Concentramo-nos neste trabalho sobre o processo transcritivo da Suíte in A minor para flauto concertato, do compositor G. Ph. Telemann, com o duplo objetivo de possibilitar a ampliação do repertório solista do trombone moderno com a transcrição de uma obra barroca, e também de apresentar a transcrição de uma obra que seja possível de execução, tanto por profissionais como não profissionais. Deve-se salientar que no período barroco, o sacabuxa, antecessor do trombone moderno, embora muito utilizado, não possuía função solística e, portanto, a literatura para o trombone não conta com obras originais para o instrumento como solista durante o período barroco. No primeiro capítulo, consta uma breve historiografia sobre o sacabuxa, suas terminologias, bem como as discussões em torno da afinação em Lá ou Sib, seu registro e repertório. O segundo capítulo discorre, de forma sucinta, sobre o compositor G. Ph. Telemann, sua biografia e produção musical, a forma Suíte e a Suíte in A minor com suas danças e características. No terceiro capítulo, buscou-se considerar sobre a ornamentação barroca, a fim de se descreverem as práticas correntes no período barroco e seu respectivo emprego ao trombone moderno. No quarto e último capítulo, foram analisados o processo de transcrição e o passo a passo da construção da performance, utilizando métodos da técnica do instrumento. Pretendemos poder acrescentar a presente transcrição à literatura do trombone na área de transcrições barrocas para o instrumento. / The transcriptional process of the Suite in A minor for flauto concertato by the composer G. Ph. Telemann, has in this paper, the dual objective of enabling both the expansion of the repertoire of the modern trombone soloist with the transcription of a Baroque work, and to present a transcription of a Baroque piece that can be played both by professionals and non-professionals. We emphasize that in the Baroque period, the sackbut, predecessor of the modern trombone, although widely used, had no soloist function, and therefore the literature for the trombone does not have original works for the instrument as a soloist during the Baroque period. This paper is divided into four chapters: the first contained a brief historiography about the sackbut, its terminology, as well as discussions around the pitch in A or Bb, register and repertoire. In the second chapter we discus briefly about the composer G. Ph. Telemann, his biography and music production, the Suite form and Suite in A minor with their dances and structures. In the third chapter, we seek to discuss the Baroque ornamentation to describe the current practices in the Baroque period and its performance by a modern trombone. In the fourth and final chapter, we analyzed the transcriptions process and the step by step construction of the performance, the methods using the technique of the instrument. It is our intention to be able to add this transcription for trombone into the Baroque repertoire for the instrument.

An accurate estimation of biomass burning emissions is in part limited by the lack of knowledge of fire burning phase (smoldering/flaming). In recent years, several fire detection products have been developed to provide information of fire radiative power (FRP), location, size, and temperature of fire pixels, but no information regarding fire burning phase is retrieved. The Day-Night band (DNB) aboard Visible Infrared Imaging Radiometer Suite (VIIRS) is sensitive to visible light from flaming fires in the night. In contrast, VIIRS 4 µm moderate resolution band #13 (M13), though capable to detect fires at all phases, has no direct sensitivity for discerning fire phase. However, the hybrid usage of VIIRS DNB and M-bands data is hampered due to their different scanning technology and spatial resolution. In this study, we present a novel method to rapidly and accurately resample DNB pixel radiances to M-band pixels’ footprint that is based on DNB and M-band’s respective characteristics in their onboard schemes for detector aggregation and bow-tie effect removals. Subsequently, the visible energy fraction (VEF) as an indicator of fire burning phase is introduced and is calculated as the ratio of visible light power (VLP) and FRP for each fire pixel retrieved from VIIRS 750 m active fire product. A global distribution of VEF values, and thereby the fire phase, is quantitatively obtained, showing mostly smoldering wildfires such as peatland fires (with smaller VEF values) in Indonesia, flaming wildfires (with larger VEF values) over grasslands and savannahs in sub-Sahel region, and gas fares with largest VEF values in the Middle East. VEF is highly correlated with modified combustion efficiency (MCE) for different land cover types or regions. These results together with a case study of the 2018 California Campfire show that the VEF has the potential to be an indicator of fire combustion phase for each fire pixel, appropriate for estimating emission factors at the satellite pixel level.

