Submitted by Luciana Ferreira (lucgeral@gmail.com) on 2017-04-11T13:59:57Z No. of bitstreams: 2 Dissertação - Elder Thomaz da Silva - 2016.pdf: 1644136 bytes, checksum: dc2cc5a04dfdafcf21245055a8a5be2e (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2017-04-11T14:00:14Z (GMT) No. of bitstreams: 2 Dissertação - Elder Thomaz da Silva - 2016.pdf: 1644136 bytes, checksum: dc2cc5a04dfdafcf21245055a8a5be2e (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2017-04-11T14:00:14Z (GMT). No. of bitstreams: 2 Dissertação - Elder Thomaz da Silva - 2016.pdf: 1644136 bytes, checksum: dc2cc5a04dfdafcf21245055a8a5be2e (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2016-09-14 / The trumpet ensemble is an essential component in the formation of the trumpet player, however the search for repertoire for that kind of group, as well as bibliographies addressing its interpretative possibilities, is still a difficult task today. Most of the repertoire has not been edition and/or been made available to the public. The research that deals with the interpretation of trumpet music mainly comprises the trumpet solo repertoire. This research aims to present different possibilities for the interpretation of musical works that contain extended techniques. By using the internet, libraries and personal archive I listed fifty two pieces that were composed exclusively for trumpet ensembles. Fifteen of those works contain elements of extended techniques, being selected the ones that occur most frequently and which are produced by physical means without external intervention, depending exclusively on the interpreter's body (lips, tongue, throat) to be produced. We came to the conclusion of four elements: Pitch Bend, Frullato, Glissando and Half Valve. A total of nine works, which presents at least one element of the extended techniques mentioned, were selected in order to illustrate the possibilities of its interpretation in trumpet ensembles. The most challenging and important parts were highlighted to show how to apply those techniques, which can also be used in other works with similar characteristics. / Os grupos de trompetes são uma ferramenta essencial na formação do trompetista. Entretanto, a procura pelo repertório para essa formação, assim como bibliografias que abordam as possibilidades interpretativas em grupo, se torna uma tarefa árdua. Grande parte do repertório não é editorada e disponibilizada para o público, e os trabalhos que abordam as questões interpretativas no trompete, na sua maioria, contemplam apenas o repertório solista. O presente trabalho tem como finalidade a apresentação de possibilidades para interpretação de obras com técnicas estendidas. A partir de consultas realizadas pela internet, em bibliotecas digitais e acervos pessoais, foram levantadas cinquenta e duas obras brasileiras compostas exclusivamente para grupos de trompetes. Dessas obras, quinze apresentavam técnicas estendidas, sendo selecionadas as mais recorrentes e que fossem produzidas por meios físicos, ou seja, sem intervenção externa, dependendo exclusivamente do corpo do interprete (lábios, língua, garganta) para serem produzidas. Chegou-se à conclusão de quatro técnicas: pitch bend, frullato, glissando e meia válvula. Para expor as possibilidades para interpretação em grupo, foram selecionadas nove obras que apresentavam, pelo menos, uma das técnicas estendidas mencionadas. Foram destacados os trechos mais importantes ou com maiores dificuldades para exemplificar o emprego e execução dessas técnicas que também poderão ser utilizadas em outras obras com características similares, em diferentes formações.

