Die Entstehung der Bibliothek ist mit der Geschichte ihrer Alma mater eng verbunden. Die staatliche Musikhochschule wurde am 1. Oktober 1947 gegründet und an demselben Tag fing auch die Bibliothek ihre Tätigkeit an.

1 Abstract The author of this work pays attention to Czech musical personality Jaroslav Kofroň who is known primarily as an educator and author of pedagogical literature: The textbook of harmony; The textbook of rhythm and intonation. The main objective is to bring the essential information about the artist's compositional activity that is not known, although it is very rich and deserves more attention. According to the information the works are identified with the year of their implementation and available materials that are stored in libraries or on the website. The partial aim is a comprehensive and acquaints the public with the whole range of Kofroň personality that we perceive as a performer, a conductor, a choirmaster and a painter. Main chapter provides an overview of the composer's instrumental formation that includes the creation of orchestral, brass, chamber music, solo concerts. A huge attention is focused on the creation of the song, which contains over 600 songs, edited or composed both for solo singing voices and choirs: male, female, children's and mixed. It also identified spiritual music, stage and production for children there. My work provides an analysis of song "Songs for the youngest" and the author's didactic notes Cycle pieces for horn and piano "Images", intended for children of...

This thesis addresses the gender-race intersectional inequality in Canadian conservatory piano syllabi revealing that women make up less than 14% of piano music in 20th and 21st Century piano repertoire in Canadian conservatories. By drawing on feminist musicology, critical race, and intersectionality studies, the thesis addresses elements of patriarchy and white supremacy found within specific conservatory repertoire examples. Using the SongData methodology, Adams presents 50 years of data points of gender-race representation in the Royal Conservatory of Music and Conservatory Canada piano syllabi, reporting that white women make up 13.1% of 20th and 21st-century music and Black, Indigenous, and Women of Colour make up less than 0.6%. Piano music by BIPOC women is then leveled and broken down according to conservatory standards and compared to repertoire within existing syllabi. Also included is an original graded syllabus of over 3,000 pieces by women and additional curricular resources for the piano studio.

The purpose of this study is to investigate the history and development of the curriculum of the Conservatory of Music of the University of the Pacific from 1924 to 1954, and to indicate change as they occurred. The beginning point of this study was chosen because it coincides with the move of the institution from San Jose, California, to its present location in Stockton, California. Specific problems to be investigated are: (1) The history of the Conservatory of Music.; (2) Curriculum changes from 1924 to 1964 as revealed in selected Bulletins of the University of the Pacific.; (3) The Aims and Objectives of the Conservatory from 1924 to 1964 as revealed in selected Bulletins of the University of the Pacific. An understanding of the development of the past curriculum may aid in the future evaluation and development of the curriculum of the Controversy.

Kring golfbanan i Kallfors böljar landskapet fram och sträcker sig mellan skogsbryn och villabebyggelse. Välansade gräsmattor, dagvattendammar och en varierande topografi gör det lockande att följa någon av alla stigar över banan för att se vad som finns bakom nästa krök. Golf omges av en stark kultur. Det krävs både dyr utrustning, gott om tid och ofta någon form av medlemskap. Vetskapen om den relativt slutna gemenskapen runt golf gör att platsen omkring klubbhuset inte känns helt välkomnande för den som inte golfar. Här vill jag anlägga ett sportcenter med intilliggande orangeri för att förstärka platsens centrala roll som knytpunkt i Kallfors men också öppna upp den för en bredare publik. Padel, som seglat upp som en populär motionssport, riskerar i och med hög efterfrågan och dyra bokningsavgifter att bli ännu en statussport. I sportcentret erbjuds bland annat padel, squash, basket och boule. För att demokratisera platsen är det viktigt att all utrustning lånas gratis och bokningsavgifterna subventioneras. På kvällen när byggnaden stängt är det fortfarande möjligt att promenera upp, ut över taken. Här är det upplyst och man kan alltid besöka platsen för att spela basket, boule, öva på putting greenen eller bara ta en promenad. / Around the golf course in Kallfors, the landscape waves forward and stretches between forest edges and residential buildings. Well-groomed lawns,stormwater ponds and a varying topography makes it tempting to follow the paths over the golf course to see what's behind the next bend. Golf is surrounded by a strong culture. It requires both expensive equipment, plenty of time and often membership. The relatively closed community means that the place around the Clubhouse doesn’t feel completely welcoming for non-members. Here I want to build a sports-center with an adjacent orangery to strengthen the place's central role as a hub in Kallfors but also open it up to a wider audience. Padel, which has emerged as a popular sport, risks becoming another status sport due to high demand and expensive booking fees. The sports-center offers padel, squash, basketball and boules, among other things. But for the center to be democratic it´s important that all equipment is borrowed for free and the booking fees are subsidized. In the evening when the building is closed, it’s still possible to walk up, over the roofs. Here it´s lit and always open to play basketball, boules, practice on the putting green or take a walk.

