O conhecimento dos mecanismos geoquímicos e fatores ambientais que regem a laterização nos sedimentos quaternários do Rio Paraná, em Pontal do Paranapanema, é de fundamental importância no estudo da possível colmatação química por compostos de ferro dos drenos da Barragem de Porto Primavera, em construção no Rio Paraná. Os mecanismos de solubilização e precipitação do ferro, dentro do contexto ambiental regional, bem como a evolução dos compostos de ferro são, tanto para a laterização quanto para a colmatação, basicamente os mesmos. A presente pesquisa abrangeu, portanto, um conhecimento do meio ambiente do ponto de vista geológico, especialmente sedimentológico e um conhecimento dos processos que regem a laterização e sua evolução. Abrangeu, também, uma modelação desses processos de forma a fornecer subsídios para o entendimento do fenômeno da colmatação química dos drenos de uma barragem. Os estudos desenvolvidos basearam-se nas investigações realizadas para o projeto da Usina de Porto Primavera, durante o período de julho de 1976 a dezembro de 1985, constituindo três etapas de trabalho que são apresentadas como partes distintas da pesquisa. - Parte 1 - Estudo dos depósitos aluviais quaternários do Rio Paraná. Este estudo teve como base os mapeamentos geológicos, sondagens mecânicas, ensaios \"in situ\" e análises de laboratório que foram desenvolvidos para o projeto da Barragem de Porto Primavera ao longo da extensa planície aluvial da margem direita do Rio Paraná. Contemplou, também, o Arenito Caiuá, que ocorre como substrato dos aluviões na região e poderia representar a principal fonte primária de ferro nos atuais processos de laterização. - Parte 2 - Estudo dos processos de laterização e da evolução dos perfis lateríticos e conglomerados ferruginosos. A existência de níveis concrecionados e de conglomerados fortemente cimentados por compostos de ferro, nos aluviões do Rio Paraná, mostra que a região apresenta condições ambientais favoráveis à mobilização e precipitação do ferro. Essas condições foram pesquisadas a partir de sondagens, ensaios de campo e laboratório e correlações geológicas, obtendo-se subsídios para a elaboração de um modelo para a laterização e sua evolução como modeladora do relevo. - Parte 3 - Estudo do fenômeno da possível colmatação química dos drenos da futura Barragem de Porto Primavera por compostos de ferro. Conhecidos os mecanismos que regem a laterização e estabelecido um modelo, foi desenvolvido um estudo da possível colmatação química dos drenos da Barragem de Porto Primavera devida à precipitação de compostos de ferro. Este estudo abrangeu uma análise dos mecanismos que governam a colmatação no sistema drenante de uma barragem a partir de condições ambientais diversas das atuais, decorrentes da formação do reservatório. Foram propostas, ainda, medidas preventivas visando a minimização ou até a eliminação da colmatação na futura barragem e de mais barragens de terra brasileiras. / The understanding of environmental factors and geochemical mechanisms that rule the Iaterization phenomenon in the pontal do Paranapanema\" cenozoic sediments is of paramount importance in the study of possible chemical clogging by iron compounds in the drains of the porto Primavera Dam, under construction in the Paraná River. The Mechanisms of solubility and precipitation of iron, within a regional environmental context, as well as the evolution of iron compounds are basically the same, both for the laterization and the clogging processes. The current research reported here has taken into account the knowledge of the environment under geological and sedimentologicaI context, the knowledge of the processes that, rule the laterization and its evolution, and a modelling of these processes, in order to subsidize the understandinq of the chemical clogging phenomenon of the dam drains. Based on borehole dada \"in situ\" tests, Iaboratory tests and mapping that have been carried out, the cenozoic alluviaI deposits of Paraná River and the processes of laterization and evolution of sand and gravel beds strongly cemented by iron compounds, present in the alluvia, were studied. The Caiuá sandstone, wich occurs as the bedrock for the regional alluvia and should represent the main primary source of iron in the processes, was also considered. Afther the mechanisms that rule the laterization were defined and the geochemical model established, a study of the possible chemical clogging of the drains of Porto Primavera Dam was executed, and the mechanisms that could lead to this clogging due to environmental conditions with the creation of the reservoir were analysed. Prevent measures that will be adopted in order to minimize or eliminate the clogging in the future dam are presented, as well as suggestions for the study, preventi-on and correction of the phenomenon in other Brazilian earth dams.