Submitted by JÚLIO HEBER SILVA (julioheber@yahoo.com.br) on 2017-05-18T20:12:26Z No. of bitstreams: 2 Dissertação - Mayara Amaral - 2017.pdf: 8539335 bytes, checksum: 58004a1433e26661e1ee04a717b0ec12 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2017-05-19T10:47:51Z (GMT) No. of bitstreams: 2 Dissertação - Mayara Amaral - 2017.pdf: 8539335 bytes, checksum: 58004a1433e26661e1ee04a717b0ec12 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2017-05-19T10:47:51Z (GMT). No. of bitstreams: 2 Dissertação - Mayara Amaral - 2017.pdf: 8539335 bytes, checksum: 58004a1433e26661e1ee04a717b0ec12 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2017-03-30 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / The present work aims to analyze and present a brief biographical account and the work of Brazilian women composers, with an analysis of the works made in the 1970s. As secondary objectives we search for the contribution to the national repertoire, in the sense of giving visibility to works not much known and played, and to highlight the participation of women in the scenario of Brazilian musical composition, turning the attention to the production of guitar music. To find the works, various search engines were used, such as: catalogs of works, books, as well as interviews conducted during the research. The composers found here are: Lina Pires de Campos, Adelaide Pereira da Silva, Eunice Katunda, Esther Scliar and Maria Helena da Costa. Of the diverse works found, we selected only one piece of each composer, representing their languages and stylistic aspects. The main reference used for the analysis was the book by John White (1976), The Analysis of Music. We also include the precepts of Schoenberg (1996) and Kostka (1999). The results found were some stylistic similarity between some works analyzed here, as well as features that dialogue with the stylistic aspects of the analyzed period. / O presente trabalho tem como objetivo analisar e apresentar um breve relato biográfico e a obra de compositoras brasileiras compostas na década de 1970. Entre os objetivos secundários estão a contribuição para o repertório violonístico nacional, no sentido de dar visibilidade a obras pouco conhecidas e tocadas, e evidenciar a participação da mulher no cenário da composição musical brasileira, voltando o olhar para a produção violonística. Para encontrar as obras, foram utilizadas fontes de busca diversas, como: catálogos de obras, livros, bem como entrevistas realizadas durante a pesquisa. As compositoras encontradas e aqui abordadas são: Lina Pires de Campos, Adelaide Pereira da Silva, Eunice Katunda, Esther Scliar e Maria Helena da Costa. Das diversas obras encontradas, selecionamos apenas uma peça de cada compositora, representando suas linguagens e vertentes estilísticas. O referencial principal utilizado para as análises foi o livro de John White (1976), The Analysis of Music. Incluímos ainda os preceitos de Schoenberg (1996) e Kostka (1999). Os resultados encontrados foram algumas congruências estilísticas entre algumas obras aqui analisadas, bem como aspectos que dialogam com as vertentes estilísticas do período analisado.

La présente recherche se traduit par une étude critique, analytique et comparative combinée à la transcription de tout le corpus musical du mâlûf tunisien tel qu’il nous a été transmis dans un ouvrage datant de 1871 intitulé Ghâyatu al-surûri wal-munâ’ al-jâmi‘u li-daqâ’iqi raqâ'iqi al-mûsîqâ wal-ghinâ (Bien-être et bonheur parfait par le raffinement de la musique et du chant). Ce document représente une référence unique pour mieux percevoir la réalité musicale de l’époque mais aussi pour une meilleure approche comparative quant aux différentes mutations que la musique tunisienne a pu connaître durant la deuxième moitié du XIXe siècle et ce à divers niveaux dont celui de la terminologie, de l'instrumentation, de l'interprétation et du corpus aussi bien vocal qu'instrumental. / The present research is a critical, analytical and comparative study combined with the transcription of the whole Tunisian mâlûf’s musical corpus as it was transmitted in the 1871 work entitled Ghâyatu al-surûri wal-munâ ' al-jâmi‘u li-daqâ'iqi raqâ' iqi al-mûsîqâ wal-ghinâ (Perfect welfare and happiness through the refinement of the music and singing). This document represents a unique reference to a better understanding of the musical reality at that time but also a better comparative approach related to the different transformations of the Tunisian music during the second half of the 19th century at diverse levels among which there are the terminology, instrumentation, interpretation (performance) as well as the vocal and instrumental corpus.

This study describes in detail the preparation that must be done by aspiring orchestral horn players in order to be sufficiently ready for an orchestral audition. The general physical and mental preparation, through to the very specific elements that require attention when practicing and learning a list of orchestral excerpts that will be performed for an audition committee, is investigated. This study provides both the necessary tools and the insight borne of a number of years of orchestral experience that will enable a player to take a given excerpt and learn not only the notes and rhythms, but also discern many other subtleties inherent in the music, resulting in a full understanding and mastery thereof. Ten musical examples are included in order to illustrate the type of additional information that a player must gain so as to develop an in-depth knowledge of an excerpt. Three lists are presented within the text of this study: 1) a list of excerpts that are most commonly found at auditions, 2) a list of those excerpts that are often included and 3) other excerpts that have been requested but are not as commonly found. Also included is advice regarding the audition procedure itself, a discussion of the music required for auditions, and a guide to the orchestral excerpt books in which these passages can be found. / Dissertation (MMus)--University of Pretoria, 2007. / Music / unrestricted

Please read the abstract in the section 00front of this document / Dissertation (MSc (Zoology))--University of Pretoria, 2006. / Zoology and Entomology / unrestricted

The Eastman Wind Ensemble is known as the pioneer ensemble of modern wind music in North America and abroad. Its founder and conductor, Frederick Fennell, was instrumental in facilitating the creation and performance of a large number of new works written for the specific instrumentation of the wind ensemble. Created in 1952, the EWE developed a new one-to-a-part instrumentation that could be varied based on the wishes of the composer. This change in instrumentation allowed for many more compositional choices when composing. The instrumentation was a dramatic shift from the densely populated ensembles that were standard in North America by 1952. The information on the EWE and Fennell is available at the Eastman School of Music’s Ruth Watanabe Archive. By comparing the repertory and instrumentation of the Eastman ensembles with other contemporary ensembles, Fennell’s revolutionary ideas are shown to be unique in the wind music community.

