OBJETIVO: Determinar los factores del riesgo asociados a la alteración del reflejo de Bruckner en recién nacidos en el Hospital de Ate-Vitarte entre los meses de septiembre - octubre del año 2016. METODOLOGÍA: El diseño de la presente investigación es de tipo transversal, alcance analítico con naturaleza observacional; con un diseño de investigación no experimental. El universo es de 300 pacientes recién nacidos en el Hospital de Ate-Vitarte en el servicio de neonatologia entre los meses de septiembre – octubre del año 2016. Se usaron tablas de doble entrada Odds Ratio, prueba de Chi cuadrado. RESULTADOS: Se hallaron 16 casos de alteración del reflejo de Bruckner. Se halló por medio del análisis bivariado que tener una edad mayor de 35 años aumenta 2,974 veces más el riesgo de presentar alteración de dicho reflejo. Tener más de 40 semanas de gestación aumenta 3,649 veces más el riesgo de presentar alteración de dicho reflejo. Tener un parto distócico aumenta 3,639 veces más el riesgo de presentar alteración de dicho reflejo. Tener una puntuación <7 de APGAR aumenta 2,964 veces más el riesgo de presentar alteración de dicho reflejo. El consumir ácido fólico es un factor protector a la ausencia del reflejo de Bruckner debido a que presenta un OR < 1. CONCLUSIONES: Una edad materna mayor a 35 años, tener más de 40 semanas de gestación o tener un valor de APGAR a los 5” <7 son factores de riesgo para la alteración del reflejo de Bruckner. La ingesta de A. Fólico es un factor protector.

Dans ce mémoire, nous chercherons à développer le concept de responsabilité sociale. Nous tenterons, par le fait même, de faire la lumière sur les raisons qui font que les citoyens des sociétés modernes ne semblent plus avoir beaucoup d'intérêt pour la responsabilité sociale. Pour développer plus facilement notre pensée, nous nous appuierons tout d'abord sur une conception précise de la responsabilité; celle de Hans Jonas. Cet auteur utilise son « principe responsabilité », en particulier pour défendre l'idée que le monde court à sa fin si nous nous obstinons à vivre sans égard pour notre environnement. Pour cette raison, il faut absolument prendre nos responsabilités et agir. Nous verrons aussi que la responsabilité chez Jonas est engendrée par un sentiment et qu'elle est donc, selon l'auteur, universelle, puisque nous pouvons tous éprouver ce sentiment de responsabilité. Nous adhérerons à sa conception de la responsabilité sur certains aspects: en premier lieu dans la mesure où cette dernière est, dira-t-il, unilatérale et non-réciproque, même si nous pouvons tous être sujet ou objet de la responsabilité; en deuxième lieu, nous conviendrons aussi que la responsabilité puisse être engendrée par un sentiment et qu'elle puisse être à la base de notre action, mais avant tout, dans la mesure où nous sommes confrontés à une situation familiale ou amicale. Mais nous rejetterons, par ailleurs, l'idée que le sentiment soit le meilleur conducteur de l'action responsable surtout au niveau social. Car en effet, la responsabilité sociale conduite par le sentiment, supposerait l'impossibilité de l'exiger par des lois, légales comme morales. Par contre, nous verrons en quoi la notion de responsabilité de Jonas nous semble fortement individuelle et peu portée, malgré son aspect universaliste, sur des déterminants sociaux ou collectifs: ce avec quoi nous sommes en désaccord. Ensuite, nous examinerons la théorie de Bruckner, selon laquelle les sociétés occidentales actuelles favorisent, par l'individualisme, une infantilisation et/ou une victimisation du citoyen, qui fait obstacle à son sens de la responsabilité sociale. Nous verrons ensuite en quoi le système de pensée de Jonas valorise ce genre de sociétés individualistes. Et nous verrons ce que propose Bruckner pour revaloriser, de nouveau, l'autonomie, l'indépendance et le dialogue politique. Et finalement, nous défendrons un système politique démocratique permettant enfin l'autonomie des citoyens: celui de John Rawls. Nous le soutiendrons dans son élaboration d'une institution permettant l'adhésion des citoyens, le plein pouvoir au peuple et d'où peut enfin émerger la responsabilité sociale. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Responsabilité sociale, Hans Jonas, Pascal Bruckner, John Rawls, Démocratie.

