It started with an idea of making garments more human. The hope was to give them stories to tell and to let them affect the one who wears them, to make the wearer feel something. The method was to investigate all kinds of dual relationships, good and bad, between all sorts of people: The drama of every day life. / Program: Modedesignutbildningen

<p>Jag spelade in en cd med 7 st låtar där jag spelar fyrhändigt piano med mig själv. Det är blandad repertoar med egenskriven musik samt musik skriven av andra.</p><p>Bilaga: 1 CD</p>

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Clarinet-percussion duos, music for one clarinetist and one percussionist, are a relatively new addition to the world of chamber music - the first work for this instrumentation was written in 1958. Throughout the second half of the 20th century, however, the genre became increasingly more popular, boasting at least 260 works before the year 1990, and dozens more between 1990 and 2000. After 2000, the genre managed to become an even larger branch of chamber music by adding at least 137 new works. Additionally, many performers dedicated solely to the grouping began to arise even before the end of 2015.This study explores the many facets of the clarinet-percussion duo that are making it a successful genre in the 21st century. It initially briefly examines the history of the clarinet-percussion duo prior to the year 2000 to provide the reader with essential background on the genre. Second, it includes a detailed survey of all clarinet-percussion duos the author was able to locate written since the year 2000, examining how the genre has grown over time in terms of compositional style and techniques, instrumentation, and national origin of the composers of the duos. Third is an overview of the growing number of clarinet-percussion performing duos and their effect on the genre in terms of commissioning works for the grouping and generating greater public exposure to the genre. The final section of the study is a set of discussions of five specific works from the genre, each detailing how the work is unique among others yet remains a key component of the clarinet-percussion oeuvre.

I projektet utforskas möjligheter att producera musik, som vanligtvis förknippas med full sättning, genom att använda endast gitarr, trummor och sång. Jag komponerar, arrangerar, spelar in och mixar musik skriven för en duo på gitarr och trummor. Skapandeprocessen är tvådelad där den ena delen är musikalisk och den andra mer teknisk. Jag undersöker vilka typer av låtar som fungerar och vilka som inte fungerar samt hur musiken måste spelas för att hålla uppe intresse inom de begränsningar som jag har. Jag undersöker också hur jag måste arbeta med och fylla de tomrum, musikaliska som tekniska, som uppstår. Jag inser snart att för att uppehålla intresse krävs att man hela tiden kommer med intressanta vändningar i kompet. De kan bestå av riff eller små rytmiska variationer. Jag hittar också sätt att spela där instrumenten verkar spela tillsammans samt där de känns separerade. Jag undersöker och finner också inspelningstekniker och mixtekniker för att effektivt täcka frekvensoråden som annars varit tomma. Jag finner kreativa begränsningar men också kreativa språngbrädor i den situation jag tvingar mig in i.

Le but de cette étude de pratique est de comprendre le travail de danseurs experts confrontés à l'apprentissage d'un duo chorégraphique comportant du travail de partenaire. Pour révéler la démarche d'apprentissage et les moyens utilisés par ces danseurs confrontés à une tâche commune, il a été demandé à trois couples de danseurs d'apprendre un extrait chorégraphique à partir d'un document vidéo. L'observation, l'entretien d'explicitation (Vermersch, 2003) et le rappel stimulé (Tochon, 1996) ont été les moyens privilégiés pour diriger cette investigation. La théorisation ancrée (Strauss et Corbin, 1990) a servi pour sa part d'outil d'analyse. Les résultats de la recherche soulignent l'importance des processus cognitifs mobilisés dans le travail des danseurs. Pour les danseurs experts, l'apprentissage d'un duo chorégraphique serait essentiellement une quête d'information puisque la grande majorité des problèmes rencontrés ont été résolus par l'apport d'informations nouvelles. Ainsi, grâce à différents types d'information acquis à partir de différentes sources, les danseurs se construisent progressivement une représentation de plus en plus claire, détaillée et juste de la chorégraphie. C'est cette représentation qui guide leurs choix de stratégies d'exécution, la conduite de leurs mouvements et l'évaluation de leur exécution. Lorsqu'un danseur travaille en duo, sa représentation de la chorégraphie doit tenir compte des actions de son partenaire. De plus, les représentations de chacun se confrontent et les danseurs doivent s'entendre sur un objectif commun vers lequel faire converger leurs actions individuelles. Cette difficulté suppose que les partenaires entretiennent un réseau de communication, verbal et non verbal, dont l'efficacité serait mieux servie par l'usage d'une terminologie appropriée au travail de partenaire, un outil de communication qui reste encore à développer dans le milieu de la danse. L'apprentissage d'un duo chorégraphique correspondrait à un processus de réduction des possibilités convergeant vers une représentation stable pour chaque danseur. Or, à partir du moment où les danseurs possèdent une maîtrise cognitive (savoir quoi faire) et une maîtrise corporelle (pouvoir le faire) des mouvements, on assiste à un phénomène inverse, la chorégraphie s'ouvrant sur de nouvelles possibilités. Les danseurs éprouvent alors un sentiment de liberté qui leur permet de vivre l'expérience de la danse et de faire les choix propices à une interprétation signifiante de la chorégraphie. ______________________________________________________________________________

