Este trabalho analisa a estruturação harmônica do episódio lírico Artémis, de Alberto Nepomuceno, buscando demonstrar que a técnica usada pelo compositor emprega sistematicamente os princípios da linguagem do cromatismo pós-wagneriano. Observa-se, inicialmente, que o projeto dessa obra encontra-se na vanguarda das estéticas de seu tempo, alinhando-se com as correntes progressistas do período. Nesse sentido verifica-se que, apesar de Nepomuceno ter sido identificado pela historiografia modernista como precursor do nacionalismo musical brasileiro, nesta obra prevalece sua inclinação cosmopolita. Para o desenvolvimento da pesquisa examinou-se inicialmente qual ferramenta de análise harmônica, dedicada ao repertório do cromatismo romântico do final do século XIX, seria mais adequada ao Artémis. Apresenta-se, por isso, uma introdução às teorias analíticas aplicáveis ao repertório com tonalidade expandida do século XIX, focando nos trabalhos de Hugo Riemann, Arnold Schoenberg e David Kopp. As teorias harmônicas de Riemann, sendo a matriz primordial dessas teorias, são extensamente investigadas. Comparamos, a seguir, as propostas dos três teóricos no que se refere a ferramentas de análise para peças com estrutura cromática. Discorrendo sobre aspectos positivos e negativos de cada teoria investigada, apontamos a recente teoria neorriemanniana de Kopp como a que melhor sistematizou, para nossos propósitos, os avanços acadêmicos no entendimento dos problemas harmônicos do repertório cromático do século XIX. Defendendo a importância de se atrelar, adequadamente, teoria, análise e repertório, confrontamos teoria e prática analítica, aplicando ao Artémis a sistemática das transformações cromáticas de Kopp. Conseguimos assim demonstrar, na prática do processo analítico, através de uma ferramenta de análise perfeitamente ajustada ao repertório proposto, resultados que atestam a coerência estrutural do texto musical abordado aos princípios transformacionais da harmonia cromática pós-wagneriana. / This dissertation analyses the harmonic structure of the \"lyric episode\" Artémis, composed by Alberto Nepomuceno, aiming to demonstrate that the technique used by the composer employs, systematically, the principles of the post-Wagnerian chromatic language. We observe, initially, that the project of this piece fits the avant-garde aesthetics of its time, aligning itself to the progressive trends of the period. In this sense we verify - although Nepomuceno has been identified by the modernistic Brazilian historiography as a forerunner of the Brazilian musical nationalism - that his cosmopolitan inclinations prevailed in this composition. At first, for the adequate development of the research, we examined which tool of harmonic analysis, dedicated to the chromatic repertoire of the final of the XIX Century, would be more adequate to the music of Artémis. We present, therefore, an introduction to the analytical theories that might be useful to the repertoire of expanded tonality of the XIX Century, focusing in the texts of Hugo Riemann, Arnold Schoenberg and David Kopp. The harmonic theories of Riemann, as the matrix for all these theories, are extensively investigated. We compare, in the sequence, the proposals of three theoreticians that developed analytical tools for pieces with chromatic structures. Revealing the positive and negative aspects of each of these theories, we pointed out the recent neoriemannian theory by Kopp as the one that better systematizes, for our purposes, the academic advances in the understanding of the harmonic problems of the chromatic repertoire composed at the end of the XIX Century. Because we defend the importance of considering simultaneously theory, analysis and repertoire, we confront theory and practice, applying to Artémis, Kopp\'s chromatic transformations systematic theory. This way we were able to demonstrate, in the practice of the analytical process, through an analytic tool perfectly fit to proposed repertoire, results that attest the structural coherence of the studied musical text with the transformational principles of post-Wagnerian chromatic harmony.

