The lecture recital was given October 15, 1971. The subject of the discussion was Brahms and the Character Piece: Emotion Guided by Intellect, and it included historical and biographical information, an analysis of Brahms' romantic-classic style, a general analysis of the six character pieces in Opus 118, and performance of Opus 118 by memory. In addition to the lecture recital, three other public recitals were performed. These three programs were comprised of solo literature for the piano. The first solo recital was on April 15, 1971, and included works of Brahms, Chopin, Mozart, and Ravel. The second program, presented on April 28, 1972, featured several works of Beethoven. Performed on Septemhber 25, 1972, the third recital programmed compositions by Chopin, Debussy, and Prokofieff. Magnetic tape recordings of all four programs and the written lecture material are filed together as the dissertation.

In 1873, Brahms completed the two op. 51 quartets. These were not the first string quartets Brahms composed, hut they were the first that Brahms allowed to be published. He found the string quartet difficult; as he confided to his friend Alwin Cranz, he sketched out twenty string quartets before producing a pair he thought worthy of publishing. Questions arise: what aspect of the string quartet gave Brahms so much trouble, and what in the op. 51 quartets gave him the inclination to publish them for the first time in his career? The op. 51 quartets are essential to understanding the evolution of Brahms's compositional technique. Brahms had difficulty limiting his massive harmony and polyphony to four solo strings. This difficulty was compounded by his insistence on deriving even the accompaniment from the opening main motivic material. This study investigates the manner in which Brahms distributes the main motivic material to all four voices in these quartets, while at the same time highlighting each voice effectively in the dialogue.

Sergei Prokofiev experimented with styles which shocked the public because his ideas were far ahead of his time. In the 1930's, the Soviet composer turned to a neoclassical style. His Sonata, Opus 119, for violoncello and piano, is a product of this final period of composition. The purpose of this study is to determine the stylistic characteristics of this sonata. This study includes a detailed description of the compositional techniques Prokofiev used in this work. These techniques are categorized according to the basic stylistic elements. The sources of data are comprised of the score of Prokofiev's Sonata, Opus 119, as well as books on twentieth-century music and on Prokofiev as a man and as a composer. The score was used for purposes of analysis.

Taking the time to learn how to eat healthfully and prepare nutritious meals has become a problem in today's modern living. 66 percent of American adults are overweight and 19 percent of American children are overweight1. Constrained by the demands of work, raising families, and other daily commitments leaves little time for taking care of one's nutritional needs in a simple, healthy, and efficient manner. This thesis strives to achieve a well designed neighborhood center that warmly invites customers to learn about the importance of nutrition and the effects our food choices have on our overall health, how to shop for healthy food choices, and the preparation of weekly meals in a friendly, non-intimidating environment. Customers will also have the opportunity to seek nutritional counseling advice, attend cooking classes, and participate in weekly meal preparation activities.

Det här arbetet handlar om min instuderingsprocess av Edvard Griegs sonat för violin och piano op. 8. Under arbetets gång har jag huvudsakligen fokuserat på två frågeställningar: Hur kan jag använda fingersättningar på bästa sätt för att underlätta för intonation och musikalisk idé? Hur kan pianostämman i en sonat för violin och piano hjälpa mig att tolka violinstämman? De fingersättningar som föreslogs i utgåvan jag använde fungerade inte så bra för mig. Detta fick mig att fundera över hur man kan använda fingersättningar för att underlätta för intonation och musikalisk intention. På grund av styckets överlag något folkliga karaktär har jag utgått ifrån vilka fingersättningar som känns mest naturliga för att få fram ett så enkelt och lättillgängligt uttryck som möjligt. Dessutom studerade jag pianostämman innan violinstämman för att kunna basera frasering och musikaliska idéer på harmonik och andra impulser som ofta kommer från pianostämman.

Mgr. Petra Kolátorová Abstract: Thesis dealt with the Serenade E major Op. 22 (B 52) and the Serenade for Wind Instruments Op. 44 (B 77) of Antonín Dvořák in the view of the musical genre of the orchestral serenade. It answered the question of influence and meaning of the Dvořák's Serenades among Serenades of his contemporaries, the question of place of this genre among the other musical genres and the question of reflection of music criticism at that time. Analysis of both works and their comparison with the selected works showed the way how the expectation of this genre reflected in the compositional ways and methods of both Dvořák's Serenades. The composer in his Serenades depicted all layers of meaning of this genre as was such a noble simplicity, oscilation of the genre between chambre and orchestral music between artistic or rather entertaining character of music, continuity of original serenades and history of the genre. Dvořák had created the works which in certain aspects foreshadowed near future (neoclasicism).

