Esta pesquisa tem o objetivo de propor a construção de um glossário bilíngue (inglêsportuguês) de colocações especializadas com a palavra acorde, relacionadas à área de Harmonia Musical. Ela se justifica pela falta de estudos terminológicos relacionados às colocações especializadas do campo da Teoria Musical. Os alicerces teóricos que sustentam a pesquisa são: os Estudos da Tradução Baseados em corpus, que vincula a metodologia da Linguística de Corpus (LC) aos Estudos Descritivos da Tradução; a Teoria Comunicativa da Terminologia (TCT) que orienta a análise terminológica e a elaboração de glossários especializados; e a Fraseologia, que fornece respaldo à análise das colocações. Para este estudo foi construído um corpus comparável de textos escritos em Inglês (EUA) e Português (BR), com publicações ou reedições a partir de 1990, abrangendo os seguintes gêneros: instrucionais (livros-textos, apostilas) e acadêmico-científicos (artigos científicos, dissertações e teses). Os materiais, coletados de meio eletrônico e impresso, provém de sites de revistas especializadas, periódicos, congressos, conservatórios e faculdades de Música. A análise descritiva do corpus de estudo conta com a ajuda do software Wordsmith Tools (Scott, 2016) que gera listas de palavras-chave, colocados, clusters e concordâncias. A partir da análise das listas e comparação entre contextos nas duas línguas, foi elaborado um glossário, cujos verbetes estão organizados em ordem alfabética, com exemplos de uso retirados do corpus. O produto final tem, como público alvo, tradutores e músicos. / This research aims to propose the construction of a bilingual English-Portuguese glossary of specialized collocations related to the term chord from the area of Musical Harmony. The reason for this study is the lack of terminological researches about specialized collocations from Musical Theory. This research is based on the following theoretical foundations: Corpus-based Translation Studies that links the methodology of Corpus Linguistics (CL) to Descriptive Translation Studies; The Communicative Theory of Terminology (TCT) which guides the terminological analysis and the elaboration of specialized glossaries; and Phraseology, which gives support to the analysis of collocations. A comparable corpus of texts written in English (USA) and Portuguese (BR) was compiled for this study. The texts published from 1990 are subdivided into two text genres: instructional texts (textbooks, study manuals) and scientific research (scientific articles, dissertations and theses). These materials, collected from electronic and print media, were obtained from the websites of specialized magazines, periodicals, conferences, conservatories and music colleges. The descriptive analysis of the study corpus was accomplished from the data provided by the software Wordsmith Tools (SCOTT, 2016) that generates wordlists, keywords, clusters and concordances. From the analysis of the lists and the comparison between contexts in both languages, we elaborated a glossary, whose entries are organized alphabetically, with examples of usage extracted from the corpus. The final product is intended to assist translators and musicians.

O trabalho ora apresentado tem como proposta a leitura, sob o pondo de vista comparatista das estórias presentes em Primeiras estórias, de João Guimarães Rosa, publicado pela primeira vez em 1962, e No antigamente, na vida, de José Luandino Vieira, de 1974. Parte-se do mapeamento do percurso da (re)invenção inscrita no tempo da infância, para posteriormente, sob o recorte da caracterização das personagens infantis, verificar a ficcionalização da violência através destas personagens, marcadas por dois movimentos distintos: através da compreensão da presença ou do passado colonial e das identificações nacionais, do intento harmonizador, em Guimarães Rosa, e da evidenciação da violência, temática e estruturalmente, em Luandino Viera. / The presented dissertation has as purpose a literary reading through a comparative point of view between the shorts stories from the books: Primeiras Estórias, written by João Guimarães Rosa, published for the first time in 1962 and No antigamente, na vida, by José Luandino Vieira, published in 1974. It is started with a map of the pathway of (re)invention, set in childhood time. After that, it is checked the fiction process of the violence made up through the infantile characters marked by for two distinguished movements: through the comprehension of the presence of the colonial past and national identification, through the harmonic intent present in Guimarães Rosa writings and also through the disclosure of violence, that is thematic and structural José Luandino Vieira short stories.