A coloring of a graph is an assignment of colors to its vertices so that no two adjacent vertices are given the same color. The chromatic number of a graph is the least number of colors needed to color all of its vertices. Graph coloring problems can be applied to many real world applications, such as scheduling and register allocation. Computationally, the decision problem of whether a general graph is m-colorable is NP-complete for m ≥ 3. The graph studied in this thesis is a well-known combinatorial object, the k-dimensional hypercube, Qk. The hypercube itself is 2-colorable for all k; however, coloring the square of the cube is a much more interesting problem. This is the graph in which the vertices are binary vectors of length k, and two vertices are adjacent if and only if the Hamming distance between the two vectors is at most 2. Any color class in a coloring of Q2k is a binary (k;M, 3) code. This thesis will begin with an introduction to binary codes and their structure. One of the most fundamental combinatorial problems is finding optimal binary codes, that is, binary codes with the maximum cardinality satisfying a specified length and minimum distance. Many upper and lower bounds have been produced, and we will analyze and apply several of these. This leads to many interesting results about the chromatic number of the square of the cube. The smallest k for which the chromatic number of Q2k is unknown is k = 8; however, it can be determined that this value is either 13 or 14. Computational approaches to determine the chromatic number of Q28 were performed. We were unable to determine whether 13 or 14 is the true value; however, much valuable insight was learned about the structure of this graph and the computational difficulty that lies within. Since a 13-coloring of Q28 must have between 9 and 12 color classes being (8; 20; 3) binary codes, this led to a thorough investigation of the structure of such binary codes.

A coloring of a graph is an assignment of colors to its vertices so that no two adjacent vertices are given the same color. The chromatic number of a graph is the least number of colors needed to color all of its vertices. Graph coloring problems can be applied to many real world applications, such as scheduling and register allocation. Computationally, the decision problem of whether a general graph is m-colorable is NP-complete for m ≥ 3. The graph studied in this thesis is a well-known combinatorial object, the k-dimensional hypercube, Qk. The hypercube itself is 2-colorable for all k; however, coloring the square of the cube is a much more interesting problem. This is the graph in which the vertices are binary vectors of length k, and two vertices are adjacent if and only if the Hamming distance between the two vectors is at most 2. Any color class in a coloring of Q2k is a binary (k;M, 3) code. This thesis will begin with an introduction to binary codes and their structure. One of the most fundamental combinatorial problems is finding optimal binary codes, that is, binary codes with the maximum cardinality satisfying a specified length and minimum distance. Many upper and lower bounds have been produced, and we will analyze and apply several of these. This leads to many interesting results about the chromatic number of the square of the cube. The smallest k for which the chromatic number of Q2k is unknown is k = 8; however, it can be determined that this value is either 13 or 14. Computational approaches to determine the chromatic number of Q28 were performed. We were unable to determine whether 13 or 14 is the true value; however, much valuable insight was learned about the structure of this graph and the computational difficulty that lies within. Since a 13-coloring of Q28 must have between 9 and 12 color classes being (8; 20; 3) binary codes, this led to a thorough investigation of the structure of such binary codes.

No description available.

