Matador is an opera scored for orchestra, mixed chorus and soloists (mezzosoprano, 3 tenors, 2 baritones). The work is in one act divided into two main sections. Each of these sections is divided into subsections. The libretto is aphoristic in nature and dictates the form of each of these subsections. The division into two parts also serves as a means to evoke a sense of hopelessness of emotions in the first and a transforming disposition that culminates in a jubilant song in the second.

Since the early fifties “open form” has become a generic description for many different compositional concepts having in common musical outcomes which to a certain degree are indeterminate. The introduction looks into different meanings given to “form” in music and gives a historical survey of the origins of compositional indeterminacy. Next, the concept of “open form” is elaborated into a territory which is usually not associated with it: jazz. The introduction is followed by five case studies. Folio (1952-54) by Earle Brown is considered to contain the first intentionally “open form” works. It is driven by improvisational ideas, either at the compositional stage or at the interpretative stage. Brown's affinity with jazz also offers connections to other topics of the thesis. Miles Davis' Ife (1972) may at first seem like an odd inclusion in this study, but it is not. Its only oddity could be that of all the works discussed it has no score. But it is a composition; it is recognizable throughout its various incarnations and repeatable, and its outcome is indeterminate. Adam Rudolph did not conceive Ostinatos of Circularity as an “open form” work, but it is an indeterminate composition: it does have a score the musical result of which depends on the decisions made by the composer/conductor during the performance as well as the choices made by the performers. In Peter Zummo's Experimenting with Household Chemicals the performers play the same, often ambiguous, score, moving in the same direction at their own speed and discretion. The lack of synchronicity and the ambiguous notation result in a very elastic organic form. Anne La Berge refers to her recent works as “guided improvisations”. The scores mainly consist of suggestive text materials, software preset descriptions and rudimentary verbal indications, leaving major decisions to the performers. The last chapter is about my own work. It presents seven works (the scores of which can be found in the accompanying portfolio), composed between 2007 and 2011. Each of these works uses the score as a “field” through which the performers roam.

Submitted by Marcia Silva (marcia@latec.uff.br) on 2016-07-15T20:00:32Z No. of bitstreams: 1 Dissert Luiz Claudio Dias Renato.pdf: 8269957 bytes, checksum: f96703b860281547900a8b1314416b9d (MD5) / Made available in DSpace on 2016-07-15T20:00:32Z (GMT). No. of bitstreams: 1 Dissert Luiz Claudio Dias Renato.pdf: 8269957 bytes, checksum: f96703b860281547900a8b1314416b9d (MD5) Previous issue date: 2016-03-18 / O presente trabalho apresenta os principais aspectos técnicos relacionados ao estudo e análise do contrato de salvamento LOF com a cláusula SCOPIC incorporada. O objetivo deste trabalho é fazer a análise do conceito de salvamento de embarcações no Transporte Marítimo, através de um contrato de salvamento Lloyd’s Open Form (LOF) com a cláusula SCOPIC (Special Conpensation P&I Clause) incorporada ao contrato. Uma vez que há um acidente que envolva um salvamento no mar, há todo um processo a ser seguido, o que envolve a retirada de declarações, a avaliação dos perigos, quer para nomear peritos, escolhendo testemunhas, cálculo dos valores do salvado, prêmio de salvamento, os valores do SCOPIC, desembolsos imediatos, a escolha do SCR (Shipowner Casualty Representative), nomeação dos advogados que representam os salvadores, seguradores de casco e máquinas, P&I e de carga, assim como, a utilização dos conceitos da Convenção Internacional de Salvamento no Mar (CISM 1989), em especial os Artigos 13 e 14. A opção metodológica adotada consistiu numa pesquisa qualitativa por instrumento de questionário eletrônico e levantamento exploratório. Como resultado da aplicação, foi possível verificar que os envolvidos em uma aventura marítima consideram o contrato de salvamento LOF, com a cláusula SCOPIC incorporada, importantíssimo para a atividade comercial de transporte marítimo. Dessa forma o trabalho contribui cientificamente para análises futuras dos valores envolvidos em um prêmio de salvamento, o problema da terceirização dos serviços de salvamento, o dilema do crescente gigantismo dos navios mercantes e suas cargas e uma possível avaliação equivocada das condições do navio na ocasião do salvamento. / This work highlights the main technical aspects related to the study and analysis of the LOF salvage contract with the SCOPIC clause. The objective of this work is to analyze the concept of salvage vessels in maritime transport through a salvage agreement Lloyd's Open Form (LOF) with SCOPIC clause (Special Conpensation P&I Clause) incorporated into the contract. Since there is an accident involving one salvage at sea, there is a whole process to be followed, which involves statements, the hazards assessment, in order to appoint the surveyors and experts, choosing witnesses, calculation of the saved values, salvage award, SCOPIC of values, out of pockets, the choice of SCR (Shipowner Casualty Representatives), appointment of lawyers representing the salvors, H&M insurers (Hull and machinery), P&I Clubs and cargo, as well as the use of the International Convention’s Salvage at Sea (CISM 1989), in highlight the Articles 13 and 14. The method adopted. The methodological option adopted consisted of a search for "survey" and exploratory survey. As a result of the application, it found that those involved in a maritime adventure consider the LOF salvage contract with SCOPIC clause incorporated important to the shipping industry. This work contributes scientifically to further analyzes of the amounts involved in a salvage award, the problem of outsourcing of the salvage services, the dilemma of growing gigantism of merchant ships and their