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Présentée comme une nouvelle arme de lutte contre la fraude, la procédure de flagrance fiscale instaurée par la loi de finances rectificative pour 2007 et codifiée à l'article L. 16-0 BA du Livre des procédures fiscales (LPF) marque la rupture avec les moyens de traque jusqu'alors mis à la disposition de l'administration fiscale en ce qu'elle permet d'intervenir en amont de toute obligation déclarative pour garantir le recouvrement d'éventuelles créances de contrôle fiscal et sanctionner, dans le même temps, les contribuables déviants. Ce procédé original qui prétend remédier aux agissements de certaines entreprises dites « éphémères », créées dans un but frauduleux et amenées à disparaître promptement pour échapper à toute obligation déclarative, participe du phénomène de pénalisation du droit fiscal observé ces dernières années. Si le champ d'application du dispositif se veut strictement délimité par la loi, l'imprécision des textes laisse néanmoins subsister de nombreuses interrogations quant à la mise en œuvre et à l'efficacité de la procédure. L'absence d'autonomie du dispositif pourrait, notamment, soulever quelques difficultés dirimantes. D'autant que l'établissement du procès-verbal de flagrance autorise la prise de saisies conservatoires sans intervention préalable du juge judiciaire et entraîne pour le contribuable, outre l'application d'une amende, la perte de régimes de faveur et une extension des pouvoirs de contrôle de l'administration, prérogatives que les deux voies de recours spécifiquement créées pour permettre au contribuable de saisir a posteriori le juge du référé administratif ne sauraient suffire à contrebalancer / Introduced as a new weapon in the fight against tax fraud, the tax flagrancy procedure instituted by article 15 of the French amending finance law for 2007 and codified into article L. 16-0 BA in the French tax procedure code shows a break with the tracking means given until now to the tax administration's officers because it allows them to intervene before any declaratory obligation, to guarantee the recovery of possible debts arising from tax audit and to punish, in the same time, deviant taxpayers. This original process which claims to relieve the corrupt practice of some short-lived companies created for a fraudulent purpose and destined to disappear quickly, before any deadline requirements, participates in the criminalizing phenomenon of tax law observed in recent years. If the scope of procedure is strictly defined by law, the fact remains that the imprecise nature of the legislation leaves several interrogations about the implementation and effectiveness of the method. The procedure's lack of autonomy could raise some dissuasive difficulties. All the more so as the establishment of the flagrancy report involves, besides conservatory seizures without any court order, the loss of preferential treatments, an extension of powers of tax authorities and penalty tax. However both courses of action, specifically created by the legislator to entitle taxpayers to apply to an administrative summary proceeding judge after the event, are insufficient compensations