Este trabalho analisa a estruturação harmônica do episódio lírico Artémis, de Alberto Nepomuceno, buscando demonstrar que a técnica usada pelo compositor emprega sistematicamente os princípios da linguagem do cromatismo pós-wagneriano. Observa-se, inicialmente, que o projeto dessa obra encontra-se na vanguarda das estéticas de seu tempo, alinhando-se com as correntes progressistas do período. Nesse sentido verifica-se que, apesar de Nepomuceno ter sido identificado pela historiografia modernista como precursor do nacionalismo musical brasileiro, nesta obra prevalece sua inclinação cosmopolita. Para o desenvolvimento da pesquisa examinou-se inicialmente qual ferramenta de análise harmônica, dedicada ao repertório do cromatismo romântico do final do século XIX, seria mais adequada ao Artémis. Apresenta-se, por isso, uma introdução às teorias analíticas aplicáveis ao repertório com tonalidade expandida do século XIX, focando nos trabalhos de Hugo Riemann, Arnold Schoenberg e David Kopp. As teorias harmônicas de Riemann, sendo a matriz primordial dessas teorias, são extensamente investigadas. Comparamos, a seguir, as propostas dos três teóricos no que se refere a ferramentas de análise para peças com estrutura cromática. Discorrendo sobre aspectos positivos e negativos de cada teoria investigada, apontamos a recente teoria neorriemanniana de Kopp como a que melhor sistematizou, para nossos propósitos, os avanços acadêmicos no entendimento dos problemas harmônicos do repertório cromático do século XIX. Defendendo a importância de se atrelar, adequadamente, teoria, análise e repertório, confrontamos teoria e prática analítica, aplicando ao Artémis a sistemática das transformações cromáticas de Kopp. Conseguimos assim demonstrar, na prática do processo analítico, através de uma ferramenta de análise perfeitamente ajustada ao repertório proposto, resultados que atestam a coerência estrutural do texto musical abordado aos princípios transformacionais da harmonia cromática pós-wagneriana. / This dissertation analyses the harmonic structure of the \"lyric episode\" Artémis, composed by Alberto Nepomuceno, aiming to demonstrate that the technique used by the composer employs, systematically, the principles of the post-Wagnerian chromatic language. We observe, initially, that the project of this piece fits the avant-garde aesthetics of its time, aligning itself to the progressive trends of the period. In this sense we verify - although Nepomuceno has been identified by the modernistic Brazilian historiography as a forerunner of the Brazilian musical nationalism - that his cosmopolitan inclinations prevailed in this composition. At first, for the adequate development of the research, we examined which tool of harmonic analysis, dedicated to the chromatic repertoire of the final of the XIX Century, would be more adequate to the music of Artémis. We present, therefore, an introduction to the analytical theories that might be useful to the repertoire of expanded tonality of the XIX Century, focusing in the texts of Hugo Riemann, Arnold Schoenberg and David Kopp. The harmonic theories of Riemann, as the matrix for all these theories, are extensively investigated. We compare, in the sequence, the proposals of three theoreticians that developed analytical tools for pieces with chromatic structures. Revealing the positive and negative aspects of each of these theories, we pointed out the recent neoriemannian theory by Kopp as the one that better systematizes, for our purposes, the academic advances in the understanding of the harmonic problems of the chromatic repertoire composed at the end of the XIX Century. Because we defend the importance of considering simultaneously theory, analysis and repertoire, we confront theory and practice, applying to Artémis, Kopp\'s chromatic transformations systematic theory. This way we were able to demonstrate, in the practice of the analytical process, through an analytic tool perfectly fit to proposed repertoire, results that attest the structural coherence of the studied musical text with the transformational principles of post-Wagnerian chromatic harmony.

A coloring of a graph is an assignment of colors to its vertices so that no two adjacent vertices are given the same color. The chromatic number of a graph is the least number of colors needed to color all of its vertices. Graph coloring problems can be applied to many real world applications, such as scheduling and register allocation. Computationally, the decision problem of whether a general graph is m-colorable is NP-complete for m ≥ 3. The graph studied in this thesis is a well-known combinatorial object, the k-dimensional hypercube, Qk. The hypercube itself is 2-colorable for all k; however, coloring the square of the cube is a much more interesting problem. This is the graph in which the vertices are binary vectors of length k, and two vertices are adjacent if and only if the Hamming distance between the two vectors is at most 2. Any color class in a coloring of Q2k is a binary (k;M, 3) code. This thesis will begin with an introduction to binary codes and their structure. One of the most fundamental combinatorial problems is finding optimal binary codes, that is, binary codes with the maximum cardinality satisfying a specified length and minimum distance. Many upper and lower bounds have been produced, and we will analyze and apply several of these. This leads to many interesting results about the chromatic number of the square of the cube. The smallest k for which the chromatic number of Q2k is unknown is k = 8; however, it can be determined that this value is either 13 or 14. Computational approaches to determine the chromatic number of Q28 were performed. We were unable to determine whether 13 or 14 is the true value; however, much valuable insight was learned about the structure of this graph and the computational difficulty that lies within. Since a 13-coloring of Q28 must have between 9 and 12 color classes being (8; 20; 3) binary codes, this led to a thorough investigation of the structure of such binary codes. / Graduate Studies, College of (Okanagan) / Graduate