Orientador: Ubirajara Rancan de Azevedo Marques / Banca: José Carlos Bruni / Banca: Marco Aurélio Werle / Resumo: Partindo do sistema leibniziano e tomando como fio condutor a questão da geração da vida, pretendemos indicar os motivos filosóficos que levaram Leibniz a apoiar os biólogos pré-formacionistas do século XVII. A idéia de embutimento (ou encaixamento) de um novo ser dentro do seu progenitor, defendida pela teoria pré-formacionista, traz como que um exemplo do mundo monádico leibniziano, no qual todos os acontecimentos futuros, inclusive a geração de novos seres, foram já estabelecidos por Deus no momento da criação. As investigações microscópicas desenvolvidas por biólogos da época, especialmente por Leeuwenhoeck, descrevem um mundo até então desconhecido e trazem uma comprovação experimental da concepção teórica leibniziana. / Abstract: Coming from the Leibniz's system and taking as thread the question of the generation of the life, we intend to indicate the philosophical reasons that had taken Leibniz to support the preformationist biologists from the 17th century. The idea of inlaying (or fitting) of a new being into its ancestor, defended by the preformationist theory, brings an example about Leibniz's monads world, in which all the future events, also the generation of new beings, already had been established by God at the moment of the creation. Microscopic researches developed by biologists at this time, especially by Leeuwenhoek, describe an unknown world until then, and bring an experimental evidence of Leibniz's theoretical conception. / Mestre

No description available.

Comme la consommation de médias numériques a explosé ces dernières années, faire des photos esthétiques, avec ou sans expertise artistique, est plus que jamais un sujet de recherche. Plusieurs axes peuvent être explorés: la haute définition, la luminance ou contraste étendue, les gamut couleur étendus. En plus de ces propriétés intrinsèques de l'image, des connaissances perceptuelles et/ou artistiques seraient de grande valeur pour tout utilisateur manipulant le contenu des images. Cette thèse propose d'aborder le thème de l'harmonie des couleurs. La littérature en lien avec ce sujet se retrouve à travers diverses disciplines : la science des couleurs, le traitement d'image, la psychologie… Ces expériences menées en science des couleurs privilégient la mesure de patchs combinant deux ou trois couleurs, rendant l'extrapolation à des images naturelles impossibles. D'autres approches ont défini des lois empiriques dictant l'arrangement des couleurs sur la roue des teintes. Le cadre applicatif de ces modèles géométriques manque de rigueur quant à leur utilisation. Malgré cela, des algorithmes en traitement d'image employant ces modèles ont vus le jour. Si les résultats semblent qualitativement agréables, ces algorithmes méritent une validation plus quantitative et objective, faisant intervenir une base de données appropriée. Dans cette thèse, deux approches sont mises en perspective: un travail expérimental et une partie algorithmique. Une expérience a été menée à l'aide d'un oculomètre avec une tâche dédiée à l'analyse de l'harmonie des couleurs, permettant de mesurer des effets dans le déploiement de l'attention visuelle. A partir de ces données, une vérité terrain a été extrapolée, permettant la validation des méthodes algorithmiques ensuite proposées. En premier, nous avons amélioré l'état de l'art sur l'harmonisation automatique des images au travers de diverses contributions et avons démontré de façon exhaustive le gain de notre approche. En deuxième contribution algorithmique, nous avons introduit une nouvelle sorte de métrique de qualité qui combine les concepts de masquage visuel et d'harmonie des couleurs. Ainsi, nous pouvons prédire quelles zones de l'image seront perçues harmonieuses, au vue de leur voisinage et donc des effets de masquages potentiels. Enfin, une dernière contribution, nous a amené à dériver deux outils d'édition incorporant les deux techniques précédentes, permettant de rendre accessible les concepts d'harmonie des couleurs à travers une formulation cachée et intuitive. / Since the consumption of digital media exploded in the last decade, making aesthetic pictures quickly - with or without artistic expertise - is more than ever a research topic. Different axis of investigations remain possible: high resolution, high dynamic range or wide color gamut. Additionally to these objective image properties, more perceptual and artistic insights could be of benefit to any user manipulating pictures. In such context, this thesis deals with the topic of Color Harmony. The literature related to this topic is limited, but involves many different scientific areas: color science, image processing and psychology and so on. The validity of collected data is questionable due to their limitation to two- or three-colors patches. The models fitted from these data remain non-exploitable on natural pictures. Other models depicting rules or areas on color wheel lack scientific guidelines for their utilization. Nonetheless, some algorithms employing color harmony theory and models as a core concept showed up in the literature, but suffered from being quantitatively tested and validated. In this thesis, two views are put in perspective in order to respond to the previous statements: an experimental and a computational approaches. The conducted experiment allowed observing some effects with an eye-tracking protocol, never applied before with a task on color harmony assessment. From the collected data of our experimental work, we designed a method to generate a ground truth, which would serve to the validation of the two proposed computational methods. First, we improved an existing architecture for automatic color harmonization and demonstrated exhaustively the benefit of our approach. As a second computational contribution, a novel quality metric is introduced that integrates the concepts of visual masking and color harmony. Thus, we may predict which areas would be perceived harmonious regarding its neighborhood and then the potential masking effects. As a last contribution, two editing tools made accessible the color harmony theory through a hidden formulation of it and a user-friendly and intuitive interface.