Målet med detta arbete är att undersöka hur man kan spela jazz i duo med saxofon och piano. Undersökningen är baserad på en månad med repetitioner och en studioinspelning. Undersökningen är inspirerad av deltagande observation och introspektion. Ett av undersökningens resultat är att det i en jazzduo kan det vara fördelaktigt att i improvisationenistället för att använda ackordföljden som "karta" använda sig av kompositionens melodi. Olika sätt att bryta instrumentens enligt konventionen inom jazz givna roller i improvisationen diskuteras också.

The purpose of this D.M.A. Essay is to highlight the legacy of duo-pianists, Bill and Pat Medley. To that end, this essay will explore: (a) the early biographical information of the Medleys (developing their musical talents in the Depression and World War II Era), (b) the Medleys' concert touring career, including a section on the logistics of travelling with their own concert grand pianos across the United States and Canada, (c) the Medleys' teaching career which included both secondary and pre-college levels, (d) a collection of comical stories learned through personal interviews with the Medleys that speak to their many years of concertizing, and (e) the Medleys' composing and arranging career, which includes a detailed overview of The Medley Way method book series published by The Hal Leonard Corporation and a detailed review and analysis of twenty-two of their educational solos, which were published by the Alfred Music Company, The FJH Music Company, and The Willis Music Company. Bill Medley stated, "As I look back on our lives and the past sixty years, I see two teenagers striking out on a journey that would take them to unfathomable destinations. It would not be done alone, by any means, but with the help of many, many people..." It is my hope that this essay will shed light on a career that has endured sixty plus years and counting. The Medleys' touring career allowed small town communities to experience the art of classical music, who otherwise would not have experienced such beauty. The Medleys' teaching career passed along a musical lineage from their teachers, including Pierre Luboshutz and Genia Nemenoff, along with a composing and arranging career that continues to serve as a pedagogical essence of quality to this day.

Ein Ausfallkorb (Default Basket, Basket Default Swap, BDS) ist die Bündelung einer relativ geringen Anzahl einzelner Kreditpositionen. Der Sicherungsgeber (Investor) verpflichtet sich, den i-ten Forderungsausfall zu übernehmen und wird als ith-to-default-Käufer bezeichnet. Da es sich um die Bündelung einer relativ geringen Anzahl von, möglicherweise sehr heterogenen Kreditpositionen handelt, lassen sich herkömmliche Modellierungsansätze aus dem Kreditrisiko nicht direkt zur Risikobewertung anwenden. Der vorliegende Beitrag stellt deshalb Möglichkeiten vor, eine Risikobewertung für Ausfallkörbe vorzunehmen. Der Modellierungsansatz über das Ein-Faktormodell ist dabei sehr stark an die typische Kreditrisikomodellierung angelehnt, weicht aber in einigen Punkten auch erheblich davon ab. Zentrales Anliegen dieses Artikels ist es daher, die wesentlichen Mechanismen zu verdeutlichen, welche die Risikobewertung in diesem Modell beeinflussen. Hierbei wird insbesondere das Zusammenspiel von Abhängigkeitsstruktur (in Form der Korrelation), Ausfallwahrscheinlichkeiten der Einzelpositionen und den Ausfallwahrscheinlichkeiten für die Risikogeber betrachtet.

