La présente thèse porte sur la circulation du rubâb afghan en Asie Centrale et en Occident. Elle s'inscrit dans une perspective anthropologique et historique dont l'objet est de rendre compte de l'évolution organologique et typologique de l'instrument, dans différents pays où il est pratiqué. L'accent est mis sur la genèse de ce luth à table en parchemin, notamment à partir d'analyses comparatives de la morphologie des différents rubâbs centrasiatiques. Grâce à des modélisations et une approche expérimentale innovante, on a examiné les relations structurelles et typologiques entre cet instrument et les autres rubâbs ou luths similaires. On a ainsi pu constater qu’il n’y a aucune filiation entre ces instruments et le rubâb afghan. Un examen approfondi de certaines vièles de ces régions met en évidence des similitudes frappantes avec l’instrument. On a tenté d'apporter une réponse quant à une éventuelle parenté de la vièle jusqu'au luth, hypothèse qui est également envisagée sous l'éclairage de données historiques, philologiques et organologiques. L'analyse comparative des différents instruments repose sur une abondante source iconographique, accompagné de modélisations et d'expérimentations organologiques. Cette recherche souligne les différents types de rubâb afghan, mises en relation avec les exigences des différents répertoires où ils sont utilisés. Enfin on a abordé la pratique du rubâb afghan en Occident, ce qui pose la question des nouveaux moyens mis en œuvre pour assurer une transmission du savoir et des savoir-faire, en l'absence de contact direct ou suivi avec un maître. / This thesis focuses on the diffusion of the Afghan rubâb in Central Asia as well as in the occidental Western countries. It is part of an anthropological and historical perspective, which tends account the organological and typological evolution of the instrument in the different countries where it is practiced. The emphasis is placed on the genesis of the parchment sounding board lute, in particular through morphological comparative analyses of various rubâbs bodies from Central Asia. Thanks to the modelings and an innovative and experimental approach we examined the structural and typological relationships between this instrument and other rubâbs or similar lutes. It has thus been found that there is no filiation between these instruments and the Afghan rubâb. A closer look at some of the bowed lutes from these areas highlights striking similarities with the Afghan rubâb. An attempt has been made to answer the question of a possible relationship between one bowed lute and the Afghan rubâb, a hypothesis which is also considered in the light of historical, philological and organological data. The comparative analysis of the various instruments is based on an abundant iconographic source, accompanied by modeling and organological experiments. This research results in a typology of the Afghan rubâbs, in relation with the requirements of the different repertoires where they are used. Finally, the practice of rubâb in the West has been discussed, under the question of the new means used to ensure the transmission of knowledge and know-how with the absence of direct contact with or follow-up with a master.