This portfolio comprises of a collection of acousmatic works which investigate the role of source bonding in music – the tendency of listeners to relate sounds to their real-world sources and the signifying implication of such a link – with a particular focus on how spatial design can contribute towards source-bonding in the music’s perception as a holistic spatio-sonic entity. A number of compositional strategies, multichannel formats and spatial audio technologies are investigated, with their merits assessed based on their suitability for shaping the qualities of musical space explored. The discussion in this commentary will show how these holistic spaces can have similar qualities of perceived ‘reality’ and ‘abstraction’ to the individual sounds, and how this is investigated in the musical works. I shall also show how the contrasting environmental qualities of these spaces became a source of of inspiration for structuring the development of my music, and how they might evoke subsequent meaning in their experience based on the listener’s understanding of the spatial source bonds.

The five-course guitar was used as an instrument of accompaniment from the mid-sixteenth to the late-eighteenth century, yet its importance in this role has largely been overlooked in scholarship to date. While there are some isolated studies of individual sources, this is the first comprehensive study of the substantial body of extant guidelines with a view to understanding the styles of accompaniment on the instrument and how their practices developed during this period. This thesis documents the chronological development of the performance practices in such a way that parallels may be drawn between these sources and treatises for other instruments of accompaniment. Guitar accompaniments were, however, also strongly influenced by the performance practices associated with alfabeto chord symbols. Thus, to enable an understanding of the more idiomatic characteristics of guitar accompaniment stemming from alfabeto practices, a detailed evaluation of the true sophistication of the language of alfabeto is provided for the first time. This study provides a complete re-evaluation of the five-course guitar as an instrument of accompaniment; it challenges the past relegation of the instrument to ‘light’ or ‘frivolous’ musical repertoires; and it highlights the various approaches that were adopted in diverse performance contexts.

This research forms part of a performance practice degree and focuses on the performance of British organ music written in the period 1945 to 1970. This period was a turbulent time for all those with an interest in the pipe organ, whether they were performers, consultants, organ builders or listeners. The considerable change in the approach to the design, construction and voicing of pipe organs, influenced by the Organ Reform Movement (Orgelbewegung), resulted in strong feelings both for and against the neo-classic organ, and the consequent tensions tested the typical British reserve of many of those directly involved. The challenge for the performer of today is to understand the strengths and weaknesses of British organs in the period and to connect these instruments with the music written for them. The original contribution this research provides is to focus firstly on the organ's mechanisms, including key actions, registration aids and console design and, secondly, on the tonal designs of the organs of the period. Case studies of music are presented, featuring three composers for the organ in this period, Howells, Leighton and Whitlock, the findings of which inform the associated recital which features contrasting pieces from the period 1945 to 1970.

The current thesis is a portfolio of ten musical works composed during the period of 2011 and 2015, including instrumental, mixed media and acousmatic (stereo and multichannel) compositions. These works were developed and composed at my home studio in Oporto (from 2011) and at the Electroacoustic Music Studios at the University of Birmingham (2014 – 2015). This thesis also features observations and commentaries about technical and aesthetical issues that were objects of study during my creative process, which uses musical elements from my culture as inspiration for new musical works. Hence, it presents a reflection on and the validation of results that came from the exploration of several procedures during my development at the University of Birmingham Electroacoustic Music Studios and a chapter dedicated to the traditional instrument from the Azores – the viola da terra – and the two compositions that focus on this instrument. A USB stick is attached to this thesis, containing the audio performances of all musical works, scores and electronic version of this document.