Abstracts in Afrikaans and English / Aangesien die konsep van kleur vaag en abstrak is, verskil die ervaring én beskrywing daarvan van individu tot individu en van kultuur tot kultuur. Aldus word die waarneem van kleur dikwels ʼn persoonlike en subjektiewe ervaring. In die geval van historiese tale, egter, is die uitdaging om kleurbeskrywing korrek oor te dra, nie sielkundig of esteties van aard nie, maar kultureel, aangesien daar onderliggend aan hierdie tale ʼn unieke linguistiese sisteem gekoppel is. So byvoorbeeld moet die ontleding van Latynse kleurwoorde en die toewysing van relevante betekenismoontlikhede op ʼn besondere wyse aan die Afrikaanse idioom geanker word, sonder om die uniekheid van elk van hierdie tale in te boet. Dit is gevolglik die taak van die navorser om moderne wetenskaplike beskouings oor kleuraanwending met sensitiwiteit en oordeelkundig op die antieke kleursisteme toe te pas. Die bestudering van kleur en kleurgebruik in die Oudheid was vir ʼn lang tyd in omstredenheid gehul. Navorsing in hierdie verband het aanvanklik slegs op die tegniese en argeologiese aspekte van kleurproduksie en -gebruik in die Griekse en Romeinse kuns en argitektuur gefokus. Daarenteen is teoretiese kwessies oor die funksie van kleur in die non-tegniese, estetiese letterkunde selde aangespreek, veral weens die invloed van linguisties-semantiese en kleur-psiogologiese vraagstukke. In hierdie proefskrif val die kollig op Vergilius se keuse en aanwending van dié kleurterme wat beide eksplisiet en implisiet in die Georgica voorkom. Aangesien ʼn sinvolle analise van hierdie digter se kleurgebruik nie tot die Georgica beperk kan word nie, moet die ooreenstemmende terme nie net in sy Eclogae en Aeneïs nie, maar ook in die werke van sy voorgangers, die digters Lucretius en Catullus, betrek word. Uit ʼn beperkte omvang selekteer en gebruik Vergilius kleurwoorde met ʼn delikate presisie van betekenis. Hoewel die stelselmatige ontleding van hierdie terme se betekenismoontlikhede kontekstueel beperk is, toon hierdie benadering in watter mate Vergilius innoverend en verbeeldingryk voorkom. Hierdie inligting dien vervolgens as parateks vir die studie wat volg: Vergilius se gebruik van kleurterme deur die verloop van die vier boeke van die Georgica met die fokus op die letterkundige impak en literêre effekte wat deurgaans as ‘eg Vergiliaans’ beoordeel kan word. . Sou hierdie kleurterme geïgnoreer of net nie raakgelees word nie, kan die leser nie daarop aanspraak maak dat die Georgica waarlik verstaan word nie. Dit is dus die doel van hierdie navorsing om die leser toe te rus met middele tot die vind van ʼn dieper insig in en groter waardering vir hierdie werk as uitnemende poësie. / Since the concept of colour is vague and abstract, the perception of colour differs from individual to individual and from culture to culture to become a highly personal and subjective experience. In the case of historical languages, however, the description of colour is challenging. Conveying colour description correctly is not a psychological or aesthetic exercise, but cultural, as each language has a unique underlying linguistic sensitivity. Consequently, in this dissertation which is written in Afrikaans, the analysis of Latin colour words must be anchored to the Afrikaans idiom in such a unique way as not to detract from the differences in cultural feel between these two languages. Therefore, and in spite of obvious differences, it is the task of the researcher to apply modern scientific views discerningly and sensitively to any ancient colour system. The study of colour and its application in antiquity has long been controversial. Initially research on these aspects of Greek and Roman societies focused only on the technical and archaeological aspects of colour production and its application in their art and architecture. In the wide array of theories regarding linguistic-semantic issues, colour-psychology and also colour aesthetics, theoretical issues regarding the function of colour in non-technical (‘literary’) works were rarely addressed, This dissertation focuses on those colour terms which Vergil uses both explicitly and implicitly in the Georgica. A meaningful analysis of this poet's use of colour must of necessity also include the application of the corresponding terms in his Eclogae and Aeneid, as well as those in the works of his poetic predecessors, Lucretius and Catullus. Selected from a limited range, Vergil applies colour words with a delicate precision of meaning. Although the systematic analysis of these words indicates a range of meaning which can be contextually limited, this approach highlights Vergil’s innovative and imaginative use of colour. With these findings as basis the focus shifts to the consecutive use of colour terms throughout the four books to indicate extraordinary and innovative literary effects which can only be described as ‘thoroughly Vergilian’. If these colour strategies were to escape the reader’s attention, it would result in a poorer understanding of the poem. It is therefore the purpose of this research to equip readers with strategies that will lead to a greater appreciation of the Georgics as exceptional poetry. / Classics and World Languages / D. Litt. et Phil. (Klassieke Studies)