Orientadores: Aci Taveira Meyer, Emerson Luis de Biaggi / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-10T07:48:12Z (GMT). No. of bitstreams: 1 Chagas_AlexandreHenriqueIsler_M.pdf: 3476541 bytes, checksum: c06ee7b64f68a0ed8cc3ccfddf4699ac (MD5) Previous issue date: 2007 / Resumo: Esta pesquisa tem por finalidade permitir um novo enfoque ao trabalho com orquestra infantil de cordas. Não é um ensino coletivo do instrumento, mas é a prática de estudos dirigidos, aliada a um processo de planejamento didático pedagógico, no qual o repertório não é um fim em si mesmo, mas o resultado do processo ensino-aprendizagem em que a orquestra de cordas se torna um instrumento de desenvolvimento da percepção musical do aluno através de sua interação ativa com o grupo. O primeiro capítulo trata da importância e necessidade da pedagogia (Piaget, Vygotsky, Wallon) na educação musical, das propostas pedagógicas dos principais estudiosos (Rousseau, Pestalozzi, Herbart, Froebel), e da contribuição dos educadores musicais (Dalcrose, Kodály, Willems, Orff e Suzuki) para fundamentar a elaboração dos estudos dirigidos do capítulo II. O segundo capítulo consiste na apresentação de exercícios práticos para orquestra de cordas, com o objetivo de desenvolver a percepção musical do aluno no grupo. Os estudos propostos foram elaborados com fins específicos, testados em uma orquestra infantil de cordas experimental, selecionados corrigidos e organizados da seguinte forma didática: estudos preparatórios, estudos dirigidos à questão harmônica, estudos dirigidos à questão rítmica e estudos dirigidos à questão da técnica de arco. Finalmente, o terceiro capítulo abordará a dinâmica do ensaio, o planejamento e a avaliação no processo de ensino-aprendizagem e o uso do repertório como meio na formação musical do aluno / Abstract: This research has a purpose to allow a new approach to the string orchestra for kids. It is not a method to teach a class but conduced practical exercises, allied to a process of a pedagogical and didactical plan in which the repertoire is not the only reason, but the result of a teaching-learning process where the string orchestra becomes a tool to develop the student¿s musical perception by the interaction with the group. The first chapter deals with the importance and the necessity of pedagogy in music education, with the pedagogical proposals of the main scholars, (Piaget, Vygotsky, Wallon), the pedagogical proposals of the main studious (Roussseau, Pestalozzi, Herbart, Frobel), and with the contribution of the music educators (Dalcrose, Kodály, Willems, Orff and Suzuki) to substantiate the elaboration of the conducted studies on chaptter II. The second chapter consists on the practical exercises presentations to string orchestra, aimming to improve the student¿s musical perception in a group. The proposed studies were formulated for specific purposess, tested in an experimenttal children string orchestra, selected, correctted and organized in a didactical formula as follows: preparatory studies, directed studies for the harmonic issue, directed studies for the rhythm matter and directed studies for to the bow technique. Finally the third chapter broachees the rehearsal dynamics, the plan and evaluation on the teaching-learning process, and the use of the repertoire as a way to the student¿s musical education / Mestrado / Mestre em Música

Submitted by JÚLIO HEBER SILVA (julioheber@yahoo.com.br) on 2017-02-17T16:33:44Z No. of bitstreams: 2 Dissertação - Almir Júnio Pessoa - 2016.pdf: 4318212 bytes, checksum: 068b26d251cc79bde9c837320a2d5b43 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2017-02-20T12:02:42Z (GMT) No. of bitstreams: 2 Dissertação - Almir Júnio Pessoa - 2016.pdf: 4318212 bytes, checksum: 068b26d251cc79bde9c837320a2d5b43 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2017-02-20T12:02:42Z (GMT). No. of bitstreams: 2 Dissertação - Almir Júnio Pessoa - 2016.pdf: 4318212 bytes, checksum: 068b26d251cc79bde9c837320a2d5b43 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2016-12-02 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This work is related to improvisation in the brazilian ten strings guitar with open tuning (Cebolão), using as a case study and application the rhythm (cateretê) in music Vide Vida Marvada, by Rolando Boldrin. Because I have not yet found specific material for improvisation in this instrument, I have raised questions about the existence and form of this practice. My hypothesis is that, with a method suitable to the instrument and its particularities, which includes the study of scales and arpeggios, the student shortens the way in the realization of different pieces, facilitates the immediate transposition of songs to other tones and fosters basic knowledge to improvise . The objective of this work is to investigate the processes of improvisation for viola, starting from scales, arpeggios and rhythmic / melodic models. The methodology used was to listen and to transcribe elements of the common practice of diverse violeiros and to extract the basic technique for its construction. I started with authors who deal with improvisation in a general way (BENSON, 2003), idiomatics (ALVIN and ASSIS, 2000), and authors dealing specifically with the instrument and the like (VILELA, 2013) . The results were the confirmation of the hypothesis raised and the construction of didactic material for brazilian ten strings guitar with cebolão tuning, besides the evidence that improvisation in the traditional context not only exists, but also in a particular way, more associated with prosody Rhythm, and that the choice of tonality, within the described tuning influences directly in its practice. / Esse trabalho diz respeito a improvisação na viola caipira com afinação cebolão, utilizando como estudo de caso e aplicação o cateretê Vide Vida Marvada, de Rolando Boldrin. Por não ter encontrado até a presente data, material específico para improvisação na viola, levantei questões sobre a existência e a forma dessa prática. Minha hipótese é de que, com um método adequado ao instrumento e suas particularidades, que abarque o estudo de escalas e arpejos, o estudante encurta caminho na realização de peças diversas, facilita a transposição imediata de músicas para outros tons e fomenta conhecimento básico para improvisar. O objetivo deste trabalho é investigação dos processos de improvisação para viola, partindo de escalas, arpejos e modelos rítmico/melódicos. A metodologia utilizada foi de ouvir e transcrever elementos da prática comum de violeiros diversos e extrair a técnica básica para a sua construção. Embasei-me em autores que dizem respeito a improvisação de uma maneira geral (BENSON, 2003), idiomatismo (ALVIN e ASSIS, 2000), e autores que tratam especificamente do instrumento viola e afins (VILELA, 2013), (CORRÊA, 2000). Os resultados foram a confirmação da hipótese levantada e a construção de material didático para viola com afinação cebolão, além da evidenciação de que a improvisação no contexto violeiro tradicional não só existe, como é recorrente, entretanto de uma maneira particular, mais associada a prosódia ao ritmo, e que a escolha da tonalidade, dentro da afinação descrita influencia diretamente na sua prática.