Nikolai Karlovich Medtner (1880-1951) was a Russian composer, pianist and pedagogue. While active during the period of Modernism, he was one of the last descendants of the nineteenth-century tradition. Without a doubt, Medtner was considered one of the most brilliant successors of the Russian piano school, though his compositions did not particularly bring him a great deal of popularity in his time. Nonetheless, his unique style of writing has always attracted a small circle of musicians and admirers, and more recently, there has been a remarkable resurgence of interest in Medtner’s music. In the 2000s, several recent prizewinners of the International Tchaikovsky Competition – Daniil Trifonov, Dmitry Masleev, and Lucas Debargue – have shown their special interest in Medtner’s music, and this has drawn public attention to Medtner’s major piano works. However, discussions regarding performance practice and interpretation in playing Medtner have only recently begun. Although dissertations focused on Medtner’s music began to appear in the 1960s, primary sources have been examined by only a limited number of scholars, due to geographic and linguistic barriers. This dissertation aims to formulate and answer performance practice issues to develop a practical approach to learning and performing Medtner’s piano compositions. Since the primary sources related to op. 38 are comparatively abundant, and the work contains several pieces of contrasting character, Forgotten Melodies can serve as a good model for developing an informed approach to interpreting Medtner’s piano music. Analyses of three major types of material are provided to trace the chronological development of ideas in op. 38: sound recordings of Medtner’s own playing; written records by the composer and his student; and the score Medtner had on which he noted down his ideas. In addition to Medtner’s publication The Muse and the Fashion, unpublished diaries and essays found at the Medtner Archive (‘Fond Metnera’) of the Glinka National Museum of Musical Culture (Moscow, Russia) have also been examined.

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Submitted by Silvana Teresinha Dornelles Studzinski (sstudzinski) on 2015-10-07T11:49:55Z No. of bitstreams: 1 RAFAEL BERNARDES DA SILVA_.pdf: 2216620 bytes, checksum: 6c9e2636c621ceed0ecb8265ab2f26f5 (MD5) / Made available in DSpace on 2015-10-07T11:49:55Z (GMT). No. of bitstreams: 1 RAFAEL BERNARDES DA SILVA_.pdf: 2216620 bytes, checksum: 6c9e2636c621ceed0ecb8265ab2f26f5 (MD5) Previous issue date: 2015-02-25 / UNISINOS - Universidade do Vale do Rio dos Sinos / A integração entre os planos estratégico, tático e operacional é um relevante desafio para as organizações. Visando otimizar o alinhamento organizacional, empresas vêm implementando processos de Sales and Operations Planning (S&OP) e desenvolvendo ações para torná-lo robusto. Entende-se o S&OP como um processo de consolidação dos diversos planos organizacionais e direcionamento estratégico do negócio, permitindo o alcance de vantagem competitiva de modo contínuo e integrando os planos de marketing com a gestão da cadeia de abastecimento. (APICS, 2015). Dada a complexidade inerente ao tema integração e o crescente interesse das organizações em implementar ou aprimorar seus processos de S&OP, esta dissertação tem como objetivo propor um método de diagnóstico e análise do nível de integração do S&OP que identifique oportunidades de melhoria. Utilizou-se o método de pesquisa Design Research, seguindo o passo a passo proposto por Vaishnavi e Kuechler (2005). As etapas de revisão do referencial bibliográfico, tentativa e desenvolvimento das versões do método e avaliação por parte de especialistas permitiram atingir os objetivos propostos por este estudo. Como resultado, foi possível construir uma ferramenta que permite identificar os critérios que constituem o nível de integração do S&OP e avaliar o nível geral de integração deste processo, identificando oportunidades de melhoria dentro das organizações. / The integration among strategic, tactical and operational plans is a relevant challenge for the companies. In order to optimize the organizational alignment, companies are implementing Sales and Operations Planning (S&OP) processes and carrying out actions to make it robust. S&OP can be understood as a process of consolidation of the different organizational plans and strategic direction of the business, allowing companies to continuously reach competitive advantage and integrating marketing plans with the supply chain management. (APICS, 2015). Given the complexity of the topic integration and the growing interest of organizations to implement or enhance their S&OP processes, this work aims to propose a method of diagnosis and analysis of the integration level of S&OP which will identify opportunities for improvement. It was used Design Research as research method, following the steps proposed by Vaishnavi e Kuechler (2005). The stages of bibliographical review, attempt and development of the method versions and evaluation by the specialists allowed reaching the goals proposed by this study. As result, it was possible to develop a tool that allows the identification of the criteria that compose the integration level of S&OP and evaluates the general integration level of this process, identifying improvement opportunities inside the companies.

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