Made available in DSpace on 2017-07-21T20:31:22Z (GMT). No. of bitstreams: 1 GEORGEANA VENDRAMI.pdf: 4460195 bytes, checksum: 380e1a081c9bcedfa48c4ecf04dc6c07 (MD5) Previous issue date: 2015-03-24 / This study analyzes political and social-historical determinations that characterize Maestro Paulino Martins Alves Conservatory (CMP) in Ponta Grossa, Parana, from 1971 to 2014. The objectives of the research were: 1) understand the nature and the educational and cultural dimension of the CMP from the empirical particularities that characterize its internal movement and its external intervenients; 2) problematize the possibilities and limits of the CMP in giving access to musical culture as an element of humanization of senses of the population who attends there, having in mind the molds of its genesis, from its development and its concretion in the city of Ponta Grossa living. The arguments of this thesis is mainly based on Marx‟s theorical and methodological principles, especially in the ontological dimension of the esthetic and social thinking developed by Marx and Engels that recognize the art as one of the ways of object of the social being. According to this perspective, arguments formulated by Lukács about the art are taken into account, the process of the constitution of the man in its whole and its role in the human emancipation. This research involved relative theoretical studies on the literature review and its documental analysis and empirical studies through interviews and questionnaires aimed to candidates, students, applicants, teachers and directors of the CMP, public administrators of the culture and cultural agents from the city of Ponta Grossa, and they were analyzed from a qualitative approach. The results of the research allow us to say that, regardless all limitations on material, political and human behalf on the CMP as a public institution of musical teaching, the educational process developed promotes a resizing of the conceptions, expectations, objectives and knowledge about music, art and culture of the students who were there, which contributes to the legitimation of a different social position in relation to the development of the human senses of the amount of people from Ponta Grossa who attends this place. / Este estudo analisa as determinações políticas e sócio-históricas que caracterizaram o Conservatório Maestro Paulino Martins Alves (CMP) de Ponta Grossa, Paraná, durante o período compreendido entre os anos 1971 e 2014. Os objetivos da pesquisa foram: 1) compreender a natureza e a dimensão educacional e cultural do CMP a partir das evidências empíricas do seu movimento interno e dos seus intervenientes externos; 2) problematizar as possibilidades e limites do CMP na promoção do acesso à cultura musical como elemento de humanização dos sentidos à população que o frequenta, tendo em vista os moldes da sua gênese, do seu desenvolvimento e da sua concreção na realidade ponta-grossense. A argumentação da tese sustenta-se prioritariamente nos fundamentos teórico-metodológicos marxistas, especialmente na dimensão ontológica do pensamento estético e social desenvolvido por Marx e Engels que reconhece a arte como uma das formas de objetivação do ser social. Em consonância a essa perspectiva, são consideradas as argumentações formuladas por Lukács sobre a arte, o processo de constituição do homem em sua generidade e seu papel na emancipação humana. A pesquisa envolveu estudos teóricos relativos à revisão de literatura e à análise documental e estudos empíricos por meio de entrevistas e questionários dirigidos a candidatos, alunos, egressos, professores e diretores do CMP, gestores públicos da cultura e agentes culturais da cidade de Ponta Grossa, analisados a partir de uma abordagem qualitativa. Os resultados da pesquisa permitem afirmar que, não obstante todas as limitações de ordem material, política e humana que incidem no CMP como instituição pública de ensino musical, o processo educativo desenvolvido promove um redimensionamento das concepções, expectativas, objetivos e conhecimentos sobre música, arte e cultura dos alunos que o acessaram, o qual colabora tanto para a legitimação de um posicionamento social distinto quanto para o desenvolvimento dos sentidos humanos da parcela da população de Ponta Grossa que o acessa.