O escopo deste mestrado é de se familiarizar com a chamada {\\it correspondência AdS/CFT}, que tem sido um dos mais importantes desenvolvimentos na física teórica nas últimas décadas. De acordo com essa correspondência, deformações das geometrias do lado da gravidade (ou lado \"AdS\") devem ser mapeadas para operadores das teorias de calibre duais (ou lado \"CFT\"). Em particular, nos temos estado interessados em explorar uma entrada particular no dicionário AdS/CFT, a relação entre os operadores 1/2 BPS em ${\\cal N}=4$ super Yang-Mills, e as chamadas {\\it geometrias bubbling} no lado da gravidade. A fim de fazer isso, apresentamos primeiramente as noções de ${\\cal N}=4$ SYM e soluções de Supergravidade. Portanto, podemos expor mais claramente o sentido da correspondência AdS /CFT, e depois mostrar a derivação das geometrias 1/2 BPS duais a estados 1/2 BPS em ${\\cal N}=4$ SYM como um exemplo. / The scope of this Master program was to get acquainted with the so-called {\\it AdS/CFT correspondence}, which has been one of the most important developments in theoretical physics in the last decades. According to this correspondence, deformations of the geometries in the gravity side (or \"AdS\" side) must be mapped to states of the dual gauge theories (or \"CFT\" side). In particular, we have been interested in exploring a particular entry in the AdS/CFT dictionary, namely, the relation between 1/2 BPS operators in ${\\cal N}=4$ super Yang-Mills, and the so-called {\\it bubbling geometries} on the gravity side. In order to do that, we first present the notions of N=4 SYM and Supergravity solutions. In this way, we can expose the statement of the AdS/CFT correspondence, and later show the derivation of 1/2 BPS geometries dual to 1/2 BPS states in N=4 SYM as an example of this one.

Using contracts such as method preconditions, postconditions, and class invariants in code is an approach to preventing bugs in object-oriented programs. In the .NET Framework, this is possible due to the framework of Code Contracts, which includes Clousot, a tool for static program analysis based on abstract interpretation. Although string is a fundamental type in .NET programs, Clousot does not have a usable support for analysis of string values. In this thesis, we explore the specifics of string manipulation in the C# language and in the .NET Framework, and show how they can be covered by static analysis. Our approach is to use the methods of the String class and a subset of regular expressions to specify string properties in code, and to use abstract interpretation with non-relational abstract domains to reason about those properties. We chose a small number of already published abstract domains for strings, which vary in their complexity and ability to represent different properties. We adapted those domains to our setting, including definitions of abstract semantics for the supported string methods. We implemented the abstract domains in Clousot in a way that cooperates with numerical analysis and allows adding more string abstract domains in the future. Powered by TCPDF (www.tcpdf.org)