Acute viral infections induce CD8 memory T cells that play an important role in the protection of the host upon re-infection with the same pathogen. These virus epitope-specific memory CD8 T cells develop complex TCR repertoires that are specific for that epitope. As individuals age virus-specific immunity appears to wane. Older people have difficulty controlling infection with common viruses such as influenza A (IAV), a RNA virus which causes recurrent infections due to a high rate of genetic mutation, and Epstein Barr virus (EBV), a DNA virus which persists in B cells for life in the 95% of people that become acutely infected. Many factors may contribute to this waning immunity including changes in virus-specific TCR repertoires. We hypothesize that epitope-specific memory CD8 TCR repertoires to these two common viruses change with increasing age and that CD8 T cell cross-reactivity may be one of the mechanisms mediating these changes. To address this hypothesis in our first study, we compared epitope-specific CD8 memory TRBV repertoires directly ex vivo for these two common human viruses. In cross-sectional and longitudinal studies of EBV seropositive, HLA-A2+, young (18-22 years), middle age (25-59 years), and older (>60 years) donors, we demonstrated that CD8 memory TCR repertoires to three immunodominant epitopes, known to have cross-reactive responses, IAV-M158-66, EBV-BM280-288, and EBV-BR109-117 co-evolve as individuals age. Cross-sectional studies showed that IAV-M1-and both EBV-specific repertoires narrowed their TRBV usage by middle-age. In fact, narrowing of EBV-BM and EBV-BR-specific TRBV usage correlated with increasing age. Although narrowing of IAV-M1-specific TRBV did not directly correlate with increasing age there was clear evidence that the TRBV usage was changing with age. The dominant TRBV19 usage appeared to become bimodal in the older age group and interestingly TRBV30 usage did directly correlate with age. For the EBV epitope-specific responses there was preferential usage of particular TRBV and changes in the hierarchy of TRBV usage in the different age groups. Longitudinal studies tracking 3 donors over 10-15 years (middle age to older) showed that there were changes in the TCR repertoire of IAV-M1, EBV-BM and -BR-specific responses over time. In two of the donors who experienced acute IAV infection there was evidence these repertoire changes may be influenced by TCR cross-reactivity, which is enhanced during acute IAV infection. The results of this first ex vivo study are consistent with our hypothesis. They suggest that virus-specific TCR repertoires change over time as an individual ages leading to narrowing of the repertoire and may co-evolve in the presence of CD8 T cell cross-reactivity. To further test our hypothesis in a second study we compared CD8 memory TRAV and TRBV repertoires to the three immunodominant epitopes IAV-M1, EBV-BM, and EBV-BR in the two extreme age groups, young donors (YSP) (18-22 years) and older donors (OSP) (>60 years) using the same donors as in the first study. Since these three epitopes are known to generate cross-reactive CD8 T cell responses and humans during their lifetime are frequently infected with both viruses at the same time these studies were also designed to more closely examine if TCR cross-reactivity could contribute to changes in TCR repertoire with increasing age. We examined the differences in both TRAV and TRBV in these two age groups by monoclonal antibody (mAb) staining and by deep sequencing and single cell sequencing in tetramer positive sorted cells from short-term cultures. Our initial studies showed that there were strong correlations in TRBV usage between short-term cultured and ex vivo antigen-specific responses; functional differences as well as differences in TRBV usage and diversity as measured by mAb staining particularly for the EBV epitope-specific responses between YSP and OSP donors. The TCR deep sequencing data also showed significant differences in TRBV usage between YSP and OSP. However, there were many more differences in TRAV and TRAJ usage than TRBV between the age groups suggesting that TRAV may play a greater role in evolution of the TCR repertoire. With increasing age, there was a preferential selection or retention of TCR for all three epitopes that have features in their CDR3a and b that increase their ease of generation, such as greater usage of convergent recombinant amino acids, and increase cross-reactive potential, such as multiple glycines. YSP and OSP differed in the patterns of TRAV/AJ and TRBV/BJ pairings and usage of dominant CDR3 motifs in all three epitope responses. Both YSP and OSP had cross-reactive responses between these 3 epitopes which were unique and differed from the cognate responses. Analyses of single cell sequencing data suggested that unique combinations of TRAV and TRBV are occurring, where one chain has features consistent with interaction with antigen one and the other chain had features consistent with interaction with antigen two. Interestingly, both the deep sequencing and single cell data show an increased tendency for the classic IAV-M1 specific clone BV19-IRSS-BJ2.7/AV27-CAGGGSQGNLIF-AJ42 to appear among the cross-reactive clones, suggesting that the dominance of this highly public clone may relate to its cross-reactivity with EBV. These results suggest that although OSP and YSP retain some of the classic TCR features for each epitope the TCR repertoire is gradually changing with age retaining TCR that are cross-reactive between these two common human viruses that we are exposed to frequently, one with recurrent infections and the other a persistent virus which frequently reactivates. These results are highly supportive our hypothesis and their importance in relation to viral immune-pathogenesis and potential novel immunotherapies will be discussed. These studies further emphasize the complexity and potential importance of human virus-specific T cell responses and TCR repertoires as people age and the need for a better understanding of TCR cross-reactivity between different viruses. For instance, at the present time these studies are highly relevant to better understanding the immune-pathogenesis observed during the COVID19 pandemic.

