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Cellists are interested in ways to produce the largest sound possible in order to meet modern acoustic challenges. This research examined cellists' lower body posture, how lower posture affected the manner in which the cello was held, and ultimately, what effect this had on the instrument's sound. Lower posture is significant because it affects sound production. This research analyzed cello treatises, images of prominent cellists, and conducted sound lab tests. The treatise and image research investigated how foot placement, endpin length, angle, and tilt of the cello affected the amount of leg contact with the instrument. The sound lab research used a bowing apparatus and audio software to measure the effect of leg contact on sound production. The results of this study showed that lower posture affected the amount of contact made between the player and cello. The sound lab tests revealed that less leg contact led to larger amplitudes produced by the cello. This research also discovered that the contact from each leg uniquely affected certain frequencies. Research on lower posture's effect on sound may benefit performing cellists, pedagogues, luthiers, and researchers.

This essay offers an English translation of Elementos de Musica e Methodo de Tocar Piano Forte (Elements of Music and Method of Playing the Piano-Forte), op. 19, by the Portuguese composer-pianist João Domingos Bomtempo (1775-1842). His method, the first of its kind written by a Portuguese national, was published in 1816 by Clementi & Co. in London. Bomtempo later rewrote his book, expanding its scope, but the second version survives only as an unfinished manuscript. My translation presents both versions of this instructional work in a single text, distinguishing the contents according to the two sources, with the aim of providing a comprehensive view of Bomtempo’s piano pedagogy. This is the first English translation of Bomtempo’s method. A short biography and critical notes regarding philological and musicological matters clarify ambiguities and contextualize this work within its historical period.

In his Treatise of Human Nature, published in 1739, David Hume set out to scientifically comprehend human understanding, action, and personality in terms of the "experimental method of reasoning." He presented a naturalistic portrait of man which represented him as fundamentally determined to avoid pain and embrace pleasure. In this portrait a substantial place is provided for reason, but only as the "servant" of the passions. Only the passions were considered by Hume to be practical; they alone are the effective source of every impulse to act. Reason is merely theoretical; it is solely concerned with the provision of information for the passions. Hume recognized that his account of human nature must face two related problems. First, there is the matter of the common belief that reasoning is a practical activity; a belief not in keeping with Hume's conception of reason as merely theoretical. Second, the fact that persons' actions are influenced by moral ponsiderations implies that they often act in ways not designed to gratify their personal passions. Thus, moral phenomena seem to pose a threat to the hedonistic basis of Hume's theory of human nature. These two problems are related insofar as it is precisely in the case of moral actions that the common notion of practical reason traditionally operates. Hume sought to preserve the essential impracticality of reason in morals with the provision of a complex notion of "sympathy." l£ is the central purpose of this thesis to show that Hume's concept of "sympathy" fails to resolve the problems that it is addressed to. SECTION I: HUME'S THEORY OF ACTION IN THE TREATISE This section provides a sympathetic reading of Hume's account of the role of the passions and reason in the determination of human action. Two difficulties in this account—the concept of a "promptive" function of reason, and the notion of a "calm passion"—are critically considered and found to cohere with the general theory of the faculties in the Treatise. SECTION II: NATURALISM, DETERMINISM, AND VOLITION The naturalism of Hume's account of action has direct reference to the philosophical problems which cluster around the question of the freedom of the will. This section considers the implications of Hume's psychological determinism with a view to understanding more perfectly the detail of his theory of the faculties and action. Close attention is paid here to Hume's view that actions are "artificial," and it is concluded that he allowed a large and influential role for reason without directly threatening the purely theoretical function of the understanding. SECTION III: NATURALISM AND MORALS Hume regarded his theory of morals in the third book of the Treatise as a test and confirmation of his theory of action developed in the first two books. This section explicates Hume's view that moral judgments are affective perceptions rather than conclusions of reason. It is shown that the principle of "sympathy" operates at the center of the process of moral judgment. SECTION IV: SYMPATHY Hume designed the principle of sympathy to explain, in a manner consistent with his general theory of action, how persons can be naturally concerned for the interests of others with whom they have no prior affective connection. The central claim made is that persons are attuned to one another in such a way that there is an easy communication of passion between them. Thus, what is commonly interpreted as a moral "judgment" is really a peculiar feeling precipitated by a sympathy with the passions of others. It is this special feeling which issues from a process of sympathy which Hume identified as moral praise or blame. This final section of the thesis provides an extensive analysis of Hume's concept of "sympathy," and presents an argument aimed at demonstrating the failure of the concept to fulfill its intended role. It is suggested, in conclusion, that Hume fails to show that moral judgments and actions could be possible without the practical involvement of reason. / Arts, Faculty of / Philosophy, Department of / Graduate

