A two-fold analysis of the vocal ornamentation in Handel's aria, "He was despised" from Messiah, was conducted employing objective and subjective forms of listening practice associated with the analysis of recordings methodology. It is this author's hypothesis that prosody, born of the semiotic processes of rhythm, pitch and accent, and which is also reflective of the subjective understanding of the performer, will be present during the moment of an ornament--if it is present at all in any performance. Ornamentation is shown to be an entry into the world of subjectivity in Baroque vocal performance practice as well as a window into the oral tradition and the primacy of the singer's expressiveness that relates back to the Italian school to which Handel subscribed. The method of study in this monograph consists of examining scholarly writings, scores, notations and most importantly, applying listening practice to 38 different renditions of "He was despised," executed by female altos or by countertenors, under the direction of various conductors, dating from 1927 through 2006. The first of two listening practices is an analysis of recordings to identify and review the nature of the non-notated sung ornaments found in the recordings. The author develops a system of defining and categorizing the types and units of non-notated, aurally observed vocal ornaments executed in each performance. In the second phase of this study, the author incorporates a postmodern philosophical approach and notes her own subjective experiences during the analysis of recordings. This phase examines the idea that prosodic elements are associated with the subjective experience of emotional meaning, elucidation of text, and illumination of subtext in this aria from Handel's Messiah. Results include noteworthy findings about the interplay of the singer's subjectivity with ornamentation in affecting the listener's subjective reaction to the performance (e.g., narrator's viewpoint, beautifying versus emphasizing subtext). In conclusion, the author explores the relationship between a performer's prosodic and non-prosodic executions of ornamentation and proposes specific recommendations to singers who wish to execute ornamentation in a manner that is both historically informed as well as prosodically expressive of subtext. / Music Performance

The thesis was originally meant to be an investigation into the necessity of architectural ornamentation. Throughout the exploration however, it became evident that architectural ornamentation was not all that was being studied. Instead, a broader term was needed in order to define the study. Instead of simply ornamenting architecture, the thesis is a study on augmenting architecture; more precisely, a study of the several elemental ways through which architectural experience can most effectively be augmented to foster aesthetic expression and heighten general architectural experience. The thesis deals with five of these fundamental elements; phenomenology, craft, contrast, complexity, and representation. The project that has been developed with these ideas in mind is an ancestral columbarium and the path that leads visitors to it. It is sited in a theoretical Virginian landscape that was designed simultaneously with the architecture, in order to present the architectural ideas with greater clarity and precision. The columbarium and path are a part of a larger family residence that includes an ancestral home, but for the sake of time the home was not designed. Instead, the relevant ideas are expressed through the path to the ancestral columbarium and the columbarium itself. / Master of Architecture

Esta pesquisa investiga a relação entre ornamentação e estilo na música alemã da primeira metade do século XVIII. Através da análise da ornamentação dos primeiros movimentos das seis Sonate Metodiche, publicadas em 1728 pelo compositor Georg Philipp Telemann, e de tratados da época, este trabalho busca compreender de que maneira os gostos nacionais influenciaram a prática improvisatória da música do período. Visando expandir a discussão sobre o movimento de performance historicamente informada, aborda-se a problemática da notação musical barroca buscando compreender os papéis dos compositores e dos intérpretes e a possível influência destes no resultado sonoro desta música. Por meio de um estudo musicológico, evidencia-se a importância da retórica na performance musical do período como guia na elaboração e execução ornamental. Apresentam-se características e tipos de ornamentos usados nos dois principais estilos nacionais do barroco - o italiano e o francês - para revelar a influência destes na ornamentação ao gosto alemão (vermischter Geschmack). As análises das ornamentações elaboradas por Telemann nas seis Sonate Metodiche de 1728, revelaram uma ornamentação com características galantes, o que parece indicar que a prática musical de ornamentação tenha sido crucial para a consolidação deste estilo. / This research investigates the relationship between ornamentation and style in German music of the first half of the eighteenth century. Through the analysis of the first movements of the six 1728 Sonate Metodiche from Georg Philipp Telemann, this work seeks to understand how national tastes influenced the improvisatory practice in the music of that period. In order to expand the discussion on the historical informed performance movement, the problematic of baroque musical notation is examined via the perspective that acknowledges possible influences derived from the functions of composers and interpreters. Using a musicological approach, the importance of rhetoric for the performance of ancient music is revealed as an essential guide for the elaboration and execution of ornaments. By presenting the qualities and types of ornaments used in the two major national styles of the Baroque - Italian and French - possible influences on the characteristics of German ornamentations (vermischter Geschmack) are shown. Through an analysis of the embellishments made by Telemann in his six 1728 Sonate Metodiche, an ornamentation with very strong gallant traits is exposed, which seems to indicate that the practice of musical ornamentation had a crucial role in the consolidation of the gallant style.