This thesis presents the librettos, scores and CD recordings of two contemporary operas – The Wings of Daedalus and Alexandros – conceived, composed and, in the case of The Wings of Daedalus staged, by myself, along with detailed analysis of the development phases of various different aspects (such as dramaturgy, libretto, staging and characterisation, and particularly the composition of the vocal line and electronic accompaniment of each opera), following them from the initial idea to the final result. All this is paralleled with the period in the development of Western music four hundred years ago that led to the birth of opera. That transitional phase is correlated with my work and its contemporary context, as seen from various viewpoints. I have chosen The Theory of the Affections as an exemplary connecting point between these chronologically distant eras in music, and used it to identify important links between compositional intention and vocal practice in the years leading up to 1600 and those leading up to 2000. This in turn leads me to explain specifically my own compositional techniques - many of which are radically unusual and correlate them with The Theory of the Affections as approaches to creating opera.

Estudos petrográficos, mineralógicos e isotópicos (radiogênicos (Sm/Nd) realizados em xenólitos mantélicos registrados em kimberlitos de Juína sugerem que o manto superior abaixo dessa região é composicionalmente estratificado e composto principalmente de peridotitos e eclogitos. Entre os xenólitos encontrados, peridotitos são os mais abundantes e representados por granada peridotitos e granada \'+OU-\'espinélio peridotitos. Granada \'+OU-\' espinélio peridotitos exibem texturas equigranulares e intensa silicificação substituindo olivina e ortopiroxênio por quartzo criptocristalino, assim podendo ser subdivididos em granada \'+OU-\' espinélio peridotitos com assinatura de eclogitos (GEPE) e granada \'+OU-\' espinélio peridotitos silicificado (GEPS). GEPE exibem abundantes agulhas de rutilos incluídas em clinopiroxênios(CPX) e granadas(GRT). Nestes xenólitos ocorrem os CPX com os maiores conteúdos de \'AL IND.2\'\'O IND.3\' e as GRT com os menores teores de CaO de todos os peridotitos. GEPE apresentam elevado conteúdo de elementos incompatíveis, e (até 2.313 vezes ao do manto primitivo) e enriquecimento em ETRs leves nos CPX, com [\'La/Yb] IND.N\'\'>OU=\'1. São caracterizados por equilíbrio em temperaturas (881 a 907°C) e pressões (26 a 33 kbar) relativamente baixas. Mostram valores negativos de \'\'épsilon\'IND. Nd\'(-11,06) e idade modelo (\'T IND.DM\') de 1.884 Ma. GEPS representam os xenólitos mais abundantes dos peridotitos. Contêm menores inclusões de rutilo e forte modificação por processo de silicificação. Apresenta CPX com maior conteúdo de MgO e enriquecimento nos incompatíveis e ETRs [\'La/Yb] IND.N\'\'>OU=\'1, e GRT com conteúdo intermediário de \'Cr IND.2\'\'O IND.3\' e empobrecimento em ETRs pesados [\'Dy/Yb] IND.N\' < 1, se comprado aos demais. Foram equilibrados em temperaturas e pressões respectivamente entre 1077 a 1353°C e 50 a 63 kbares. Mostram valores negativos \'épsilon\'Nd (-8,35 a -11,31) e idade modelo (\'T IND.DM\') de 1.842 a 1114 Ma. Granada peridotitos com texturas 1 e 2 (GPT1 e GPT2) exibem severas texturas de deformação, com formação de neoblastos de olivina principalmente. GPT1 mostra-se mais enriquecida em porfiroclasto de olivina e menor conteúdo de granada, com CPX tendo maior conteúdo de CaO; já no GPT2 a GRT é mais enriquecida em \'TiO IND.2\'. GT1 e GT2 apresentam os menores conteúdos