Submitted by Automa??o e Estat?stica (sst@bczm.ufrn.br) on 2017-11-22T20:18:43Z No. of bitstreams: 1 ZodinioLaurisaMonteiroSampaio_TESE.pdf: 4245538 bytes, checksum: 687e089323cb706bdb8dc70fe1aa7593 (MD5) / Approved for entry into archive by Arlan Eloi Leite Silva (eloihistoriador@yahoo.com.br) on 2017-11-23T00:28:27Z (GMT) No. of bitstreams: 1 ZodinioLaurisaMonteiroSampaio_TESE.pdf: 4245538 bytes, checksum: 687e089323cb706bdb8dc70fe1aa7593 (MD5) / Made available in DSpace on 2017-11-23T00:28:27Z (GMT). No. of bitstreams: 1 ZodinioLaurisaMonteiroSampaio_TESE.pdf: 4245538 bytes, checksum: 687e089323cb706bdb8dc70fe1aa7593 (MD5) Previous issue date: 2017-04-25 / The high-energy demand involved in the construction industry and the increasing consumption of concrete made this material an ideal option for the recycling of by-products from various industries such as: porcelain polishing residue (PPR); tire rubber residue (TRR) and limestone residue (LSR). These residues often lack a treatment that contributes to the degradation of the environment. In this sense, the use of by-products that increases the volume of the concrete without damaging significantly its properties, can be a viable option in the production of low-cost and sustainable low-weight concrete (LWC). The main objective of this work was to analyze the mechanical and thermal behavior of structural lightweight concrete (SLWC) with low cement consumption, produced with expanded clay (EC) in replacement of the aggregate and with the addition of PPR, TRR and LSR to replace the small aggregate. For this purpose, a 2? factorial design was used for the choice of SLWC with the best performance in terms of consistency, mechanical properties and density. Subsequently, reductions of 10, 20 and 30% of cement were performed on SLWC that presented better combination of properties and waste consumption and were characterized by mechanical tests. The best SLWC mix resulting from the combination of mechanical properties and cement consumption was characterized by permeability, flexural strength, TG/DTA, XRF, SEM, thermal capacity, thermal conductivity and thermal diffusivity. The results showed that residues contents around 21% presented better combination of properties. By maintaining the amount of residue at optimum levels it was possible to produce a SLWC with good rheological, mechanical and thermal properties with minimum cement consumption. / A alta demanda energ?tica envolvida na ind?stria da constru??o civil e o crescente consumo do concreto, fez com que o concreto se tornasse a op??o ideal para a reciclagem de subprodutos de v?rias industrias tais como: res?duo de polimento de porcelanato PPR; res?duo de borracha de pneu (TRR) e res?duo de pedra calc?ria (LSR). Esses res?duos frequentemente carecem de um tratamento adequando o que acaba contribuindo para a degrada??o do meio ambiente. Nesse sentido, o uso de subprodutos que ir?o aumentar o volume do concreto sem prejudicar muito as propriedades, pode ser uma op??o bastante vi?vel na produ??o de Concretos leves (CL) de baixo custo e sustent?veis. O objetivo geral desse trabalho foi analisar o comportamento mec?nico e t?rmico de concretos leves estruturais (CLE) de baixo teor de cimento produzidos com argila expandida (AE) em substitui??o ao agregado gra?do e com adi??o de PPR, TRR e LSR em substitui??o a parte do agregado mi?do. Para tal foi usado inicialmente um planejamento fatorial 2? para a escolha dos CLE com melhor desempenho em termos de consist?ncia, propriedades mec?nicas e massa espec?fica real. Posteriormente foram realizadas redu??es de 10, 20 e 30% de cimento nos CLE que apresentaram melhores desempenhos e caracterizados atrav?s de ensaios mec?nicos. O melhor tra?o resultante da combina??o de propriedades mec?nicas com o consumo de cimento foi caracterizado mediante ensaios de: permeabilidade; resist?ncia ? flex?o; TG/DTA; FRX; MEV; capacidade t?rmica; condutividade t?rmica e difusividade t?rmica. Por fim. Os resultados mostraram que teores de res?duos em torno de 21% apresentaram melhor combina??o de propriedades. Mantendo os teores de res?duos em n?veis ?timos foi poss?vel produzir um CLE com boas propriedades reol?gicas, mec?nicas e t?rmicas com um consumo m?nimo de cimento.