Este trabalho se propõe a investigar o trânsito de informações musicais que se dá no campo de intersecção existente entre o universo do violão solo, em especial aquele ligado à música erudita ou de concerto, e o universo da canção popular no Brasil. Foram realizadas entrevistas com sete mestres de reconhecida atuação nos universos abordados. Sérgio Assad, Marco Pereira e Paulo Bellinati ligados à prática do violão solo; João Bosco, Paulo César Pinheiro e Luiz Tatit, à canção popular; e Guinga, que atua na face de contato entre os campos estudados. A opção pelo formato de montagem permite que os diversos discursos convivam entre si por meio dos sete capítulos que compõem esta dissertação. Essa montagem pode ser acompanhada através da leitura das transcrições descritivas das entrevistas realizadas e da escuta dos tracks do DVD anexo. Assim, o presente trabalho se vale tanto dos recursos próprios da tradição escrita quanto de recursos que obedecem à dinâmica da tradição não-escrita, os quais se complementam nesta pesquisa a fim de contemplar a natureza da matéria musical nascida da interação entre estes universos. / The present work investigates the exchange of musical information within the intersection between the universe of solo guitar - especially when connected with classical music - and the universe of Brazilian popular song. For this purpose seven renowend guitar masters from both universes were interviewed: Sérgio Assad, Marco Pereira and Paulo Bellinati - connected to solo guitar practice; João Bosco, Paulo César Pinheiro and Luiz Tatit, linked to popular song; and Guinga, whose work is in the intersection zone between the two previous approaches. Through a montage format, the various discourses are able to weave among each other in the seven chapters that comprise this dissertation. One can accompany this montage by reading the descriptive transcriptions of the interviews, and by listening to the tracks on the accompanying DVD. Therefore, the work employs both tools from the written tradition and tools which respect the dynamics of non-written tradition, which complement one another IN the goal to embrace the characteristics of musical material generated from the interaction of both universes.