de elementos incompatíveis (ETRL~10 vezes o do condrito) dos peridotitos. Foram equilibrados em temperaturas e pressões entre 1084 a 1473°C e 37 a 58 kbares no GPT1 e 1263 a 1408°C e 40 a 60 kbares no GPT2. Mostram valores negativos de \'épsilon\' Nd(-3,24) e idade modelo (\'T IND.DM\') de 1.242 Ma. O conteúdo elevado de elementos incompatíveis, com enriquecimento de ETRs leves no CPx e empobrecimento na GRT, sugere que os xenólitos peridotíticos representam uma fonte de manto enriquecida do tipo EM, com \'\'épsilon\' IND.Nd\' negativos e razão Sm/Nd <1. Assim pode-se inferir que esses peridotitos foram formados por fracionamento ígneo no manto superior, litosfera para GEPE e GEPS e astenosfera para GPT1 e GPT2, sendo assim resíduo de extração de líquido basáltico (Ex.: vulcânicas do Grupo Roosevelt). Peridotitos messomatizados (MARID) representam a cristalização de minerais metassomáticos (Modal) e enriquecimento anômalos de elementos traços e ETRs, e poderiam estar associados a uma origem concomitante com o evento carbonatitíco - kimberlítico. Os xenólitos de eclogitos são mais raros e podem ser divididos em três grupos: i) Eclogitos bi-minerálicos (EB), ii) Ortopiroxênio - rutilo eclogitos (ORE); e iii) Sanidina - quartzo - coesita eclogitos (SQC). O conteúdo modal de granada aumenta do ORE para EB até SQC. Neste mesmo sentido ocorre um aumento da molécula de grossularita na granada e do teor de \'AL IND.2\'\'O IND.3\' em clinopiroxênio. EB e ORE apresentam composição química de eclogitos do Grupo A ou I. SQC têm composição similar aos do Grupo B ou II. Apresentam razões isotópicas variáveis desde positiva \'\'épsilon\'IND.Nd\' + 0,16 (ORE) até valores negativos elevados \'\'épsilon\'IND.Nd\' - 13,03 (EB), e idade modelo (\'T IND.DM\') entre 1166 a 1648 Ma. A isócrona interna entre CPX, GRT e rocha total de dois eclogitos (EB e ORE) apresentou uma idade de cristalização e/ou recristalização de 200 Ma, corroborando assim a hipótese de que os eclogitos foram formados por subducção de crosta oceânica (Pro-Pacífico) em baixo do Supercontinente Gondwana durante o Mesozóico. Porém, não se descarta a hipótese de que os eclogitos (EB e ORE) poderiam ser considerados cumulados ígneos de alta pressão e/ou resíduo de fusão de líquidos basálticos durante eventos Mesoproterozóicos. A suíte de megacristais (LICPX) apresenta conteúdo de baixo cromio e portanto com afinidade aos eclogitos. Pode ser interpretada como formada durante co-precipitação de clinopiroxênio pobre em cromo e picroilmenita a temperatura entre 1264°C e 1308°C, em um líquido proto-kimberlítico. / Mineralogical, petrographic and isotopic studies (radiogênicos (Sm/Nd) mantélicos xenoliths in kimberlites of Juína suggest that the upper mantle below this area is compositionally stratified and composed mostly of peridotite and eclogite. Between xenoliths found, peridotite are the most abundant and represented by granada and granada \'+OR-\' spinel peridotite. Granada \'+OR-\' spinel peridotite exhibit intense silicification and equigranulares textures by replacing olivine and orthopyroxene by criptocristalino quartz, so can be subdivided into granada \'+OU-\' spinel peridotite with signature of eclogite (GEPE) and granada \'+OR-\' spinel peridotite silicificado (GEPS). GEPE display abundant rutilos needles included in clinopiroxênios (CPX) and grenades (GRT). In these xenoliths CPX occur with the highest content of Al2O3 and the GRT with the lowest levels of all of peridotite. GEPE have high contents of incompatible elements, and (until 2,313 times primitive mantle) and