only in focus or contrastive topic, but also in other parts of the sentence. Unlike previous studies which have concentrated mainly on prototypical representatives of these units, this dissertation tries to capture the greatest possible number of actualizers. At the same time, it aims to describe their semantic characteristics, and based on this, it attempts to categorize actualizers into three semantic groups. From this perspective, we can distinguish between restrictive, inclusive, and temporally emphasizing actualizers. These groups can be further divided according to their specific features. The dissertation also analyzes the possible positioning of the actualizers in various places in a sentence and investigates which expressions can occur in the surroundings...

The trumpet ensemble has increasingly become a popular chamber ensemble inside music programs at the secondary and collegiate level. Chamber music ensembles are frequently guided by both democratic processes and ensemble coaches with limited chamber music experience. As trumpet ensembles grow in popularity, pedagogical resources are needed to guide rehearsals. This project serves as a guide for educators and performers to focus on fundamental issues related to trumpet ensembles as well as strategies for ensemble rehearsal.

This text outlines recent developments in my artistic practice. The two underlying themes of this work are my intonation practice, with and emphasis on just intonation, as well as the Japanese mouth-organ shō, which I am currently learning to play. The text discusses these topics, along with four of my recent works: Hypothermia for bass drum (2020) for gran cassa and electronics; Stycke för cembalo och elektronik (2021) for harpsichord and electronics; Breathing, bowing (2022) for viola da gamba and electronics; and Solo #1 (2022) for shō and unfiltered sawtooth waves. In these four pieces, I have explored different ways for the electronics to relate to and interact with the respective acoustic instruments with regards to intonation, spectromorphology and timbre. Both the pieces and the two underlying themes have not only been ventures into new aesthetic and technological areas, but they have also shaped my outlook on composition and the relationship between composer and musician. / <p>The presentation refers to my graduation concert, where two of the pieces discussed in this text were presented: <em>Breathing, bowing</em> and <em>Solo #1</em>. Along with these pieces, during the concert a newly composed ensemble piece was presented with me playing the shō alongside Johan Arrias (soprano saxophone), Gard Nergaard (hardingfela) and Vilhelm Bromander (contrabass).</p>