付記する学位プログラム名: 霊長類学・ワイルドライフサイエンス・リーディング大学院 / 京都大学 / 0048 / 新制・課程博士 / 博士(理学) / 甲第22298号 / 理博第4612号 / 新制||理||1661(附属図書館) / 京都大学大学院理学研究科生物科学専攻 / (主査)教授 幸島 司郎, 教授 平田 聡, 教授 伊谷 原一 / 学位規則第4条第1項該当 / Doctor of Science / Kyoto University / DGAM

Les études de bioacoustique animale, qui reposent traditionnellement sur des modèles primates non humains et oiseaux chanteurs, convergent vers l'idée que la vie sociale serait la principale force motrice de l'évolution de la complexité de la communication. La comparaison avec les cétacés est également particulièrement intéressante d'un point de vue évolutif. Ce sont des mammifères qui forment des liens sociaux complexes, ont des capacités de plasticité acoustique, mais qui ont dû s'adapter à la vie marine, faisant de l'habitat une autre force de sélection déterminante. Leur habitat naturel impose des contraintes sur la production sonore, l'utilisation et la perception des signaux acoustiques, mais, de la même manière, limite les observations éthologiques. Etudier les cétacés captifs devient alors une source importante de connaissances sur ces animaux. Au-delà de l'analyse des structures acoustiques, l'étude des contextes sociaux dans lesquels les différentes vocalisations sont utilisées est essentielle à la compréhension de la communication vocale. Par rapport aux primates et aux oiseaux, la fonction sociale des signaux acoustiques des dauphins reste largement méconnue. En outre, les adaptations morpho-anatomiques de l’appareil vocal et auditif des cétacés à une vie sous-marine sont uniques dans le règne animal. Leur capacité à percevoir les sons produits dans l'air reste controversée en raison du manque de démonstrations expérimentales. Les objectifs de cette thèse étaient, d'une part, d'explorer l'utilisation contextuelle spontanée des signaux acoustiques dans un groupe captif de dauphins et, d'autre part, de tester expérimentalement les capacités à percevoir les sons sous l’eau comme dans l’air. Notre première étude observationnelle décrit la vie quotidienne de dauphins en captivité et montre que les signaux vocaux reflètent, à grande échelle, la répartition temporelle des activités sociales et non sociales dans un établissement sous contrôle humain. Notre deuxième étude met l'accent sur le contexte d’émission des trois principales catégories acoustiques précédemment identifiées dans le répertoire vocal des dauphins, à savoir les sifflements, les sons pulsés et les séries de clics. Nous avons trouvé des associations préférentielles entre chaque catégorie vocale et certains types d'interactions sociales ainsi que des combinaisons sonores non aléatoires et également dépendantes du contexte. Notre troisième étude a testé expérimentalement, dans des conditions standardisées, la réponse des dauphins à des « labels » acoustiques individuels donnés par l’homme et diffusés dans l’eau et dans l’air. Nous avons constaté que les dauphins peuvent reconnaître et réagir uniquement à leur propre « label » sonore, même lorsqu'il est diffusé dans l’air. En plus de confirmer l'audition aérienne, ces résultats soutiennent l’idée que les dauphins possèdent une notion d'identité. Dans l'ensemble, les résultats obtenus au cours de cette thèse suggèrent que certains signaux sociaux dans le répertoire des dauphins peuvent être utilisés pour communiquer des informations spécifiques sur les contextes comportementaux des individus impliqués et que les individus sont capables de généraliser leur concept d'identité à des signaux générés par l'homme. / Studies on animal bioacoustics, traditionally relying on non-human primate and songbird models, converge towards the idea that social life appears as the main driving force behind the evolution of complex communication. Comparisons with cetaceans is also particularly interesting from an evolutionary point of view. They are indeed mammals forming complex social bonds, with abilities in acoustic plasticity, but that had to adapt to marine life, making habitat another determining selection force. Their natural habitat constrains sound production, usage and perception but, in the same way, constrains ethological observations making studies of captive cetaceans an important source of knowledge on these animals. Beyond the analysis of acoustic structures, the study of the social contexts in which the different vocalizations are used is essential to the understanding of vocal communication. Compared to primates and birds, the social function of dolphins’ acoustic signals remains largely misunderstood. Moreover, the way cetaceans’ vocal apparatus and auditory system adapted morphoanatomically to an underwater life is unique in the animal kingdom. But their ability to perceive sounds produced in the air remains controversial due to the lack of experimental demonstrations. The objectives of this thesis were, on the one hand, to explore the spontaneous contextual usage of acoustic signals in a captive group of bottlenose dolphins and, on the other hand, to test experimentally underwater and aerial abilities in auditory perception. Our first observational study describes the daily life of our dolphins in captivity, and shows that vocal signalling reflects, at a large scale, the temporal distribution of social and non-social activities in a facility under human control. Our second observational study focuses on the immediate context of emission of the three main acoustic categories previously identified in the dolphins’ vocal repertoire, i.e. whistles, burst-pulses and click trains. We found preferential associations between each vocal category and specific types of social interactions and identified context-dependent patterns of sound combinations. Our third study experimentally tested, under standardized conditions, the response of dolphins to human-made individual sound labels broadcast under and above water. We found that dolphins were able to recognize and to react only to their own label, even when broadcast in the air. Apart from confirming aerial hearing, these findings go in line with studies supporting that dolphins possess a concept of identity. Overall, the results obtained during this thesis suggest that some social signals in the dolphin repertoire can be used to communicate specific information about the behavioural contexts of the individuals involved and that individuals are able to generalize their concept of identity for human-generated signals.