enrichment in light in CPX, ETRs with [\'La/Yb] IND.N\'\'>OU=\'1. Are characterized by balance in temperature (881 to 907°C) and pressures (26 to 33 kbar) relatively low. Show negative values of \'\'épsilon\'IND. Nd\' ( -11.06) and age model (TDM) of 1,884 Ma. GEPS represent the most abundant xenoliths of peridotite. Contain rutile inclusions and strong minor modification by silicification process. Presents more MgO content CPX and enrichment in incompatible and ETRs [\'La/Yb] IND.N\'\'>OR=\'1, and GRT intermediate content of Cr2O3 and impoverishment in heavy ETRs [\'Dy/Yb] IND.N\' < 1, compared to others. Were equilibradoss in temperatures and pressures respectively between 1077 the 1353° C 50 to 63 and kbares. Show negative values of \'épsilon\'Nd (-8.35 to -11.31) and age model (TDM) of 1,842 the 1114 Ma. Garnet peridotite with textures 1 and 2 (GPT1 and GPT2) exhibit severe deformation textures, with formation of neoblastos of olivine. GPT1 shows more enriched in olivine porfiroclasto and lower contents of garnet, with higher CaO content in the CPX, while the GRT GPT2 is more enriched in TiO2. GT1 and GT2 have the smallest contents of incompatible elements (ETRL ~ 10 times the chondrite) of peridotite. The equilibrium temperatures and pressures were between 1084 and 1473 ºC, and 37 to 58 kbars for GPT1, respectively, and 1263 to 1408°C and 40 to 60 Kbars for GPT2. Show negative values of \'épsilon\'Nd (-3.24) and age model (TDM) of 1,242 Ma.The high content of incompatible elements, with enrichment of light in CPX and ETRs impoverishment in GRT, suggests that the xenoliths represent a enriched mantle source type, with negative \'épsilon\'Nd and Sm/Nd < 1. It could be inferred that these were formed by igneous fractionation peridotite in the upper mantle, then lithosphere for GEPS and GEPE and asthenosphere for GPT1 and GPT2, being basaltic liquid extraction residue (e.g. Group volcanic Roosevelt). Metasomatized peridotite (MARID) represent the crystallization of metasomatic minerals (Modal) and anomalous enrichment of trace elements and ETRs, and it could be associated with a concomitant with the event source carbonatitic-kimberlitic. Xenoliths of eclogite are rare and they can be divided into three groups: i)bi-minerálicos Eclogite (EB), ii) Orthopyroxene-rutile eclogite (ORE); and iii) Sanidinequartz-coesite eclogite (SQC). The modal content of garnet increases of the ORE for EB to SQC. In this same sense is an increase of grossularite molecule in garnet and Al2O3 in clinopyroxene. EB and ORE present chemical composition of group. A or Group I eclogite. SQC have composition similar to group B or II. Exhibit isotopic variables from positive reasons \'épsilon\'Nd + 0.16 (ORE) until negative values high \'épsilon\'Nd -13.03 (EB), and age model (TDM) between 1166 to 1648 Ma.The internal isochrone CPX and GRT, and two whole rock eclogites (EB and ORE) presented a crystallization age and/or recrystallization of 200 Ma, corroborating the hypothesis that the eclogite were formed by the subduction of oceanic crust (Proto) at the bottom of the supercontinent of Gondwana during the Mesozoic.However, do not rule out the hypothesis that the eclogite (EB and ORE) could be considered cumulus of high-pressure igneous and/or melting basaltic liquid residue during mesoproterozoics events.The megacristais suite (LICPX) features low Cr content, with affinity to eclogite. Can be interpreted as formed during the co-precipitation of low chromium clinopyroxene and picroilmenite, below temperatures between1264° C and 1308° C in a liquid proto-kimberlitic.