This study presents a detailed analytical examination of formal organization in Anton Bruckner’s early instrumental slow movements: from the String Quartet, WAB 111, to the Third Symphony, WAB 103. It proposes an analytical methodology and conception of the formative process of musical works that seeks to 1) reappraise the development and idiosyncrasies of his slow movements’ form, and 2) turn the textual multiplicity often associated with Bruckner’s large-scale works (a scholarly issue often referred to as the “Bruckner Problem”) into a Bruckner Potential. In addressing traditional and innovative formal aspects of Bruckner’s music, critics have tended to overemphasize one side or the other, consequentially portraying his handling of form as either whimsical or excessively schematic. By way of a reconstruction of Bruckner’s early experiments with slow-movement form (1862–1873), this study argues that influential lines of criticism in the reception history of Bruckner’s large-scale forms find little substantiation in the acoustical surface of Bruckner’s music and its dialogic engagement with mid- and late-19th-century generic expectations. Because the textual multiplicity often associated with Bruckner’s works does not sit comfortably with traditional notions of authenticity and authorship, Bruckner scholarship has operated under aesthetic premises that fail to acknowledge textual multiplicity as a basic trait of his oeuvre. The present study circumvents this shortcoming by conceiving formal-expressive meaning in Bruckner’s symphonies as growing out of a dual-dimensional dialogue comprising 1) an outward dialogue, characterized by the interplay between a given version of a Bruckner symphony and its implied genre (in this case, sonata form); and 2) an inward dialogue, characterized by the interplay among the various individualized realizations of a single Bruckner symphony. The analytical method is exemplified through a detailed consideration of each of the surviving realizations of the slow movement of Bruckner’s Third Symphony, WAB 103.

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The poster shows the results obtained in the project “Digital Music Analysis with the Techniques of the Music Encoding Initiative (MEI) using Anton Bruckner’s compositional studies as an example” (2017 to 2019). On the one hand, the project had the goal of presenting a digital edition of Anton Bruckner’s study book, which he produced during his lessons with Otto Kitzler from 1861 to 1863. An edition of the music in the textbook encoded with MEI and displayed using Verovio and the facsimile can be displayed simultaneously. On the other hand, an automated harmonic analysis of this music was to be designed. For this purpose, keys are recognized using the Krumhansl-Schmuckler algorithm that is based on a resource of pitch classes which are compared with reference values and thus their similarity is calculated. Based on this, chord recognitions are carried out, which are then linked to the keys in the last step and converted to a roman numeral analysis.