γδ T cells are unconventional T cells that that can recognize infected and transformed cells via their γẟ TCR, thus promoting different immune responses. In addition, several studies showed that γδ T cells are important in the protection against different pathogens in early life, such as human cytomegalovirus (CMV). The diversity of the γδ TCR repertoire is mainly generated in the complementarity determining region 3 (CDR3) where V(D)J recombination takes place. One of the main players in the junctional diversity is the terminal-deoxynucleotidyl-transferase (TdT) enzyme responsible for the random template-independent nucleotide addition at the junction of the joining gene segments.In the mouse model it is established that during development, especially before birth, innate γδ T cell subsets are generated in waves and their generation depends on the type of hematopoietic stem and precursor cells (HSPC). These γδ T cells express a semi-invariant γδ TCR and can acquire a functional program already in the thymus. In human, in contrast, the idea of γδ T cells as innate-like lymphocytes is questioned by recent works showing that the γδ TCR repertoire of human pediatric thymuses and of term-delivery cord blood is highly diverse. Here, by analyzing in detail human fetal and post-natal thymi, we observed striking differences between fetal and post-natal γδ thymocytes at the γδ TCR repertoire and functional level. In contrast to post-natal γδ thymocytes, fetal γδ thymocytes were functionally programmed, expressed low levels of TdT and were highly enriched for invariant/public CMV-reactive CDR3 sequences (TRGV8-TRJP1-CATWDTTGWFKIF, TRDV2-TRDD3-CACDTGGY, and TRDV1-TRDD3-CALGELGD). The rearrangements of these invariant sequences were driven by short-homology repeats at the end of the involved gene segments, as it was observed in the mouse. In addition, we investigated the role of HSPC in the generation of this invariant γδ thymocytes by using an in vitro T cell development system and we showed that only fetal HSPC could generate γδ T cells enriched for the same specific features that were found in the ex-vivo fetal γδ thymocytes. Moreover, we showed that the RNA-binding protein Lin28b, highly expressed in fetal γδ T cells, reprogrammed the term delivery HSPC towards the generation of γδ T cells resembling to their fetal counterpart.In conclusion, we show that the human fetal thymus generates, in a HSPC- and Lin28b-dependent manner, innate invariant γδ T cells with programmed effector functions that might provide protection to the fetus during congenital infections, such as against CMV. / Doctorat en Sciences biomédicales et pharmaceutiques (Pharmacie) / info:eu-repo/semantics/nonPublished