The purpose of this dissertation was to explore the physical and technical demands of the women’s college soccer game through a case study approach. With advancements in technology, motion analysis has become commonplace in most professional environments. However, the literature on amateur soccer is quite scarce and warrants more attention. The aims of this dissertation were: 1) to describe the physical demands of each position for a women’s college soccer player as they relate to total distance covered, efforts, and distance covered in high-speed velocity bands, 2) explore the variation in physical performance during a competitive season, and 3) compare the physical and technical performance of college soccer players to see if there are correlates in performance between variables. Eleven female collegiate soccer players from a single National Collegiate Athletic Association (NCAA) institution were tracked with Global Position System devices during a competitive season. Physical variables and technical variables were analyzed to gain further insight into the specific events that occur during a women’s college soccer match. Significant differences exist between positions for total distance covered during a match, with the forward and central defensive midfielder position covering the greatest distance during a match on average. The central defender position covered a significantly less amount of distance during a match than the other five positional subcategories. Outside players (forward, outside midfielder, and fullback) covered the greatest distance at high-speed velocity bands and perform the highest volume of high-speed efforts. The only significantly different technical variable found was the pass completion percentage of the central defensive midfielder compared with other positions. The current investigation highlights the unique characteristics of female collegiate soccer players when separated and analyzed by the positional subcategories. With uniqueness present in a once thought to be homogenous population the demand for individualized training protocols becomes paramount to increase chance of optimal performance while simultaneously decreasing risk of injury.

The purpose of this study was to provide a better understanding of the goalkeeper position in order to prepare goalkeepers for competition. The objectives of this study were to characterize the technical and physical demands of an NCAA Division I collegiate goalkeeper over three seasons and examine trends from season to season. Count and frequency for each definition were analyzed. Results show that although the goalkeeper’s technical demands were characterized by engaging in play without action and being in the goal area, the gradually increased use of the feet over three season’s hints on the importance of skills performed with the lower body. Findings suggest that most shots faced by the goalkeeper were from direct attacks, outside the box and from central positions. Foot skills may be relied on with increasing experience. Over the course of three seasons, forward and lateral movements were the most common and second most common.

<p>This thesis gives the reader an understanding for newsletters within e-commerce, and how to work with them as a channel for marketing. Furthermore it explains the technical and graphical demands, and how to ensure that the newsletter reaches the intended receivers.</p><p>A successful newsletter can entice people to shop, but can also help to strengthen a brand and the relationship between the customer and the company. During the writing of the thesis, it has emerged that the most important part of a newsletter (which also determine whether or not the receiver reads the letter) are the subject heading, sender, layout, headlines,images and the deregistration link.</p><p>A part from working with the different parts of the letter, the sender should also be aware of the technical and graphical demands. Since the E-mail clients are looking out forimages, fonts that are not embedded in the computer, and for questionable words there’s a big risk for ending up in a spam filter when not considering the demands. To ensure that the letter reaches the receivers it is common to test it against spam filter, look at it in the different E-mail clients, use A/B split test and finally test what time and day that fits the receivers the best.</p><p>One of the strongest arguments to use E-mail communication is because it is an extremely measurable medium. With help from special programmes one can easily find out which E-mails bounced, why they bounced, how many opened the E-mail, which links they clicked, who deregistered and who forwarded it. The answers to these questions are all valuable information since it gives an understanding for the customers and gives the sender a chance to improve the letters.</p>

This thesis gives the reader an understanding for newsletters within e-commerce, and how to work with them as a channel for marketing. Furthermore it explains the technical and graphical demands, and how to ensure that the newsletter reaches the intended receivers. A successful newsletter can entice people to shop, but can also help to strengthen a brand and the relationship between the customer and the company. During the writing of the thesis, it has emerged that the most important part of a newsletter (which also determine whether or not the receiver reads the letter) are the subject heading, sender, layout, headlines, images and the deregistration link. A part from working with the different parts of the letter, the sender should also be aware of the technical and graphical demands. Since the E-mail clients are looking out for images, fonts that are not embedded in the computer, and for questionable words there’s a big risk for ending up in a spam filter when not considering the demands. To ensure that the letter reaches the receivers it is common to test it against spam filter, look at it in the different E-mail clients, use A/B split test and finally test what time and day that fits the receivers the best. One of the strongest arguments to use E-mail communication is because it is an extremely measurable medium. With help from special programmes one can easily find out which E-mails bounced, why they bounced, how many opened the E-mail, which links they clicked, who deregistered and who forwarded it. The answers to these questions are all valuable information since it gives an understanding for the customers and gives the sender a chance to improve the letters.

