<p>Rhapsody is a Model-Driven Development (MDD) tool for embedded and real-time system design. The purpose of this thesis is to determine if Rhapsody can be used for software development on small processor platforms such as the Atmel AVR. Rhapsody is normally used on platforms running an operating system. Therefore certain adaptations are needed in order to use it on platforms without an operating system. These adaptations and their affect on the usability of the tool, advantages and disadvantages are all studied while porting AVR-software to Rhapsody on one of CC Systems products, the robust on-board computer CC Pilot XL II.</p> / <p>Rhapsody är ett verktyg för modelldriven utveckling och design av inbyggda system och realtidssystem. Syftet med detta examensarbete är att undersöka om Rhapsody kan användas för att utveckla mjukvara till små processorplattformar som Atmel’s AVR. Då Rhapsody normalt används till plattformar med ett operativsystem behöver vissa modifieringar göras för att möjliggöra utveckling mot plattformar utan operativsystem. Dessa modifieringar, deras för och nackdelar samt påverkan på utvecklingsprocessen undersöks medan AVR-mjukvara porteras till Rhapsody. Mjukvaran som porteras är en del av styrsystemet till en av CC Systems produkter: CC Pilot XL II, en robust fordonsdator.</p>

Rhapsody is a Model-Driven Development (MDD) tool for embedded and real-time system design. The purpose of this thesis is to determine if Rhapsody can be used for software development on small processor platforms such as the Atmel AVR. Rhapsody is normally used on platforms running an operating system. Therefore certain adaptations are needed in order to use it on platforms without an operating system. These adaptations and their affect on the usability of the tool, advantages and disadvantages are all studied while porting AVR-software to Rhapsody on one of CC Systems products, the robust on-board computer CC Pilot XL II. / Rhapsody är ett verktyg för modelldriven utveckling och design av inbyggda system och realtidssystem. Syftet med detta examensarbete är att undersöka om Rhapsody kan användas för att utveckla mjukvara till små processorplattformar som Atmel’s AVR. Då Rhapsody normalt används till plattformar med ett operativsystem behöver vissa modifieringar göras för att möjliggöra utveckling mot plattformar utan operativsystem. Dessa modifieringar, deras för och nackdelar samt påverkan på utvecklingsprocessen undersöks medan AVR-mjukvara porteras till Rhapsody. Mjukvaran som porteras är en del av styrsystemet till en av CC Systems produkter: CC Pilot XL II, en robust fordonsdator.

The evolution of twentieth century American music involves much more than the continuation of European tradition. The music of black Americans before and after the turn of the century had a profound impact on the musical sensibility of American culture in general. Additionally, the fledgling popular music publishing industry had a dramatic effect on the course of "classical" tradition. Nowhere was this more apparent than in the music of George Gershwin. Gershwin's importance in the history of American art music is undisputed. Why his music sounds the way it does is less understood. This paper considers the popular and folk genres that most influenced the young caiposer, and traces specific stylistic elements through their various popular and folk incarnations of the previous thirty years into Gershwin's Rhapsody in Blue of 1924.

Beckett celebrates the solidity of selfhood and relation in his erosive texts against the grain. In light of this, this dissertation sets out with the intention to salvage the grains lost by Beckett¡¥s elliptic style with a focus on the device of inversion. In Three Novels, this device is employed to deal with world cultures, Irish landscapes and the looming relations, adumbrating a selfhood enriched by these select fragments. Also, the volatile self performs rites of rebirth with a voice as witness. Under the voice¡¥s narration and an un-specified hearing body, two births, one problematic the other immaculate, are at narthex: the former fading out the latter in. Thus, a selfhood is in transition. In Nohow On, a phosphorescent relation between one¡¥s plural selves and concerned others and between the artist and art denotes Beckett¡¥s ideas of relation to be interpersonal, aesthetical but inchoate. In an effort to explore the scale of inversion in the two trilogies, five aspects of Beckett are highlighted. First, his self-searching by fusing cultural elites and the distinct I into the voice of ¢wnot-I¡ü delivers an oracle about the everlasting soul rather than the ephemeral individual. Second, a kinetic I that acts against time, space and the superficial self indicates a dynamic and vigorous selfhood. Third, many incompatible things are juxtaposed and displaying their mutuality. By their examples, a new occasion and a new term of relation have been introduced. Fourth, aisling, an ancient Irish genre, characterizes Ill Seen Ill Said. It niches a deformed yet beloved hag and helps dissolve Beckett¡¥s trouble with May Beckett, to whom he is, simultaneously, son and lover. Last and not the least, a solipsistic Beckett negotiates the haunting others with virtuosities. His creative managements make others shine like stars in the artist¡¥s cosmos. Not until this constellational allocation of himself and his dear ones does Beckett¡¥s selfhood appear to be in plenum and cornucopia. Together, these five facets feature our author¡¥s triumph over the besieging void. Confronting the void, which Schopenhauer warns against yet Beckett embraces full-heartedly, becomes an opportunity to relate men, art and humor. While deploying selfhood and relation as the double agent to expose the very least things and persons he can¡¥t be without, Beckett accomplishes another task as well. Namely, he tames the void and makes it glow simultaneously. This ploy verifies Beckett¡¥s vow that an art, if not also the self, well done is a consecration to the void. For his capacities to contract laughter despite woes and his determination to have fun despite despair, our author that scrutinizes selfhood and relation with unblinking eyes is rhapsodic all in all.