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This edition of the treatise on heresy ascribed to Pseudo-Reinerius is based on a collation of 29 extant mss. The text prepared from these has been compared with two mss. of sections V-XI of the longer recension of the so-called Anonymous of Passau treatise, the earliest version of which was compiled about 1260. This comparison has shown conclusively that the Pseudo- Reinerius treatise is derived in its entirety from these sections of the longer recension of the Anonymous of Passau treatise. The contents of both treatises have been analysed in detail, so that an assessment might be made of their value as source material for the history of heresy in the thirteenth century, more particularly in south Germany and Austria.

The two books presented by Walter of Milemete to Edward III in 1326-7 are treated together. Two campaigns of decoration are suggested for the Milemete Treatise: an original campaign c1326-7 and one largely executed by a single artist before Queen Isabella's fall from power c1330. Three campaigns of decoration are suggested for the companion volume the Holkham Secretum. An original campaign, perhaps earlier than that on the Milemete Treatise, but still c1326-7, a second campaign c1327-30 and later work added when the book was repaired c1340-50. The iconography of the Milemete Treatise is related to court models and the 'Flores Historiarum'. The iconography of the Holkham Secretum is seen as having been created in three campaigns related to the different artists who worked on the book. From an analysis of the documentary evidence concerning illuminators in England in the Middle Ages, a model is applied which suggests the existence of three major centres of illumination in England, Oxford, Cambridge and London, as well as minor regional towns which also supported illuminators. The localisation of liturgical manuscripts, the patronage evidence from both secular and liturgical manuscripts as well as iconographical and codicological comparisons, are all used to suggest that the first group of illuminators of the Holkham Secretum were based at oxford. The main group of the Milemete Treatise itself can be associated with these artists, but also with more metropolitan trends and London. The later work on the Holkham Secretum is associated with an 'Ely group' of manuscripts c1340-50, produced by artists who may have been based at Cambridge. 3 it is suggested that some artists may have been trained in one 'centre' or 'workshop', but could be itinerant. other artists appear to be more closely related to Court painting in London through their style and the iconography of their miniatures. At least two of the artists who worked on the Milemete Treatise and Holkham Secretum1 after the initial campaign, but before c1330, fall into the latter category.

The 'prevalence of the calm passions over the violent' is Hume's general formula for both virtue and happiness. I argue in this dissertation that Hume's detailed account of the causes and effects of the relative calmness and strength of motivating passions in Treatise 2.3 is a main goal of Hume's project in the Treatise, Books I and II, and the reason why he published them together in 1739 as a "compleat chain of reasoning by themselves." However, despite widespread recognition of the general importance of this doctrine to Hume's 'science of man', no adequate attempt has been made to investigate those sections of Treatise 2.3 which bear directly on a deeper understanding of the causes of this 'prevalence of the calm passions'. Such attention is particularly warranted because, as I argue, these sections of the Treatise constitute Hume's attempt at an 'anatomy' of deliberation which accounts for the principles of human nature by which we successfully regulate our conduct and remain constant in pursuit of our long-term greater good. However, these sections also give rise to interpretative challenges that threaten the coherence of this central doctrine. Accordingly, my aim in this dissertation is to analyze Hume's anatomy of deliberation and of the prevalence of calm passions in Treatise 2.3 and to work through the interpretative difficulties it poses. I present a novel resolution of these interpretative problems which calls attention to the importance both of Hume's Treatise, Book I account of causal belief and of his neglected account of the influence of the passions on the imagination and understanding for his theory of motivation. I demonstrate that it is only when we attend to these key features of Hume's account of human nature that we can appreciate the coherent Humean theory of prudential motivation that emerges from Treatise 2.3.