This thesis gives the reader an understanding for newsletters within e-commerce, and how to work with them as a channel for marketing. Furthermore it explains the technical and graphical demands, and how to ensure that the newsletter reaches the intended receivers. A successful newsletter can entice people to shop, but can also help to strengthen a brand and the relationship between the customer and the company. During the writing of the thesis, it has emerged that the most important part of a newsletter (which also determine whether or not the receiver reads the letter) are the subject heading, sender, layout, headlines,images and the deregistration link. A part from working with the different parts of the letter, the sender should also be aware of the technical and graphical demands. Since the E-mail clients are looking out forimages, fonts that are not embedded in the computer, and for questionable words there’s a big risk for ending up in a spam filter when not considering the demands. To ensure that the letter reaches the receivers it is common to test it against spam filter, look at it in the different E-mail clients, use A/B split test and finally test what time and day that fits the receivers the best. One of the strongest arguments to use E-mail communication is because it is an extremely measurable medium. With help from special programmes one can easily find out which E-mails bounced, why they bounced, how many opened the E-mail, which links they clicked, who deregistered and who forwarded it. The answers to these questions are all valuable information since it gives an understanding for the customers and gives the sender a chance to improve the letters.

O presente trabalho trata do levantamento e análise das demandas técnicas contidas nos Sete Estudos Brasileiros para Violão Solo de Carlos Alberto Pinto Fonseca. Após feito este levantamento, analisamos o uso e a recorrência de cada demanda encontrada nos Sete Estudos. Também discorremos a respeito da relação de Fonseca com o violão e com os violonistas que lhe foram colaboradores. Neste trabalho são apresentadas peças inéditas do compositor, além dos manuscritos dos Estudos 2, 4 e 7. Concluímos que os Sete Estudos de Fonseca, apesar de não apresentarem novidade no que se refere a demandas técnicas, trabalham de forma consistente diversas demandas, tais como pestanas, translados , diferentes toques de mão direita, dentre outras, que são de suma importância para o desenvolvimento do violonista. Concluímos também que a análise das demandas técnicas pode ser uma ferramenta útil para que o violonista conheça de antemão as habilidades motoras necessárias para a execução de uma peça musical. / The present work deals with the survey and analysis of the technical demands found in the Seven Brazilian Etudes for Guitar Solo by Carlos Alberto Pinto Fonseca. After the survey was concluded, the use and recurrence of each of the demands was analyzed. Additionally, Fonseca's relationship with the guitar and the players with whom he collaborated is discussed. Previously unknown pieces by the composer, in addition to the manuscripts of Studies 2, 4 and 7, are included. We concluded that the Seven Studies by Fonseca, despite not presenting any innovations as far as technical demands are concerned, make consistent use of different demands, such as barrés, left-hand displacements and different forms of string attack, which are of the utmost importance for the development of the guitarist. We also concluded that the analysis of technical demands can be an useful tool for the guitarist to know, in advance, the technical skills necessary to perform a musical work.

O presente trabalho trata do levantamento e análise das demandas técnicas contidas nos Sete Estudos Brasileiros para Violão Solo de Carlos Alberto Pinto Fonseca. Após feito este levantamento, analisamos o uso e a recorrência de cada demanda encontrada nos Sete Estudos. Também discorremos a respeito da relação de Fonseca com o violão e com os violonistas que lhe foram colaboradores. Neste trabalho são apresentadas peças inéditas do compositor, além dos manuscritos dos Estudos 2, 4 e 7. Concluímos que os Sete Estudos de Fonseca, apesar de não apresentarem novidade no que se refere a demandas técnicas, trabalham de forma consistente diversas demandas, tais como pestanas, translados , diferentes toques de mão direita, dentre outras, que são de suma importância para o desenvolvimento do violonista. Concluímos também que a análise das demandas técnicas pode ser uma ferramenta útil para que o violonista conheça de antemão as habilidades motoras necessárias para a execução de uma peça musical. / The present work deals with the survey and analysis of the technical demands found in the Seven Brazilian Etudes for Guitar Solo by Carlos Alberto Pinto Fonseca. After the survey was concluded, the use and recurrence of each of the demands was analyzed. Additionally, Fonseca's relationship with the guitar and the players with whom he collaborated is discussed. Previously unknown pieces by the composer, in addition to the manuscripts of Studies 2, 4 and 7, are included. We concluded that the Seven Studies by Fonseca, despite not presenting any innovations as far as technical demands are concerned, make consistent use of different demands, such as barrés, left-hand displacements and different forms of string attack, which are of the utmost importance for the development of the guitarist. We also concluded that the analysis of technical demands can be an useful tool for the guitarist to know, in advance, the technical skills necessary to perform a musical work.