No description available.

The work in this thesis is concerned with examining the retinal and cortical contributions to human trichromatic colour vision. Chromatic processing at the cortex level was examined using visual evoked potentials (VEPs). These responses were elicited by chromatic spot stimuli, which were manipulated in order to selectively activate the chromatic processing system. Chromatic processing at the retinal level was examined using the electroretinograms (ERGs) for which cone isolating stimuli were used to assess the nature of L and M cone inputs to cone-opponent mechanisms. The results from the VEP experiments suggest VEP morphology is dependent upon 1) chromatic and or luminance contrast content of the stimulus, 2) stimulus size, and 3) extent to which the chromatic stimulus activates either the L/M or S/(L+M) opponent mechanism. The experiments indicate that chromatic stimulation is indexed by large N1 component and small offset responses. Optimal stimulus size for chromatic isolation is 2-4 ° along L/M axes and 6° along S/(L+M) axis. From the ERG experiments, It has been shown that the low (12Hz) and high (30Hz) temporal frequency flickering stimuli can isolate the chromatic and luminance processing mechanisms in the retina. For low temporal frequency ERGs, the L:M ratio was close to unity and L/M phase difference was close to 180°. For high temporal frequency ERGs, the L:M ratio was more than unity and L/M phase difference was close to 90°. In addition to this, the variation in L:M ratio across the retinal eccentricity was also examined. These results suggest, for the chromatic processing, L:M ratio is close to unity independent of retinal eccentricity and individuals. For the luminance processing, L:M ratio is more than unity and depends upon the region of the retina being stimulated. These findings indicate the maintenance of cone selective input for the chromatic processing across the human retina.

Many advances have occurred in the field of optical design during the past decade. Some of the newer topics and concepts associated with the design and use of optical systems are complex and require comprehensive understanding of theory, expertise in state-of-the-art technology, and extensive computer simulations. This dissertation focuses on development of practical methods and tools for successful lens design and evaluation of state-of-the-art imaging and illumination systems. The dissertation addresses several current topics in modern optical engineering and utilizes approaches to provide insights into the inner workings of optical systems. Examples of modern mobile camera lenses are provided to show how specific methods can help to better understand these lens designs and to expand the imaging capabilities of miniature camera systems. Two simple but effective real ray tracing methods for correcting chromatic aberrations in imaging systems are described. The proposed methods separate monochromatic and chromatic aberration correction into two independent problems. This two-step approach provides effective alternatives in correcting chromatic aberrations. A number of unique calculations have been performed and some novel and interesting theoretical results, including the fourth-order theory of irradiance changes in axially symmetric optical systems, are reported. The specific relationships between the irradiance distribution and wavefront aberration coefficients to fourth order are derived for the first time. The practical case of relative illumination at the image plane of an optical system is also discussed in some detail.