The purpose of this study is to provide scholastic research on Robert Muczynski's Second Piano Trio (1975) by presenting his biographical background, discussing influences and his musical style, and analyzing the work. Robert Muczynski (b.1929), a composer-pianist of Polish descent, studied with Alexander Tcherepnin (1899-1977). From traditional forms and techniques, he fashioned his own unique and innovative compositional style. The second piano trio, in particular, was deeper and more complex in its conception and affect than previous compositions. The first movement Andante molto opening leads to an allegro section, and the somber second movement builds to a heavy climax. The third movement is highly rhythmic and dramatically driven. Chapter I outlines the purpose of the study and the composer's biography. Chapter II describes Muczynski's compositional influences and the evolution of his musical language. Emphasis in this respect will be placed on the pedagogical role of Alexander Therepnin, as well as the important connections between Prokofiev, Tcherepnin and Muczynski. An exploration of other elements that have informed Muczynski's style is offered. Chapter III details the circumstances, general characteristics, and compositional technique of the Second Piano Trio. Detailed analysis of all three movements will be provided, with particular attention paid to aspects of theme, form, harmony, rhythm, meter, tempo, articulation, texture, and dynamic. The theoretical analysis is the main portion of this document, and after a discussion of treatment of the piano, concluding reflections are offered in Chapter IV.

This project deals with a web-based lecture browser, whose goal is to simplify the gaining of knowledge with the use of multimedia. It presents an existing lecture browser that was created for a diploma thesis at FIT VUT Brno. Demonstrated are the technologies that are used and which will be used to migrate the browser to a MySQL database and to develop a transcription module for speeches. The reader will be acquainted with an analysis and model of the new application. Furthermore, implementation methods for development and subsequent testing are discussed. At the end of the project is a conclusion about the future development of web-based lecture browsers.

The purpose of this survey has been to test and analyse the behaviour of battery systems mixing parallel strings of lithium and lead acid. The underlying theory of why batteries of different chemistries behaves together was investigated in order to understand the resulting tests. Several tests were made with different products, loads and chargers in order to confirm this theory and to discover cases where the system works good and where it works bad. Based on this understanding a script was made in order to find a point of the least annual cost. Annual cost was then compared with systems of Lead acid only and Lithium only. The final goal for the script was so that a salesman can input known parameters for a backup site. Script is then adding a small Lithium battery in parallel with a fixed Lead acid battery and, increasing Lithium in size and estimating depth of discharge for Lithium and Lead acid at each step, until desired breakpoint. A point of minimum system cost together with Li size is then represented together with the recommended current limits. / Avsikten med detta exjobb har varit att testa och analysera beteendet av batteri-system där man blandar litium och bly parallellt. Den underliggande teorin om varför batterier av olika kemier beter sig på ett visst sätt tillsammans undersöktes för att få en förståelse för testresultaten. Ett flertal tester gjordes med olika batterier, laster och laddare för att verifiera teorin och för att upptäcka fall där systemet funkar bra och där det funkar dåligt. Baserat på denna förståelse gjordes ett script med avsikten att hitta en punkt med en lägsta årlig kostnad. Denna kostnad jämfördes sedan med system bestående av enbart bly samt enbart litium. Det slutgiltiga målet med scriptet var att en säljare ska kunna fylla i kända parametrar för en viss telekom-anläggning. Scriptet lägger sedan till ett litet Litium-batteri parallellt med ett konstant bly-batteri. För att sedan öka på Litium i storlek och uppskatta urladdningsdjupet för Litium och bly vid varje steg, tills dess att Li har samma storlek som bly. En punkt för minsta kostnaden presenteras sedan tillsammans med optimal storlek av Litium samt rekommenderade max-strömmar.

For the purposes of expressive intent, Carter developed compositional strategies that possess qualities congruent with the musical language in his Second Quartet (1959). He employed strategies including tempo modulation, triple groupings, and large-scale ratios to assemble the musical discourse and to guide the listener's perception of large-scale continuity. I label these devices collectively as "preferential strategies" because it is Carter who selects certain pre-compositional ideas that organize musical material and demarcate structural locations. Tempo modulations that organize dual meters and triple groupings that interact in transitional and transformational ways demonstrate his concern with controlling the overall time continuity through local level organization. Large-scale ratio relations between nine interlocking sections of this four movement work illustrate how Carter employs a local strategy that projects a large-scale structure. Recognizing that Carter's ultimate compositional goal prioritizes temporal processes, these proposed preferred strategies articulate a convergence of musical elements.

"You are safe. You are calm. You are in control." is a piece written out of a state of emotional and physical exhaustion. The piece uses an electronic track comprised of the sounds of distressed children recorded at a daycare and a flex string quintet that plays along with the track. This paper explores the reasoning behind the music, the connections the piece has to the past, and the relevance of the piece now and in the future.