O presente trabalho trata do levantamento e análise das demandas técnicas contidas nos Sete Estudos Brasileiros para Violão Solo de Carlos Alberto Pinto Fonseca. Após feito este levantamento, analisamos o uso e a recorrência de cada demanda encontrada nos Sete Estudos. Também discorremos a respeito da relação de Fonseca com o violão e com os violonistas que lhe foram colaboradores. Neste trabalho são apresentadas peças inéditas do compositor, além dos manuscritos dos Estudos 2, 4 e 7. Concluímos que os Sete Estudos de Fonseca, apesar de não apresentarem novidade no que se refere a demandas técnicas, trabalham de forma consistente diversas demandas, tais como pestanas, translados , diferentes toques de mão direita, dentre outras, que são de suma importância para o desenvolvimento do violonista. Concluímos também que a análise das demandas técnicas pode ser uma ferramenta útil para que o violonista conheça de antemão as habilidades motoras necessárias para a execução de uma peça musical. / The present work deals with the survey and analysis of the technical demands found in the Seven Brazilian Etudes for Guitar Solo by Carlos Alberto Pinto Fonseca. After the survey was concluded, the use and recurrence of each of the demands was analyzed. Additionally, Fonseca's relationship with the guitar and the players with whom he collaborated is discussed. Previously unknown pieces by the composer, in addition to the manuscripts of Studies 2, 4 and 7, are included. We concluded that the Seven Studies by Fonseca, despite not presenting any innovations as far as technical demands are concerned, make consistent use of different demands, such as barrés, left-hand displacements and different forms of string attack, which are of the utmost importance for the development of the guitarist. We also concluded that the analysis of technical demands can be an useful tool for the guitarist to know, in advance, the technical skills necessary to perform a musical work.

Este trabalho trata da investigação dos princípios metodológicos necessários ao processo de digitação ao violão. Para tal, parâmetros digitacionais são convertidos em um protocolo de instâncias (exposição dos casos, aplicação dos comandos, avaliação das circunstâncias, gerenciamento das consequências e julgamento das condições), as quais são mediadas por princípios e circundadas por perspectivas, formando, assim, um cenário digitacional. Por meio de um processo de inferências, concluímos que a fluência sonora, independentemente de posicionamentos estéticos, é uma condição básica para uma execução satisfatória ao violão; por dedução, vimos que a capacidade de se tocar legato é o principal elemento desse ideal. Verificamos, também, que a digitação é, em termos, pessoal, pois todas as suas instâncias são de interação dialética entre sujeito e objeto; mas não completamente, pois cada instância é regida por princípios que não dizem respeito, exclusivamente, ao indivíduo. Observamos, por fim, que a construção de um cenário digitacional não é um meio de se encontrar a melhor digitação, mas sim, de buscá-la, pois o princípio básico em que ela se opera é a organização dos saberes que o executante mobiliza em seu processo. / This work deals with the investigation of the methodological principles necessary to the process of elaborating guitar fingerings. To this end, fingering parameters are converted into a protocol of instances (exposure of the cases, application of the commands, assessment of the circumstances, management of the consequences and judgment of the conditions), which are mediated by principles and surrounded by perspectives, thus forming a fingering scenario. Through a process of inference, we conclude that the sound fluency, independently of aesthetic positioning, is a basic condition for a satisfactory performance on guitar; by deduction, we have seen that the ability to play legato is the main element of this ideal. We also verified that fingering is, in terms, a matter of personal choice because all its instances are dialectical interaction between subject and object; but not completely so, because each instance is governed by principles which do not concern exclusively the individual. We note, finally, that the construction of a fingering scenario is not a way to find the best fingering, but, to seek it, because the basic principle on which it operates is the organization of acknowledgments that the performer mobilizes in his process. / Este trabajo se ocupa de la investigación de los principios metodológicos necesarios para el proceso de elaboración de la digitación en la guitarra. Con este fin, parámetros de digitación se convierten en un protocolo de instancias (la exposición de los casos, la aplicación de los comandos, la evaluación de las circunstancias, la administración de las consecuencias y el juicio de las condiciones), que están mediadas por principios y rodeadas de perspectivas, formando así un escenario de digitación. A través de un proceso de inferencia, llegamos a la conclusión de que la fluidez del sonido, independientemente de las posiciones estéticas, es una condición básica para una ejecución satisfactoria en la guitarra; por deducción, hemos visto que la capacidad de tocar legato es el elemento principal de este ideal. También verificamos que la digitación es, en términos, personal, porque todas las instancias son una interacción dialéctica entre el sujeto y el objeto; pero no completamente, porque cada instancia se rige por principios que no se refieren exclusivamente a la persona. Observamos, por último, que la construcción de un escenario de digitación no es una manera de encontrar la mejor digitación, sino buscarla, porque el principio básico en el que opera es la organización de los conocimientos que el intérprete moviliza en su proceso.