A pesquisa em questão aborda o levantamento, a catalogação e o estudo dos desenhos da Vila Penteado, projeto de 1902, do arquiteto Carlos Ekman (1866- 1940), um dos poucos remanescentes da produção em estilo Art Nouveau no Brasil e a consequente análise de seu contexto simbólico. O estudo da ornamentação proposto nesse projeto trata além da análise de referências estrangeiras, as características nacionais específicas, por meio de um registro iconográfico detalhado dos aspectos ornamentais, características espaciais de seus ambientes internos e externos, a relação entre eles e sua relação com a cidade. Após a catalogação dos detalhes ornamentais e análise da sua configuração espacial, foram considerados todos os estudos anteriores feitos sobre a Vila Penteado. Foi investigado o processo de criação e os registros que poderiam ter inspirado o projeto do arquiteto Carlos Ekman, levantada a questão de quais simbologias estariam presentes na ornamentação e qual a relação com o contexto brasileiro e o internacional. A questão central foi ampliar o entendimento das características específicas em termos estéticos, plásticos e espaciais. Ao mesmo tempo, não se restringir à contribuição do Art Nouveau apenas à ornamentação e, assim, reposicionar essa arquitetura em um panorama mais abrangente da História da Arquitetura no Brasil. / This paper deals with surveying, cataloging, and studying the drawings of Vila Penteado, a 1902 design by architect Carlos Ekman (1866-1940), one of the few remnants of the Art Nouveau style production in Brazil, and then analyzing its symbolic context. The study of ornamentation proposed in this project includes not only an analysis of foreign references, but also specific national characteristics, through a detailed pictorial record of ornamental aspects, spatial characteristics of its internal and external spaces, the relationship between them and their relationship with the city. After cataloging the ornamental details and analyzing their spatial configuration, all previous studies on Vila Penteado were considered. The creation process and records that could have inspired the design by architect Carlos Ekman were researched, which raised the question of what symbols would be present in the ornamentation and how they relate to the Brazilian and international context. The focal point was to increase the understanding of the specific characteristics in aesthetic, plastic, and spatial terms. At the same time, the contribution of Art Nouveau should not be limited to ornamentation, but rather this architecture should be placed in a broader perspective of the History of Architecture in Brazil.

At the beginning of the theoretical part the objects and tasks of the theses are defined. There are also described the teaching methods of project teaching at the primary schools. History of ceramics from all over the world from the Neolithic period is an integral part of the theoretical part. The forming techniques, modeling, glazing and burning techniques are described as well. In the practical part ten ceramics themes to the project teaching at the first grade of primary school are designed. There is a didactic documentation for teachers for each theme.

Esta pesquisa investiga a relação entre ornamentação e estilo na música alemã da primeira metade do século XVIII. Através da análise da ornamentação dos primeiros movimentos das seis Sonate Metodiche, publicadas em 1728 pelo compositor Georg Philipp Telemann, e de tratados da época, este trabalho busca compreender de que maneira os gostos nacionais influenciaram a prática improvisatória da música do período. Visando expandir a discussão sobre o movimento de performance historicamente informada, aborda-se a problemática da notação musical barroca buscando compreender os papéis dos compositores e dos intérpretes e a possível influência destes no resultado sonoro desta música. Por meio de um estudo musicológico, evidencia-se a importância da retórica na performance musical do período como guia na elaboração e execução ornamental. Apresentam-se características e tipos de ornamentos usados nos dois principais estilos nacionais do barroco - o italiano e o francês - para revelar a influência destes na ornamentação ao gosto alemão (vermischter Geschmack). As análises das ornamentações elaboradas por Telemann nas seis Sonate Metodiche de 1728, revelaram uma ornamentação com características galantes, o que parece indicar que a prática musical de ornamentação tenha sido crucial para a consolidação deste estilo. / This research investigates the relationship between ornamentation and style in German music of the first half of the eighteenth century. Through the analysis of the first movements of the six 1728 Sonate Metodiche from Georg Philipp Telemann, this work seeks to understand how national tastes influenced the improvisatory practice in the music of that period. In order to expand the discussion on the historical informed performance movement, the problematic of baroque musical notation is examined via the perspective that acknowledges possible influences derived from the functions of composers and interpreters. Using a musicological approach, the importance of rhetoric for the performance of ancient music is revealed as an essential guide for the elaboration and execution of ornaments. By presenting the qualities and types of ornaments used in the two major national styles of the Baroque - Italian and French - possible influences on the characteristics of German ornamentations (vermischter Geschmack) are shown. Through an analysis of the embellishments made by Telemann in his six 1728 Sonate Metodiche, an ornamentation with very strong gallant traits is exposed, which seems to indicate that the practice of musical ornamentation had a crucial role in the consolidation of the gallant style.