112 f. / Submitted by JURANDI DE SOUZA SILVA (jssufba@hotmail.com) on 2013-03-15T13:43:11Z No. of bitstreams: 1 Dissertacao Elienay Gomes Carvalho.pdf: 2703456 bytes, checksum: 01a8f4de425857612b0dc773ceb8bf00 (MD5) / Approved for entry into archive by Rodrigo Meirelles(rodrigomei@ufba.br) on 2013-03-22T14:12:23Z (GMT) No. of bitstreams: 1 Dissertacao Elienay Gomes Carvalho.pdf: 2703456 bytes, checksum: 01a8f4de425857612b0dc773ceb8bf00 (MD5) / Made available in DSpace on 2013-03-22T14:12:23Z (GMT). No. of bitstreams: 1 Dissertacao Elienay Gomes Carvalho.pdf: 2703456 bytes, checksum: 01a8f4de425857612b0dc773ceb8bf00 (MD5) Previous issue date: 2010 / Este trabalho consiste em um memorial da obra Rapsódia Paraense, a qual foi concebida a partir de cinco gêneros musicais paraenses: carimbó, siriá, retumbão, samba de cacete e lundu marajoara; escolhidos como material pré-composicional, sendo que cada qual foi empregado dentro da obra como tema central de cada seção com o objetivo de sintetizá-los em um só movimento, característico do gênero rapsódia. A revisão da literatura pertinente aborda o significado e contextualização da rapsódia, reelaboração dentro de uma visão prática, os gêneros tradicionais paraenses, a Big Band, a Sam Band Pará e a análise mostrando todos os procedimentos composicionais aplicados à obra. / Salvador

No description available.

No description available.

This thesis presents an in-depth discussion and analysis of the stylistic influences of Bulgarian composer Pancho Vladigerov (1899-1978), and their presentation in his Rhapsody Vardar , Opus 16. Vladigerov's background includes studies in both his native Bulgarian folk music, as well as formal western training at two different music academies in Berlin. The first chapter provides relevant biographical information, and explores aspects of Vladigerov's compositions which derive from Western European traditions, including a discussion of the composers and styles that influenced his writing. This is done through discussion and analysis of his Three Pieces for Piano , Opus 15, a work written in the same year as his Rhapsody Vardar . Chapter two provides a general overview of Bulgarian folk music, especially during the late-nineteenth and early twentieth centuries. Chapter three brings together these observations in an analysis of Vladigerov's landmark piano work, Vardar Rhapsody .

Liszt's Hungarian Rhapsodies are uniformly considered highly challenging in terms of technical execution. However, their artistic value is frequently questioned. This dissertation examines the compositional elements that are often overlooked in these virtuoso works, and provides a viewpoint into their interpretative characteristics. Furthermore, it pursues a claim that besides being excellent performance pieces, these works also make an intriguing contribution to Liszt scholarship, and deserve meaningful consideration in terms of their artistic quality. Following the Introduction (Chapter 1), Chapter 2 provides a brief historical perspective of the critical affirmation Liszt the composer encountered from the musical society. It also includes a short background on Liszt's Hungarian Rhapsodies, as well as the general reactions these works evoked from pianists, audiences, and scholars, during the time they were composed to the present day. As the main body of the dissertation, Chapter 3 investigates the three primary compositional concepts found in Rhapsodies Nos. 6, 10, and 12. These concepts are divided into three subchapters: Transformation of Themes, Controlled Pianistic Textures, and Coloristic Effects. Each of these subchapters provides explanatory information, as well as some of the most characteristic passages presented.

Denna uppsats har, utifrån tidigare forsknings definition av power metal, analyserat tre, för genren representativa musikaliska verk genom text och formanalys. För att sammanställa tidigare forsknings definitioner av power metal till kategorier och konventioner anpassades vedertagna teoretiska principer om familjelikheter och genreprototyper till en modell för genrekonventioner. Därefter ställdes resultaten av analyserna emot de genrekonventioner som tidigare forskning ansåg utmärka power metal. Först gjordes ett urval av representativa band utifrån de som omnämndes ofta av tidigare forskning. Dessa blev Tysklands Blind Guardian och Helloween, samt Italiens Rhapsody (numera Rhapsody of Fire). Därefter valdes ett musikaliskt verk per band utifrån de låtar som låg som öppningsspår på samtliga bands samlingsskivor. Dessa blev Blind Guardians Imaginations From the Other Side, Helloweens Mr. Torture, samt Rhapsodys Dawn of Victory. För att analysera dessa låtar applicerades tre olika metoder, nämligen formanalys, textanalys och analys av genrekonventioner. Resultatet av att ställa tidigare forsknings genrekonventioner emot analysresultaten av de tre, för genren representativa musikaliska verken blevatt de till övervägande del stämde överens med varandra.