Esta tese busca discutir sobre algumas concepções teóricas de cidade no período do Renascimento. Consideramos que a gênese desta ideia foi, na teoria da arquitetura, com o tratado de Leon Battista Alberti. Durante o século XVI as diversas ideias de cidade apresentam várias faces: desde a arquitetura e urbanismo, passando pela literatura utópica, até os tratados de politica e governo. Para essa tese analisamos obras de Leon Battista Alberti, Antonio di Pietro Averlino, Francesco di Giorgio Martini, Ludovico Agostini, Raffaello Sanzio, Claudio Tolomei, Francisco de Holanda e o Inca Garcilaso de la Vega. O tema da cidade é analisado através das obras destes autores, dentre os mais significativos sobre o tema ao longo dos séculos XV e XVI na Europa e América. Concluímos com uma síntese do que entendemos como a ideia de cidade do Renascimento, ressaltando que são múltiplas e complexas como o são os próprios autores e realidades. / This Ph.D. thesis discuss about some theoretical conceptions of city in the Renaissance. Considering that the genesis of this idea into the architectural theory started with the Leon Battista Alberti\'s treatise, and developed during the 15th century with the treatises from Antonio di Pietro Averlino and Francesco di Giorgio Martini. During the 16th century the theories of city have many faces: since the theory of architecture and urbanism, passing to utopiac literature, arriving in treatises of politics and government. In this Ph.D. thesis we analyze works of Leon Battista Alberti, Antonio di Pietro Averlino, Francesco di Giorgio Martini, Ludovico Agostini, Raffaello Sanzio, Claudio Tolomei, Francisco de Holanda and the Inca Garcilaso de la Vega. The theme of the city is examined through the works of these authors, the most significants on the subject during the 15th and 16th centuries in Europe and America. We conclude with an essay, expressing what we understand as the idea of Renaissance city, as multiple and complex as the authors and them realities.

Submitted by Andrea Hayashi (deachan@gmail.com) on 2016-06-21T18:19:40Z No. of bitstreams: 1 karen-mylena-de-gouvea-osera.pdf: 1265820 bytes, checksum: 36fe37aa0e3a66b52336672ebb3ad5d7 (MD5) / Approved for entry into archive by Andrea Hayashi (deachan@gmail.com) on 2016-06-22T11:24:39Z (GMT) No. of bitstreams: 1 karen-mylena-de-gouvea-osera.pdf: 1265820 bytes, checksum: 36fe37aa0e3a66b52336672ebb3ad5d7 (MD5) / Made available in DSpace on 2016-06-22T11:24:39Z (GMT). No. of bitstreams: 1 karen-mylena-de-gouvea-osera.pdf: 1265820 bytes, checksum: 36fe37aa0e3a66b52336672ebb3ad5d7 (MD5) Previous issue date: 2014-09-01 / O tema desta dissertação de mestrado concentra-se no estudo acerca do estatuto do artífice no tratado Da pintura de Leon Battista Alberti. Para atingir esse objetivo, mostrar-se-á como a Renascença italiana tinha por base a filosofia aristotélica, cujo entendimento pode ser buscado nas classificações dos saberes no Renascimento. Isto posto, interessa analisar o tratado de Alberti para pensar que as artes na época faziam parte do contexto da filosofia num sentido amplo e, assim, podem ser estudadas pela História da Filosofia a partir de um “olhar de época”, diverso do olhar da História da Arte, a fim de pensar a posição do artífice na Renascença italiana. / This dissertation focuses on studying the artificer status as described in the treatise On Painting, by Leon Battista Alberti. To do so, it will show how Italian Renaissance was based on Aristotelian philosophy, whose understanding can be sought in the knowledge ratings during Renaissance. That said, it is interesting to analyze Alberti treatise to perceive the arts at the time as part of a philosophy context in a broad sense; and capable of being studied by Philosophy History from an “period eye”, different from Art History looking, in order to think about the artificer position during Italian Renaissance.