L'objet de cette thèse est l'étude d'une classe de séries entières solutions de certaines équations fonctionnelles, dites mahlériennes. Ces séries interviennent en combinatoire avec des problèmes de comptage de mots et en analyse d'algorithmes où elles sont liées aux récurrences diviser pour régner. La résolution des équations mahlériennes est fondée sur les propriétés des fractions rationnelles vis à vis de l'opérateur fondamental, analogue de la dérivation pour les équations différentielles, et sur l'arithmétique des opérateurs sous-jacents à ces équations. Les méthodes décrites fournissent à la fois des procédés effectifs de calcul et des résultats qualitatifs sur les propriétés de clôture de cette classe et, dans le cas complexe, sur les propriétés analytiques des solutions. Une sous-classe importante de séries mahlériennes est fournie par les séries B-régulières, généralisation des séries B-automatiques. Elles sont la traduction, via la numération en base B, des séries rationnelles en indéterminées non commutatives de la théorie des langages formels et héritent de leurs propriétés. On peut par exemple définir les notions de représentation linéaire, de rang et de matrice de Hankel. Sous certaines conditions simples, une série mahlérienne est B-régulière ; en particulier la plupart des récurrences diviser pour régner fournissent des séries B-régulières. L'analyse asymptotique des coefficients des séries mahlériennes complexes sàppuie sur une classification qui met en valeur l'importance des séries B-régulières, sur des techniques d'algèbre linéaire et sur des méthodes de théorie analytique des nombres. Les résultats obtenus permettent de traiter les exemples rencontrés dans la pratique. Ils montrent pour les séries B-régulières un lien entre le comportement asymptotique des coefficients et le spectre des représentations linéaires et dans beaucoup de cas un phénomène de périodicité en échelle logarithmique.

Cette thèse présente une contribution à l'amélioration de certains résultats concernant les algorithmes en Algèbre linéaire et plus particulièrement les algorithmes sur les matrices structurées. Nous présentons un nouvel algorithme de diagonalisation par blocs des matrices de Hankel, particulièrement efficace. Dans le cas où la matrice de Hankel correspond à une suite récurrente linéaire, nous retrouvons ainsi l'algorithme de Berlekamp-Massey, mais dans une version simplifiée (plus facile à expliquer et à programmer) et accélérée par des troncatures. En outre notre version permet une gestion dynamique des données. Notre diagonalisation par blocs, qui s'applique sur un corps arbitraire, nous permet de donner une démonstration purement algébrique et simple d'un délicat théorème de Frobenius pour la signature d'une forme de Hankel réelle. Nous donnons également une étude approfondie de l'algorithme d'Euclide signé et de ses versions matricielles pour les matrices de Hankel et de Bezout associées à un couple de polynômes. Nous expliquons les rapports existants entre différents algorithmes connus dans la littérature.

Ce mémoire propose une analyse de la collaboration à l’intérieur de projets cinématographiques dans l’œuvre de Pierre Perrault. Comme la collaboration entre cinéaste et participants soulève des questions éthiques, cette recherche étudie deux films pivots dans la carrière de ce cinéaste soit Pour la suite du monde et La bête lumineuse. Tout en contrastant le discours du cinéaste avec celui d’un protagoniste nommé Stéphane-Albert Boulais, cette étude détaille les dynamiques de pouvoir liées à la représentation et analyse l’éthique du créateur. Ce mémoire présente une description complète de la pensée de Pierre Perrault, ainsi que sa pratique tant au niveau du tournage que du montage. Cette étude se consacre à deux terrains cinématographiques pour soulever les pratiques tant au niveau de l’avant, pendant, et après tournage. Ce mémoire se penche ensuite sur Stéphane-Albert Boulais, qui grâce à ses nombreux écrits sur ses expériences cinématographiques, permet de multiplier les regards sur la collaboration. Après une analyse comparative entre les deux terrains cinématographiques, ce mémoire conclut sur une analyse détaillée de l’éthique du créateur à l’intérieur de projets collaboratifs. / This research presents an analysis of collaboration in Pierre Perrault’s film projects. Since collaboration between filmmaker and participants raises ethical issues, this research examines two pivotal films in Perrault’s career: Pour la suite du monde and La bête lumineuse. Contrasting the filmmaker’s discourse with that of Stéphane-Albert Boulais, a protagonist in one of the movies, this study details the power dynamics linked to representation and analyzes the filmmaker’s ethics. This research presents a full description of Pierre Perrault’s approach to filmmaking, as well as his practice in both shooting and editing the movies. It focuses on two film locations to highlight Perrault’s practices before, during and after the shooting of these movies. It then looks at Stéphane-Albert Boulais, whose many writings documenting his filmmaking experiences, provides multiple views on collaboration. Following a comparative study of both film locations, this research concludes with a detailed analysis of Perrault’s ethics within the framework of collaborative projects.