Made available in DSpace on 2016-04-27T14:32:09Z (GMT). No. of bitstreams: 1 Suely Dulce de Castilho.pdf: 8861921 bytes, checksum: 8f2c05cbba94dd388d6c9085c3ea11ae (MD5) Previous issue date: 2008-03-07 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / This study is an effort to understand social and cultural relationships among a community of black families (from the black rural community Mata-Cavalo in Mato Grosso) and school education. This community is inserted in a rural context of slavery history and territory struggle. Through the ethnographic research, it approaches the community historical context and its social and economical conditions; it describes the main identity and cultural traces of the inhabitants of the community; it questions the concept of quilombo, attempting to clarify the contemporary definition of it, its different processes of producing and its ethnical identity keeping; it describes and analyses the rules of the familiar organization and structure, taking into account the cultural, historical and ethnical context of the family; it scans the school through its history and its conditions of structural, material and human performances (infra-structural conditions, pedagogical resources and the professionals respectively); it describes the produced knowledge under circulation in the school through the formal syllabus, and the syllabus under action the pedagogical practices of the teachers, the social and racial relations; it portraits the school biography of ten families, as well as their expectations and ways of investing in their children/grandchildren education; it attempts to understand the relationship between family and school in articulation to the family global conditions of living ethnically, historically, socially, educationally, economically, culturally as well as the school performance global conditions space, pedagogical activities, syllabus and pedagogical practices / Este estudo trata de compreender as relações de um grupo de famílias negras da comunidade negra rural de Mata-Cavalo - localizada no Estado de Mato Grosso - com a educação escolar. População esta inserida num contexto rural, com uma história pautada na escravidão e, na luta por reconhecimento de seu território. Por meio de pesquisa etnográfica, aborda o contexto histórico do grupo, sua condição socioeconômica. Descreve os principais traços identitários e culturais dos moradores da comunidade. Problematiza o conceito de quilombo, buscando aclarar a compreensão de quilombo contemporâneo, seus diferentes processos de geração e manutenção de sua identidade étnica. Descreve e analisa, igualmente, as regras que compõem a organização e a estruturação familiar, considerando seu conteúdo cultural, histórico e étnico. Perscruta a escola atentando à sua história, a suas condições de funcionamento estrutural (condições infra-estrutural), material (recursos pedagógicos) e humanos (os profissionais). Descreve os conhecimentos produzidos e em circulação na escola por meio do currículo formal, e do currículo em ação práticas pedagógicas das professoras, relações sociais e raciais. Retrata a biografia escolar de dez famílias, bem como suas expectativas e formas de investimento na escolarização de seus filhos/netos. Busca entender a relação família e escola em articulação com as condições globais de vida da família étnica, histórica, social, educacional, econômica, cultural; bem assim com as condições globais de funcionamento da escola espaço físico, material didático, currículo formal e práticas pedagógicas

The current submitted work consists of a portfolio of musical works, visual pieces and thoughts that preoccupied me over a period of research and creation from late 2014 to 2017. Pieces described in this thesis developed into an overall artistic research and craft which led to a specific workflow serving a new personal aesthetic. Two parts describe two seemingly antonymous automatic creation processes: automatic versus automatic. The first part describes my inspirations together with a consequent formal-ization of my composition techniques. I render generative automatic music both emerging from finite state computation and infinitesimal interference. The second part shows that I often perform my music in specific sites with challenging conditions. I consider them as constraints that eventually also be-come part of the composition system. The materialization of a piece involves aback-and-forth process, between concepts and realities, that I finally transcend in the sense of surrealist automatism. This mechanical and human process is a necessity for the authenticity to my pieces.

This text is a commentary on my preoccupations over the course of my doctoral research from 2013 to 2017. It accompanies a portfolio of works realized and submitted as part of this doctoral thesis, which looks more specifically at feedback as an iterative process between myself as instrument-builder, composer and performer. This approach, which puts sound center stage as the primary material, emphasizes the organic and bidirectional internal influences among these three creative poles. This thesis is devoted to the main subject of my doctoral research: the notion of creative feedback among instrument-builder, composer and performer. It is in five parts: 1. A definition of my principal influences and aesthetic biases; 2. A portrait outlining the connections of influence among the instrument-builder, composer and performer; 3. A discussion of relationships outside the creative process itself, that is to say the influence of other artists (composers, musicians, other instruments) in my approach to research creation; 4. A demonstration of how I use the influences of other composers, other musicians and even other artists whose works speak to and inspire me; and 5. A presentation of three concrete examples from the portfolio realized during my doctoral research The body of work submitted includes: three new instruments, two sound installations,four compositions and three comprovisations.