Thesis (Ph. D.)--University of California, San Diego, 2003. / Vita. "Three related compositions written for string quartet, small ensemble (soprano, violin, viola, cello, flute, clarinet, piano) and percussion duo"--P. viii; 3rd work an open form composition. Also available on the World Wide Web. (Access restricted to UC campuses).

Commercially available glass fiber-reinforced polymer (GFRP) off-the-shelf structural shapes have great potential as stay-in-place open structural forms for concrete structures, including bridge decks and girders. The system simplifies and accelerates construction, and the non-corrosive GFRP forms can fully or partially replace steel rebar. In this study, eight concrete slabs were constructed using flat pultruded GFRP plates, and nine girders were constructed using trapezoidal pultruded GFRP sheet pile sections as stay-in-place structural forms. No tension steel reinforcement was used. All specimens were tested in four-point monotonic uniaxial bending. Four adhesive and mechanical bond mechanisms were explored to accomplish composite action. The most effective mechanism, considering structural performance and ease of fabrication, was wet adhesive bonding of fresh concrete to GFRP. Although failure was by debonding, no slip was observed prior to failure. Other parameters studied were concrete slabs’ thicknesses and their shear span-to-depth ratios. For the girders, three different cross-sectional configurations were examined, namely, totally filled sheet piles, one with a voided concrete fill, and an all-GFRP box girder developed by bonding flat GFRP sheets to the upper flanges of the sheet piles with a cast-in-place concrete flange. Girders were tested in positive and negative bending to simulate continuity. The built-up box girders showed superior performance, with up to 70% higher strength and 65% lower weight than the totally filled sections. It was found that similar size conventional steel-reinforced concrete sections of comparable stiffness have considerably lower strength, while those of comparable strength have considerably higher stiffness than FRP-concrete members. An analytical model was developed to predict the behaviour and failure loads of slabs and girders, using cracked section analysis. A unique feature of the model is a multi-stepped failure criteria check that can detect flexural, shear, or bond failure. The model was successfully validated using the experimental results, and used in a parametric study. It was shown that using the typical value of 1MPa for shear strength of cement mortar predicts debonding failure, which occurs slightly above the interface, quite well. Also, in practical applications of longer spans, flexural failure is likely to occur prior to bond failure. / Thesis (Master, Civil Engineering) -- Queen's University, 2008-07-14 15:12:48.405

Esta dissertação procura estabelecer uma confrontação teórica entre a filosofia da duração de Henri Bergson e o projeto composicional de Claude Debussy, no que diz respeito às estratégias de renovação da noção tradicional de tempo, estratégias que, embora aplicadas a setores distintos, fazem reverberar analogamente o mesmo espírito de época. Evidentemente, não desejamos propor homologias entre conceitos da filosofia e soluções técnicas musicais. Observamos todavia que tanto o projeto filosófico de Bergson quanto o projeto musical de Debussy compartilham o solo de uma crise geral de expressividade na passagem do século 19 para o 20, diante do esgotamento das possibilidades formais tanto do gênero conceitual no interior da filosofia quanto da tonalidade no interior da linguagem musical. Nos dois primeiros capítulos, analisamos a constituição do bergsonismo como o método que, contendo duas etapas indissociáveis (crítica da metafísica ocidental e proposição da intuição como modalidade de conhecimento), fornece um novo conceito positivo de tempo; apontamos em seguida os critérios para uma eventual estética bergsoniana. Nos capítulos seguintes, descrevemos a formalização da temporalidade musical na obra de Debussy, à luz do bergsonismo, verificando de que maneira seus procedimentos composicionais rompem com as proto-narrativas do tempo musical sedimentadas pela tonalidade. A escolha do quadro bergsoniano também decorre da oposição, sugerida por Theodor Adorno em Filosofia da Nova Música, entre a temporalidade das obras de Debussy e aquela das obras de Stravinsky. Apesar das técnicas de espacialização dos planos e da construção de modelos temáticos atomizados, Debussy conseguiria preservar a sensação orgânica de uma temporalidade subjetivamente perceptível, que Adorno chama de bergsonismo musical, ao passo que Stravinsky realizaria a dissolução métrica do tempo musical, mediante justaposições e montagens rítmicas que abandonam a ideia de transição (ou seja, lançando o tempo-espaço contra o tempo-duração). / This dissertation aims to establish a theoretical confrontation between Henri Bergsons philosophy and Claude Debussys composition techniques, namely concerning the strategies for a renewed conception of time; although these strategies belong to different cultural domains, they do seem to reverberate the same Zeitgeist in terms of expression. Our intention here is not to offer strict homologies between philosophical concepts and musical techniques. Nevertheless, we observe that both Bergsons philosophy and Debussys project share the cultural grounds of a general crisis of expression by the end of the 19th century, after the impoverishment of expression inward the traditional conceptual operations of philosophy and inward the common practice rules of tonal music. In the first and second chapters, we analyze the constitution of bergsonism as a philosophical method that, merging two different steps (critique of traditional metaphysics and proposition of a new modality of knowledge), is able to offer a new positive conception of time ; afterwards, we point out the possible criteria for an musical aesthetics based on bergsonism. In the remaining chapters, we try to describe, from a bergsonian perspective, the temporality formalization in Debussys oeuvres, emphasizing the procedures by which the proto-narratives of common practice musical time are rejected. Our choice for the bergsonian conceptual frame is also based on the opposition, suggested by Theodor Adorno in Philosophy of New Music, between Debussys music temporality formalization and Stravinskys one. Despite his spatialization techniques and his atomized thematic models, Debussy would preserve the organic sense of a recognizable subjective time, a musical sense that Adorno calls musical bergsonism; on the other hand, Stravinskys music would try to dissolve the subjective perception of time, by juxtaposing different thematic and rhythmic materials without proper preparation according to common practice rules and thus neglecting the transition of traditional musical time itself (Stravinsky would play space-time against duration-time in music)