Este trabalho trata da investigação dos princípios metodológicos necessários ao processo de digitação ao violão. Para tal, parâmetros digitacionais são convertidos em um protocolo de instâncias (exposição dos casos, aplicação dos comandos, avaliação das circunstâncias, gerenciamento das consequências e julgamento das condições), as quais são mediadas por princípios e circundadas por perspectivas, formando, assim, um cenário digitacional. Por meio de um processo de inferências, concluímos que a fluência sonora, independentemente de posicionamentos estéticos, é uma condição básica para uma execução satisfatória ao violão; por dedução, vimos que a capacidade de se tocar legato é o principal elemento desse ideal. Verificamos, também, que a digitação é, em termos, pessoal, pois todas as suas instâncias são de interação dialética entre sujeito e objeto; mas não completamente, pois cada instância é regida por princípios que não dizem respeito, exclusivamente, ao indivíduo. Observamos, por fim, que a construção de um cenário digitacional não é um meio de se encontrar a melhor digitação, mas sim, de buscá-la, pois o princípio básico em que ela se opera é a organização dos saberes que o executante mobiliza em seu processo. / This work deals with the investigation of the methodological principles necessary to the process of elaborating guitar fingerings. To this end, fingering parameters are converted into a protocol of instances (exposure of the cases, application of the commands, assessment of the circumstances, management of the consequences and judgment of the conditions), which are mediated by principles and surrounded by perspectives, thus forming a fingering scenario. Through a process of inference, we conclude that the sound fluency, independently of aesthetic positioning, is a basic condition for a satisfactory performance on guitar; by deduction, we have seen that the ability to play legato is the main element of this ideal. We also verified that fingering is, in terms, a matter of personal choice because all its instances are dialectical interaction between subject and object; but not completely so, because each instance is governed by principles which do not concern exclusively the individual. We note, finally, that the construction of a fingering scenario is not a way to find the best fingering, but, to seek it, because the basic principle on which it operates is the organization of acknowledgments that the performer mobilizes in his process. / Este trabajo se ocupa de la investigación de los principios metodológicos necesarios para el proceso de elaboración de la digitación en la guitarra. Con este fin, parámetros de digitación se convierten en un protocolo de instancias (la exposición de los casos, la aplicación de los comandos, la evaluación de las circunstancias, la administración de las consecuencias y el juicio de las condiciones), que están mediadas por principios y rodeadas de perspectivas, formando así un escenario de digitación. A través de un proceso de inferencia, llegamos a la conclusión de que la fluidez del sonido, independientemente de las posiciones estéticas, es una condición básica para una ejecución satisfactoria en la guitarra; por deducción, hemos visto que la capacidad de tocar legato es el elemento principal de este ideal. También verificamos que la digitación es, en términos, personal, porque todas las instancias son una interacción dialéctica entre el sujeto y el objeto; pero no completamente, porque cada instancia se rige por principios que no se refieren exclusivamente a la persona. Observamos, por último, que la construcción de un escenario de digitación no es una manera de encontrar la mejor digitación, sino buscarla, porque el principio básico en el que opera es la organización de los conocimientos que el intérprete moviliza en su proceso.