No description available.

Este trabalho objetiva fornecer subsídios para uma maior compreensão dos elementos estruturais da Suíte para Órgão do Oratório “Sete Palavras de Cristo na Cruz”, opus 257 (1991) do compositor brasileiro Amaral Vieira e sua relação com o Oratório, do mesmo nome, opus 255a, através da análise relacionada com o texto e contexto do Oratório. A metodologia consiste no levantamento de informações a cerca da obra, questionário destinado ao compositor sobre o Oratório e Suíte para Órgão, identificação de aspectos retóricos e análise musical da obra observando a relação texto/música. Este trabalho poderá contribuir para uma melhor compreensão da Suíte para Órgão de Amaral Vieira através do aprofundamento de seu conteúdo musical aqui apresentado. / This study investigates the context and relationship of the Suite for Organ from the Oratory “The Seven Last Words of Christ on the Cross”, opus 257 (1991) and the Oratory itself (opus 255a), both by the Brazilian composer Amaral Vieira, for a better understanding of its structural elements. The methodology includes the context of both works, a questionnaire directed to the composer, analysis of the Suite, and identification of rhetorical aspects as they pertain to the Oratory. This work may contribute to a better understanding of the Suite for Organ by Amaral Vieira through the musical content presented here.

Submitted by Simone Souza (simonecgsouza@hotmail.com) on 2017-12-15T14:46:19Z No. of bitstreams: 1 DISS_2014_Ohana França.pdf: 7165420 bytes, checksum: 070b4266a439b20010f9ae2e0cca6b11 (MD5) / Approved for entry into archive by Jordan (jordanbiblio@gmail.com) on 2018-02-03T13:27:22Z (GMT) No. of bitstreams: 1 DISS_2014_Ohana França.pdf: 7165420 bytes, checksum: 070b4266a439b20010f9ae2e0cca6b11 (MD5) / Made available in DSpace on 2018-02-03T13:27:22Z (GMT). No. of bitstreams: 1 DISS_2014_Ohana França.pdf: 7165420 bytes, checksum: 070b4266a439b20010f9ae2e0cca6b11 (MD5) Previous issue date: 2014-02-28 / CAPES / Este trabalho tem o propósito de apresentar os dados geológicos, petrológicos e geocronológicos do Granito Morrinhos, pertencente a Suíte Intrusiva Pensamiento, localizado nos domínios do Terreno Paraguá, porção sudoeste do Cráton Amazônico. O mapeamento geológico permitiu a identificação de duas fácies petrográficas no Granito Morrinhos, sendo: Hornblenda-biotita granodiorito e Biotita monzogranito, das quais a primeira predomina em extensão areal. Macroscopicamente, a primeira fácies caracteriza-se por rochas leucocráticas, cinza-claro, constituídas de quartzo, plagioclásio, feldspatos alcalinos, biotita e hornblenda, diferentemente da fácies Biotita monzogranito que consiste de rochas leucocráticas, cinza-rosado, tendo biotita como único máfico essencial. Ambas foram metamorfizadas na fácies xisto verde. Quimicamente, esses litotipos caracterizam uma sequência ácida formada por um magmatismo subalcalino, do tipo álcali-cálcico, metaluminoso a levemente peraluminoso, com algumas feições de granitos do tipo A, evoluído por meio de mecanismos de cristalização fracionada. Dados estruturais exibem registros de duas fases deformacionais, representadas pela xistosidade (S1) e clivagem de crenulação (S2) de atitude preferencial, respectivamente, de 220/80 e 350/85, ambas, provavelmente, relacionadas à Orogenia San Ignácio. Determinação geocronológica obtida pelo método U-Pb (SHRIMP) e geoquímica isotópica (Sm-Nd) dessas rochas indicaram, respectivamente, idade de cristalização 1350 ± 12 Ma, TDM em torno de 1,77 Ga e valor negativo para εNd(1,35) de -2,57. Os resultados aqui obtidos sugerem que o Granito Morrinhos tenha sido gerado em arco magmático continental, em estágio pós-colisional, da Orogenia San Ignácio e permite reconhece-lo como parte da Suíte Intrusiva Pensamiento. / This work presents the geologic, petrological, and geochronological data of Morrinhos Granite belonging to Pensamiento Intrusive Suite, located in the areas of Paraguá Terrain, southwestern portion of the Amazonian Craton. Geological mapping allowed the identification of two facies in Morrinhos Granite, which are: Hornblende-biotite granodiorite e Biotite monzogranite, the first of which predominates in areal extent. The first facies is characterized by leucocratic rocks, light gray, consisting of quartz, plagioclase, alkali feldspar, biotite and hornblende, unlike facies Biotite monzogranite, that is consisting of pinkish gray leucocratic rocks, with biotite as the only mafic essential. Both metamorphosed at greenschist facies. Chemically, these rock types characterize an acid sequence formed by sub alkaline magmatism, alkali-calcic metaluminous to slightly peraluminous type with some features A-type granites as standard evolved through fractional crystallization mechanisms. Structural data show two phases of deformation represented by the schistosity (S1) and cleavage crenulation (S2) with preferential attitude, respectively, 220 /80 and 350/85, both probably related to San Ignácio Orogeny. Geochronological determination obtained by the U-Pb (SHRIMP) and isotope geochemistry (Sm-Nd) of these rocks indicate, respectively, crystallization age 1350 ± 12 Ma, TDM around 1.77 Ga and negative value for εNd(1.35) of -2.57.The results obtained suggest that the Morrinhos Granite has been generated in a continental magmatic arc during the post colisional stage of San Ignacio Orogeny and allow to recognizes as an extension of Pensamiento Intrusive Suite.

