La physique du neutrino a connu de grandes avancées avec la mise en évidence des oscillations (neutrinos solaires et atmosphériques). Pour étudier en détail la phénoménologie de ces neutrinos massifs, de nouvelles machines -les usines à neutrinos seront nécessaires, dont la conception dépend de certains développements ou expériences préalables.<br> L'expérience HARP se situe dans ce cadre et cherche à mesurer de façon détaillée et précise les sections efficaces de production hadronique (en particulier les pions) dans les interactions proton-noyau pour de faibles impulsions incidentes (2 à 15 GeV/c).<br> L'ensemble expérimental vise à une acceptance de 4Pi et cette thèse s'est intéressée au spectromètre vers l'avant et plus précisément aux chambres à dérive qui permettent la reconstruction des trajectoires des particules chargées les plus rapides. La simulation complète de leur fonctionnement, nécessaire aux calculs d'acceptance et aux développement des programmes de reconstruction, est présentée ici dans le cadre général de GEANT 4, adapté par la collaboration. Le problème délicat de l'alignement des chambres est traité ensuite, avant d'extraire une première évaluation de leurs performances : efficacité par plan et efficacité de reconstruction. Les développements sur le programme de reconstruction global permettront ensuite une analyse physique des données de HARP.

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The increasing number of users connected to the Internet led it to become a major vehicle for personal and business transactions in the last years. Nevertheless, its unavailability can result in losses, including nancial ones, for its users. Despite of all eorts to keep the network availability nearest to 100% of the time, reasearches have shown that the existing protocols have two algorithmic problems caused by message losses or disruption, named No Brain and Split Brain, which attack the network availability and lead it to crash. Thus, those researches propose that such protocols must be changed considering the possibility of message loss. In this way, this research species and implements the High Availability Router Protocol (HARP), which is a new high availability protocol that operates in stateless environments. Furthermore, a validation system is presented to test high availability protocols for the sake of link failures. The specication concerns to environment assumptions, services, vocabulary, format and procedure rules specied by nite state machine, moreover, the specication is complemented with a TLA+ formal description regarding concurrent systems context intending to ratify the HARP good properties. The HARP implementation consists of its prototyping on FPGA and the validation system based on a System-on-Programmable Chip (SOPC). / O crescente número de usuários conectados à Internet favoreceu que ela se tornasse um dos principais veículos de transações pessoais e empresariais nos últimos anos. Entretanto, sua indisponibilidade pode acarretar perdas, inclusive de caráter nanceiro, aos seus usuários. Apesar dos esforços empenhados para manter a rede 100% do tempo dispon ível, pesquisas apontam que os protocolos de alta disponibilidade apresentam problemas algorítmicos conhecidos como Acéfalo e Cérebro Partido, que são causados por perdas e erros de mensagens e levam à indisponibilidade da rede. Tais pesquisas propõem, então, que alterações sejam feitas nas especicações dos protocolos existentes considerando que mensagens podem não chegar a seus destinos conforme previsto. Em virtude disso, este trabalho especica e implementa um novo protocolo de alta disponibilidade, chamado High Availability Router Protocol (HARP), cuja operação acontece em ambientes sem preservação de estado. Adicionalmente, apresenta-se um sistema de validação para protocolos de alta disponibilidade que os testam segundo falhas nos canais de comunicação. A especicação do HARP concerne ao ambiente de operação, serviços, vocabulário, formato de mensagens e regras de procedimento especicadas através de máquinas de estados - nitos. Ademais, a especicação é complementada pela descrição formal em TLA+ e sua vericação no contexto de sistemas concorrentes para raticar as boas propriedades do protocolo. A implementação do HARP consiste da prototipagem em FPGA e o sistema de validação é baseado em um System on a Programmable Chip. / Mestre em Ciência da Computação

Vol. 1. Chapters 1-5 (Musical transcriptions of hymns) -- v. 2. Chapters 6-8 (Letters and documents, appendices) / by James Daniel Bagwell. / Includes musical examples and the complete musical transcriptions (conventional notation)--of unaccompanied shape-note hymns by A. Marcus Cagle, Paine Denson, S.M. Denson and T.J. Denson; most hymns with text / Typescript / M.M. Florida State University 1991 / Includes bibliographical references and indexes

Vol. 1. Chapters 1-5 (Musical transcriptions of hymns) -- v. 2. Chapters 6-8 (Letters and documents, appendices) / by James Daniel Bagwell. / Includes musical examples and the complete musical transcriptions (conventional notation)--of unaccompanied shape-note hymns by A. Marcus Cagle, Paine Denson, S.M. Denson and T.J. Denson; most hymns with text / Typescript / M.M. Florida State University 1991 / Includes bibliographical references and indexes

No description available.

Peruvian composers Armando Guevara Ochoa (1926–2013) and César Vivanco (b. 1949) borrow and transplant musical elements from Andean folk tradition into their compositions for the modern classical flute. Guevara Ochoa's Yaraví, Danza y Huayno and Vivanco's Fantasía Andina are solo flute pieces rooted in Peruvian folklore traditions and Andean instrumental performance. The purpose of this dissertation is to provide flutists with technical and interpretative guidance in preparing these pieces. Yaraví, Danza y Huayno, a suite of three short dances, and Fantasía Andina, a free-meter piece in an improvisational style, incorporate elements that utilize the performance techniques of Andean instruments, with use of quotations from traditional Andean folk music. References to quenas (traditional vertical flutes), zampoñas (panpipes), pututos (ceremonial natural horns), charangos (Andean guitars) and Andean harps are integrated within the works and fused with themes borrowed from iconic pieces such as El cóndor pasa, and traditional harmonic, melodic and rhythmic structures of the huayno (fast festive dance) and yaraví (slow melancholic song). The techniques and traditions borrowed from Andean folk music are not notated in these scores due to the limitations of musical notation. Performers are expected to portray the Andean musical identity of the composers' intent. This dissertation assists performers unfamiliar with the traditions of Andean music to identify and understand the implicit Andean roots in both works and develop techniques to accurately represent sounds of Andean Peruvian traditions, with a deeper, culturally informed interpretation of this music.