Orientador: José Augusto Mannis / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-26T00:23:48Z (GMT). No. of bitstreams: 1 Corilow_Ivan_M.pdf: 12476534 bytes, checksum: 04886bc4e8590f06b40b437ed7ea3eab (MD5) Previous issue date: 2014 / Resumo: A proposta deste estudo cujo foco é a obra Arcos sonoros da catedral Anton Bruckner ¿ meditação sinfônica (1996) do compositor Almeida Prado é apresentar uma reflexão norteada por três tipos de análises: a estrutural, onde materiais e técnicas composicionais são investigados; a semiótica, que trata da compreensão e interpretação de significados expressivos presentes no texto musical e a comparativa, com a função de identificar semelhanças e aproximações entre esta obra de Almeida Prado e as sinfonias de Bruckner. Após breves exposições sobre Almeida Prado e sobre a obra sinfônica de Bruckner, bem como a apresentação da fundamentação teórica, o estudo se centraliza nos gestos empregados por Almeida Prado ao longo da peça. Na medida em que as análises vão sendo efetuadas, a integração das três vertentes analíticas é constantemente buscada, na intenção de que os resultados alcançados possam proporcionar uma visão o mais integral possível de cada gesto presente. A edição digitalizada da obra, baseada no manuscrito de Almeida Prado e a composição de uma obra com base neste estudo fazem parte do trabalho / Abstract: The purpose of this research on Arcos Sonoros da Catedral Anton Bruckner - meditação sinfônica (1996) by the composer Almeida Prado is to present a reflection that is guided by three types of analysis: ¿ Structural: investigating materials and compositional techniques. ¿ Semiotic: understanding and interpreting expressive meanings present in the musical text. ¿ Comparative analysis: identifying similarities and approaches between this work of Almeida Prado and Bruckner symphonies. After a brief presentation about Almeida Prado and Bruckner¿s symphonies, as well as a review of the related literature, the research focuses on the gestures used by Almeida Prado throughout the work. The integration of the three analytical lines is constantly done so that the achieved results may provide wide view of each gesture present in the piece. Attached to this research are the digitalized edition of Almeida Prado¿s Arcos Sonoros, based on his manuscript and the composition of a work based on this study / Mestrado / Processos Criativos / Mestre em Música

When talking about tonal music, we sometimes tend to take for granted the idea that the tonic should always be clearly established either at the beginning or the end. However, there are composers who sometimes deviate from the normal path by creating different types of riddles or tonal enigmas in their works. Some of these riddles can be solved later on as the piece progresses; yet others may need to bexplained with the help of some external references. This thesis examines three such examples, each of which poses its unique enigma. The second movement of Bruckner's Symphony No. 1 presents a dualism between Ab and F (paralleled by their dominants Eb and C); Brahms's Alto Rhapsody involves an enormous auxiliary cadence spanning 2/3 of the piece and a seemingly plagal cadence which turns out to be authentic with the V suppressed; and eventually, Grieg's setting of Dereinst, dereinst, Gedanke mein provides a paradoxical ending which may be understood as incorporating the composer's attitude towards the text.

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The present study develops a dynamic model of strict and free composition that views them as relative to a specific historical context. The dynamic view espoused here regards free embellishments of an earlier compositional generation as becoming the models for a strict compositional theory in a later one. From the newly established strict compositional models, succeeding generations of composers produce new free embellishments. The first part of the study develops the dynamic conception of a continuously emerging strict composition as the context necessary for understanding Anton Bruckner's compositional methodology with respect to the harmonic instruction of his teacher, Simon Sechter. In other words, I view Sechter's harmonic theories as a strict compositional platform for Bruckner's free compositional applications. Many theoretical treatises of the seventeenth, eighteenth and nineteenth centuries such as those by Christoph Bernhard, Johann Philipp Kirnberger and Sechter acknowledged that strict composition must provide the structural framework for free composition. The above procedure becomes a manner of justifying a free embellishment since a "theorist" can demonstrate or assert the steps necessary to connect it with an accepted model from a contrapuntal or harmonic theory. The present study demonstrates that the justification relationship is a necessary component for understanding any theory as a strict/free one. By examining Sechter as a strict methodology for Bruckner, we can view the free applications that the latter develops. Bruckner's own theoretical documents-the marginalia in his personal copy of Sechter's Die Grundsätze der musikalischen Komposition and his lecture notes, Vorlesungen über Harmonie und Kontrapunkt an der Universität Wien, taken by Ernst Schwanzara-provide extensions and elaborations to Sechter's theories. In addition, theorists sympathetic to Sechter's approach and Bruckner's personal students provide further material for understanding Bruckner's free application of Sechter's strict harmonic perspective. The study uses my own observations, as well as the extensions indicated above, to generate the transformations used by Bruckner to elaborate the Sechterian harmonic structure.