Esta pesquisa teve objetivo investigar o processo de criação e a trajetória do Conservatório de Música Joaquim Franco (CMJF), em Manaus/AM. Esta instituição foi criada pelo Governo do Estado do Amazonas, no ano de 1965, por iniciativa de um pequeno núcleo de pessoas. Foi transferida para a Universidade Federal do Amazonas (UFAM), em 1968, e transformada, em 1987, em Setor de Artes. Atualmente, configura-se como Centro de Artes Hahnemann Bacelar da UFAM. Para o desenvolvimento deste estudo, trabalhei com a metodologia de história oral, em que participaram das entrevistas nove ex-professores e cinco ex-alunos do CMJF. Utilizei também fontes escritas encontradas em acervos públicos e particulares. O CMJF foi visto no presente trabalho como uma instituição educativa, a partir dos trabalhos de Garay (1998), Nóvoa (1995) e Magalhães (1999a, 1999b). Manteve-se, ao longo de sua história, como uma instituição que abraçou, ao mesmo tempo, diferentes concepções e práticas pedagógicas, principalmente advindas das experiências e da formação musical de seus professores, mesmo estando atrelado ao modelo conservatorial, e tendo, inicialmente, adotado o programa da Escola Nacional de Música do Rio de Janeiro. Sua permanência como instituição de ensino de música até aos dias de hoje, conforme os dados levantados na pesquisa, se deu pelas ideias e ações de seus dirigentes e professores no esforço de tentar, através de diferentes estratégias administrativas e pela aceitação de diferentes abordagens pedagógico-musicais, cumprir os objetivos pelos quais foi criado, especialmente, implementar um curso superior em música. / This research aimed to investigate the process of foundation and development of the Music Conservatory Joaquim Franco (CMJF), in Manaus, north of Brazil. This institution was established by the State Government of the Amazon, in 1965, by a small nucleus of people. It was transferred to the Federal University of Amazon (UFAM) in 1968 and transformed, in 1987, in the Sector of Arts of this University. Currently, it is configured as Arts Center Hahnemann Bacelar of UFAM. To carry out this study I worked with the methodology of oral history, interviewing nine exteachers and five ex-students of the CMJF. I also used written sources, which were found in public and private collections. The CMJF was seen in the present work as an educational institution, as conceived by Garay (1988), Nóvoa (1995) and Magalhães (1999a, 1999b). The CMJF remained, throughout its life course, as an institution that embraced, at the same time, different pedagogical conceptions and practices, that coming especially from the experience and musical training of its teachers, even being tied to the conservatory model, and having adopted initially the music program of the National Music School of Rio de Janeiro. The CMJF survived as an institution of music teaching because of the ideas and actions of its managers and teachers. The flexibility of managers and teachers in adopting both different musical-pedagogical models and approaches and different management strategies helped the institution to achieve its main objectives, specially the implementation of a higher education music course.

Submitted by Oliveira Santos Dilzaná (dilznana@yahoo.com.br) on 2016-03-28T14:30:12Z No. of bitstreams: 1 Dissertação de Fernanda Villela Bastos.pdf: 12987247 bytes, checksum: 9eb9293e6520355713cf577867272628 (MD5) / Approved for entry into archive by Ana Portela (anapoli@ufba.br) on 2016-03-28T18:41:42Z (GMT) No. of bitstreams: 1 Dissertação de Fernanda Villela Bastos.pdf: 12987247 bytes, checksum: 9eb9293e6520355713cf577867272628 (MD5) / Made available in DSpace on 2016-03-28T18:41:42Z (GMT). No. of bitstreams: 1 Dissertação de Fernanda Villela Bastos.pdf: 12987247 bytes, checksum: 9eb9293e6520355713cf577867272628 (MD5) / Esta pesquisa pretende analisar o papel do Conservatório Dramático da Bahia, sociedade idealizada por Agrário de Souza Menezes e fundada em 17 de agosto de 1857, buscando-se compreender o sentido “civilizatório” de sua missão. Além de incentivar escritores e grupos dramáticos, este Conservatório cumpriu também com a missão de analisar, não só o conteúdo das peças, mas de fazer com que os atores tivessem um bom domínio da língua portuguesa e uma compreensão nítida dos papeis desempenhados. Por meio da análise de alguns textos teatrais aprovados e apresentados no Teatro São João, bem como por meio da avaliação de alguns artigos de jornais e pareceres dos censores, buscamos uma melhor compreensão dos valores propagados em cena que visavam fazer do teatro escola de moral e de bons costumes. This research aims to analyze the role played by Dramatic Conservatory of Bahia, society envisioned by Agrário de Souza Menezes and founded on August 17, 1857, seeking to understand the “civilizing” sense of mission. Besides encouraging writers and dramatic groups, this Conservatory also complied with the task of examining not only the content of the theater pieces but ensure that actors to do the correct use of the Portuguese language and a clear understanding of the roles played. Through the analysis of some theatrical texts approved and presented in São João Theatre, as well as through the evaluation of some newspaper articles and opinions of the censors, seek a better understanding of the values propagated into the scene aimed to theater school morality.