A pesquisa em questão aborda o levantamento, a catalogação e o estudo dos desenhos da Vila Penteado, projeto de 1902, do arquiteto Carlos Ekman (1866- 1940), um dos poucos remanescentes da produção em estilo Art Nouveau no Brasil e a consequente análise de seu contexto simbólico. O estudo da ornamentação proposto nesse projeto trata além da análise de referências estrangeiras, as características nacionais específicas, por meio de um registro iconográfico detalhado dos aspectos ornamentais, características espaciais de seus ambientes internos e externos, a relação entre eles e sua relação com a cidade. Após a catalogação dos detalhes ornamentais e análise da sua configuração espacial, foram considerados todos os estudos anteriores feitos sobre a Vila Penteado. Foi investigado o processo de criação e os registros que poderiam ter inspirado o projeto do arquiteto Carlos Ekman, levantada a questão de quais simbologias estariam presentes na ornamentação e qual a relação com o contexto brasileiro e o internacional. A questão central foi ampliar o entendimento das características específicas em termos estéticos, plásticos e espaciais. Ao mesmo tempo, não se restringir à contribuição do Art Nouveau apenas à ornamentação e, assim, reposicionar essa arquitetura em um panorama mais abrangente da História da Arquitetura no Brasil. / This paper deals with surveying, cataloging, and studying the drawings of Vila Penteado, a 1902 design by architect Carlos Ekman (1866-1940), one of the few remnants of the Art Nouveau style production in Brazil, and then analyzing its symbolic context. The study of ornamentation proposed in this project includes not only an analysis of foreign references, but also specific national characteristics, through a detailed pictorial record of ornamental aspects, spatial characteristics of its internal and external spaces, the relationship between them and their relationship with the city. After cataloging the ornamental details and analyzing their spatial configuration, all previous studies on Vila Penteado were considered. The creation process and records that could have inspired the design by architect Carlos Ekman were researched, which raised the question of what symbols would be present in the ornamentation and how they relate to the Brazilian and international context. The focal point was to increase the understanding of the specific characteristics in aesthetic, plastic, and spatial terms. At the same time, the contribution of Art Nouveau should not be limited to ornamentation, but rather this architecture should be placed in a broader perspective of the History of Architecture in Brazil.

This work is focused on the issues related to baroque interpretation on recorder concerning classwork on primary art schools. Main recorder history, available classbooks about technique and interpretation of baroque music is presented as well as a list of conservatories and universities in the Czech republic and universities in the surrounding coutries, where the recorder can be studied as a main subject. Furthermore, breath, articulation and finger technique are discussed. Separate chapter is dedicated to the composition ornamentation. Practical classwork is demonstrated on concrete scores targeted on pupils of different primary art school grades. Breath technique, articulation and finger technique is discussed for each composition. Furthermore, ornamentation possibilities are presented for each piece.

Parasites could represent an important evolutionary driver and play an important role in a sexual selection. In the mate selection process, females use secondary sexual ornaments, which may reflect the parasite load and health condition of males. Females would benefit from choosing males with the most extravagant sexual characters, which indicate low levels of parasite infestation. A popular model species for sexual selection study is the barn swallow (Hirundo rustica). However there are no recent studies investigating the relationship between the level of the ectoparasitic infestation and the ornamentation of the barn swallow. Results of this thesis, based on analysis of ectoparasite load in 204 individuals show, that the level of infestation by feather mites is positively correlated with outermost tail feathers and the intensity of feather holes is negatively correlated with a breast coloration. The relationship between the abundance of ectoparasites and white tail spots was not found. The effect of ectoparasites on the survival of individuals or the nest initiation date was not observed. A possitive relationship between the individual seasonal change in feather mites infestation and brood size was detected. This implies a potential trade-off between the investments into parental care and defence...

The Franciscan Bible from the National Museum Library in Prague (XII.B.13) Within the Context of 13th Century Painting The painted miniatures decorating the so-called Franciscan Bible (Prague, KNM XII.B.13), which dates in around the 1270s, illustrate the development of painting in Central Europe during the transition period between Late Romanesque and Gothic style. Illuminations in the Franciscan Bible are the work of four masters, the first of whom illustrated the Old Testament, and the latter three worked on the New Testament. The style of the illuminations places its authors firmly in the circle of artists drawing inspiration from the workshop of Giovanni da Gaibana. The Gaibanesque style is characterized by using traditional local motifs, with elongated tails expanding into the borders. Color tones gradually shift toward the cooler palette; form tends toward more schematic drawings and simplified shapes; imitation of Western style is characterized by gradual abandonment of heavy impasto modeling. The First Master most likely came from the Central Rhenish region, but his ornamental motifs are inspired by the Gaibanesque tradition; the other three masters, on the other hand, fully adopted the Gaibanesque style. Their works differ in the way they chose to interpret the common motifs, their use of...