Esta dissertação procura estabelecer uma confrontação teórica entre a filosofia da duração de Henri Bergson e o projeto composicional de Claude Debussy, no que diz respeito às estratégias de renovação da noção tradicional de tempo, estratégias que, embora aplicadas a setores distintos, fazem reverberar analogamente o mesmo espírito de época. Evidentemente, não desejamos propor homologias entre conceitos da filosofia e soluções técnicas musicais. Observamos todavia que tanto o projeto filosófico de Bergson quanto o projeto musical de Debussy compartilham o solo de uma crise geral de expressividade na passagem do século 19 para o 20, diante do esgotamento das possibilidades formais tanto do gênero conceitual no interior da filosofia quanto da tonalidade no interior da linguagem musical. Nos dois primeiros capítulos, analisamos a constituição do bergsonismo como o método que, contendo duas etapas indissociáveis (crítica da metafísica ocidental e proposição da intuição como modalidade de conhecimento), fornece um novo conceito positivo de tempo; apontamos em seguida os critérios para uma eventual estética bergsoniana. Nos capítulos seguintes, descrevemos a formalização da temporalidade musical na obra de Debussy, à luz do bergsonismo, verificando de que maneira seus procedimentos composicionais rompem com as proto-narrativas do tempo musical sedimentadas pela tonalidade. A escolha do quadro bergsoniano também decorre da oposição, sugerida por Theodor Adorno em Filosofia da Nova Música, entre a temporalidade das obras de Debussy e aquela das obras de Stravinsky. Apesar das técnicas de espacialização dos planos e da construção de modelos temáticos atomizados, Debussy conseguiria preservar a sensação orgânica de uma temporalidade subjetivamente perceptível, que Adorno chama de bergsonismo musical, ao passo que Stravinsky realizaria a dissolução métrica do tempo musical, mediante justaposições e montagens rítmicas que abandonam a ideia de transição (ou seja, lançando o tempo-espaço contra o tempo-duração). / This dissertation aims to establish a theoretical confrontation between Henri Bergsons philosophy and Claude Debussys composition techniques, namely concerning the strategies for a renewed conception of time; although these strategies belong to different cultural domains, they do seem to reverberate the same Zeitgeist in terms of expression. Our intention here is not to offer strict homologies between philosophical concepts and musical techniques. Nevertheless, we observe that both Bergsons philosophy and Debussys project share the cultural grounds of a general crisis of expression by the end of the 19th century, after the impoverishment of expression inward the traditional conceptual operations of philosophy and inward the common practice rules of tonal music. In the first and second chapters, we analyze the constitution of bergsonism as a philosophical method that, merging two different steps (critique of traditional metaphysics and proposition of a new modality of knowledge), is able to offer a new positive conception of time ; afterwards, we point out the possible criteria for an musical aesthetics based on bergsonism. In the remaining chapters, we try to describe, from a bergsonian perspective, the temporality formalization in Debussys oeuvres, emphasizing the procedures by which the proto-narratives of common practice musical time are rejected. Our choice for the bergsonian conceptual frame is also based on the opposition, suggested by Theodor Adorno in Philosophy of New Music, between Debussys music temporality formalization and Stravinskys one. Despite his spatialization techniques and his atomized thematic models, Debussy would preserve the organic sense of a recognizable subjective time, a musical sense that Adorno calls musical bergsonism; on the other hand, Stravinskys music would try to dissolve the subjective perception of time, by juxtaposing different thematic and rhythmic materials without proper preparation according to common practice rules and thus neglecting the transition of traditional musical time itself (Stravinsky would play space-time against duration-time in music)

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