<p>1 DVD-bilaga. Medverkande: Mercedes Gomez (harpa), Stina Hellberg (harpa)</p>

Each composition in the following document has resulted from my desire to explore problems and possibilities that are to be found in the various ensembles and/or techniques chosen. For each new composition a particular issue or set of issues was established at the outset and dealt with from different angles at all stages of the works' creation. [1] Chansons Precieux: In these three songs I was interested in reducing my material choices to a minimum and also in creating a small fragment for the text which could be exploded into syllabic utterances. These were, over the course of the three songs, utilized in small groups. Only in the final song is the entire text revealed. [2] Across The Gorge Is The Bridge: Synthesized and concrete sounds constitute the palette of this tape piece. In processing the sounds I selected evolutionary characteristics with the intention of exploiting these characteristics in a particular manner - the notes in the piece are of extremely long duration (c. 12') and so the evolution takes place at a very slow pace. In a sense time is slowed down in the work, almost to the point of absolute stasis. [3] Triangle: Here I examined the concept of an imagined triangular pathway in which each intersection of two lines consisted of the same object viewed in a different way. The lines themselves are manipulations of the object. The original inspiration for this piece came from reading about Stonehenge and other such prehistoric laboratories designed as viewing points for the sun and moon and their risings and settings at key times of the year. [4] Anya Manas: A small item, in this case a chord, is never presented literally, but begins its life in this piece by already having been bent, altered, linearized and otherwise mutilated. Eventually the chord has completely lost its own sense of its own reality. "Anya Manas" is a Sanskrit saying that refers to a state of mind in which confusion of identity prevails. [5] Wo Weilest Du?: This work involved the desire to eliminate such traditional concepts as motivic development, regular phrasing and clear form. Sound objects appear, vanish and may or may not return later. There is no formal goal or climax. The piece simply begins and ends where it does. The title is German and means where are you waiting? It comes from Wagner's Tristan und lsolde.

Made available in DSpace on 2016-08-03T12:18:48Z (GMT). No. of bitstreams: 1 Milton Rodigues de Souza1-145.pdf: 733021 bytes, checksum: 27d635c39633626d7dbd7acbcdbe7456 (MD5) Previous issue date: 2011-08-23 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This dissertation intends to study the Christian Harp, one of the main national protestant hymnals, looking to identify it as instrument of expansion in Brazil s Pentecostalism mission in the period between 1910 and 1970, while appreciating the history and the creation of this liturgical book, intending to comprehend its usage as motivational element in the missionary practice of the Brazilian Pentecostal churches. It also consists of knowing the characteristics of construction of this compendium, passing through the presentation of its hymnists profiles and through the assiduous study of its musical structure and literary composition, while being aware of some important constitutive characteristics that are used, such as the theological concepts. Looking for a missiology concept that shows to be more correlated with the theological content of this hymnal and the referral of various examples of incitement to the evangelist practice found within its songs, which leads to the comprehension of the relevancy of the Christian Harp in the liturgical life of confessional pentecostal churches in Brazil, and its bold presence as an efficient developer of missionary practice of these faith communities. / Esta dissertação pretende estudar a Harpa Cristã, um dos principais hinários protestantes nacionais, buscando identificá-la como instrumento de expansão da missão no pentecostalismo do Brasil, no período comprendido entre os anos 1910 e 1970, apreciando a história e a formação deste livro litúrgico na pretensão de compreender sua utilização como elemento motivador para a prática missionária das igrejas pentecostais brasileiras. Consiste também em conhecer as características da construção deste compêndio, passando pela apresentação do perfil de seus hinistas e pelo estudo aplicado da sua estrutura musical e sua composição literária, conhecendo, ainda, algumas de suas importantes características constitutivas, como os conceitos teológicos de que faz uso em seu discurso. A procura por uma conceituação missiológica que se mostre mais identificada ao conteúdo teológico deste hinário e a indicação de vários exemplos de incentivo à prática evangelística encontrados em suas canções conduzem à compreensão da relevante importância da Harpa Cristã na vida litúrgica das igrejas de confissão pentecostal no Brasil e da sua marcante presença como eficiente agente fomentador do exercício missionário dessas comunidades de fé.

The purpose of this research paper has been to understand the medieval and renaissance tablature of Robert ap Huw through a comparison between Paul Dooley’s and William Taylor’s recordings of the piece Kaniad y Gwyn Bibydd from the manuscript.  My text contains a short history of Robert ap Huw’s manuscript and a description of the medieval Welsh culture, in which the music was born. It is then followed by a musical analysis of the chosen piece. My work has led me to delve deep into different versions of how the tablature could be interpreted and made me understand how vast and complex this subject is. / <p>Inspelning och mixning av stycket Kaniad y Gwyn Bibydd (arr. Peter Greenhill) av Fabian Rosenberg.</p>