Este trabalho objetiva fornecer subsídios para uma maior compreensão dos elementos estruturais da Suíte para Órgão do Oratório “Sete Palavras de Cristo na Cruz”, opus 257 (1991) do compositor brasileiro Amaral Vieira e sua relação com o Oratório, do mesmo nome, opus 255a, através da análise relacionada com o texto e contexto do Oratório. A metodologia consiste no levantamento de informações a cerca da obra, questionário destinado ao compositor sobre o Oratório e Suíte para Órgão, identificação de aspectos retóricos e análise musical da obra observando a relação texto/música. Este trabalho poderá contribuir para uma melhor compreensão da Suíte para Órgão de Amaral Vieira através do aprofundamento de seu conteúdo musical aqui apresentado. / This study investigates the context and relationship of the Suite for Organ from the Oratory “The Seven Last Words of Christ on the Cross”, opus 257 (1991) and the Oratory itself (opus 255a), both by the Brazilian composer Amaral Vieira, for a better understanding of its structural elements. The methodology includes the context of both works, a questionnaire directed to the composer, analysis of the Suite, and identification of rhetorical aspects as they pertain to the Oratory. This work may contribute to a better understanding of the Suite for Organ by Amaral Vieira through the musical content presented here.

Este trabalho objetiva fornecer subsídios para uma maior compreensão dos elementos estruturais da Suíte para Órgão do Oratório “Sete Palavras de Cristo na Cruz”, opus 257 (1991) do compositor brasileiro Amaral Vieira e sua relação com o Oratório, do mesmo nome, opus 255a, através da análise relacionada com o texto e contexto do Oratório. A metodologia consiste no levantamento de informações a cerca da obra, questionário destinado ao compositor sobre o Oratório e Suíte para Órgão, identificação de aspectos retóricos e análise musical da obra observando a relação texto/música. Este trabalho poderá contribuir para uma melhor compreensão da Suíte para Órgão de Amaral Vieira através do aprofundamento de seu conteúdo musical aqui apresentado. / This study investigates the context and relationship of the Suite for Organ from the Oratory “The Seven Last Words of Christ on the Cross”, opus 257 (1991) and the Oratory itself (opus 255a), both by the Brazilian composer Amaral Vieira, for a better understanding of its structural elements. The methodology includes the context of both works, a questionnaire directed to the composer, analysis of the Suite, and identification of rhetorical aspects as they pertain to the Oratory. This work may contribute to a better understanding of the Suite for Organ by Amaral Vieira through the musical content presented here.