Otimização estrutural é uma área relativamente nova que vem sendo cada vez mais explorada. Existem muitos métodos clássicos, e outros mais recentes vem surgindo para disputar em eficiência, confiabilidade e rapidez na obtenção de um resultado ótimo. Os algoritmos são classificados em algoritmos determinísticos, que utilizam a informação do gradiente, ou seja, usam os valores das funções e suas derivadas, e os meta-heurísticos, algoritmos de otimização aleatórios que são métodos probabilísticos não baseados em gradiente, ou seja, usam somente a avaliação da função objetivo. São apresentados dois algoritmos meta-heurísticos relativamente recentes: o Harmony Search, baseado na improvisação musical em busca da harmonia perfeita, e o Firefly Algorithm, que é inspirado no comportamento da luz dos vagalumes. Vários exemplos clássicos de treliças 2-D e 3-D considerando otimização paramétrica e de forma, com restrições de tensão, deslocamento, flambagem e frequência natural, são apresentados para demonstrar a eficiência dos métodos. Os resultados são comparados aos de outros autores usando diferentes métodos encontrados na literatura. Os resultados indicam que os algoritmos de otimização estudados neste trabalho são melhores ou tão eficientes quanto os demais. Por fim, os métodos são aplicados à estrutura de um projeto de engenharia adaptado. / Structural optimization is a relatively new area that has been increasingly exploited. There are many classical methods, and newer are emerging to compete on efficiency, reliability and speed in obtaining an optimal result. The algorithms are classified into deterministic algorithms, which use the gradient information, i.e., use the values of the functions and their derivatives, and meta-heuristic algorithms, random optimization methods which are probabilistic methods not based on gradient, i.e., they use only objective function evaluation. Two relatively recent meta-heuristics algorithms are presented, Harmony Search, based on musical improvisation in search of the perfect harmony, and Firefly Algorithm, which is inspired by the behavior of the light of fireflies. Several benchmarks of 2-D and 3-D trusses considering size and shape optimization, with stress, displacement, buckling and natural frequency constraints, are presented to demonstrate the effectiveness of the methods. The results are compared to the others authors using different methods found in the literature. The results indicate that optimization algorithms studied in this work are better than or as efficient as others. Finally, the methods are applied to the structure of an adapted engineering design.

Thesis (Ph. D.)--Universität Oldenburg, (2006?). / Includes bibliographical references (p. 311-315).

<p>ATR, advanced tongue root, is a phonological feature among vowels. As vowels assimilate to share the same value of that feature, they display ATR harmony. This is a common phenomenon among many African languages. ATR harmony is examined in this paper as manifested across morpheme boundaries wihin nouns in a Surmic language of Ethiopia called Bale. The data presented was collected at a workshop on ATR harmony held by SIL International in Mizan Teferi, Ethiopia, 2009. The vowel system in Bale displays a nine vowel inventory with a feature dominance of [+ATR] vowels which spread their feature both leftward and rightward to recessive [–ATR] vowels. The [+ATR] dominance is also present as a floating feature without any phonological material. The vowel /a/ is analysed as a neutral vowel, co-occuring with both [+ATR] and [–ATR] vowels within roots.</p>

Detta examensarbete syftar till att ge en övergripande uppfattning om hur man kan arbeta med barn för att introducera flerstämmighet. Jag har tagit del av relevant litteratur samt utfört intervjuer av tre pedagoger med erfarenheter både inom undervisning i vanlig skolklass samt musikklass och kör med antagningsprov.Jag har undersökt hur man kan gå tillväga i arbetet med flerstämmighet, vilken betydelse den unisona sången har för flerstämmighet, och vad som avgör om undervisningen baseras på gehörsinlärning eller med hjälp av noter.Av min undersökning kan jag dra flera slutsatser. Den unisona sången anses vara en förutsättning för flerstämmighet, men flerstämmighet tycks även vara ett sätt att förfina den unisona sången. Några olika typer av stämmor är vanligt förekommande och det är viktigt att inte för tidigt dela in barn i olika stämmor för att ge rösten träning i olika register. I undervisning i kör i vanlig skolklass är gehörsinlärning det vanligaste, medan noter har en större och mer betydande roll i musikklass och kör med antagningsprov, där högre krav kan ställas på barnen. / This thesis aims to provide a comprehensive understanding of how to work with children to introduce polyphony. I have taken note of relevant literature and conducted interviews with three teachers with experience teaching both in regular school class and music class with admission test.I have examined how to proceed in the work of polyphony, what the importance of unison singing has for singing polyphony, and what determines whether teaching based learning by ear or by notes.By my thesis, I can draw several conclusions. The unison singing is considered a prerequisite for polyphony, but polyphony also seems to be a way to refine the unison singing. Some types of parts are common and it is important not to prematurely divide children into different parts to give voice training in different registers. In teaching choir in regular school class ear learning is the most common, whereas notes have a larger and more significant role in music class and choir with admission test, where higher demands can be made on the children.