Der sächsische Premierminister Graf von Brühl gründete 1735 in Warschau eine eigene Hofkapelle. Brühl engagierte 1735 zunächst sechs Musiker, unter ihnen den Kapellmeister Gottlob Harrer sowie den Cembalisten Georg Gebel, den Cellisten Müller und den Lautenisten Johann Kropffgans, alle aus Breslau. Die Brühlsche Kapelle wuchs bis 1746 auf 15 und bis 1765 gar auf 24 Mitglieder an. Da sich der Hof zwischen Dezember 1734 und August 1736 sowie dann ab 1738 aller zwei Jahre zu den polnischen Reichstagen immer mehrere Monate in Warschau aufhielt, wurden die Musiker der Brühlschen Kapelle auch an die »Kleine Polnische Capelle« ausgeliehen, wie überhaupt die Grenzziehungen zwischen beiden Orchestern nicht streng waren. Während der Aufenthalte in Sachsen waren die Musiker auf den Brühlschen Schlössern, besonders in Pförten in der Niederlausitz, tätig. Mit 26 Jahren wurde Georg Gebel als Komponist und Cembalist Mitglied der privaten Kammermusik des Grafen Brühl. Anlass und Interpreten der vorliegenden Triosonate sind nicht bekannt. Die Vermeidung von leiterfremden Tönen und die idiomatische Schreibweise deuten auf die Verwendung einer einreihigen Harfe hin. Da bisher jedoch kein Dresdner Instrumentalist nachgewiesen werden konnte, der eine solche Harfe spielte, könnte Gebel das vorliegende Werk auch für eine Liebhaberin oder einen Liebhaber des Instruments komponiert haben, um es in einem Salon in einem der Brühlschen Schlösser zum Klingen zu bringen.

Der sächsische Premierminister Graf von Brühl gründete 1735 in Warschau eine eigene Hofkapelle. Brühl engagierte 1735 zunächst sechs Musiker, unter ihnen den Kapellmeister Gottlob Harrer sowie den Cembalisten Georg Gebel, den Cellisten Müller und den Lautenisten Johann Kropffgans, alle aus Breslau. Die Brühlsche Kapelle wuchs bis 1746 auf 15 und bis 1765 gar auf 24 Mitglieder an. Da sich der Hof zwischen Dezember 1734 und August 1736 sowie dann ab 1738 aller zwei Jahre zu den polnischen Reichstagen immer mehrere Monate in Warschau aufhielt, wurden die Musiker der Brühlschen Kapelle auch an die »Kleine Polnische Capelle« ausgeliehen, wie überhaupt die Grenzziehungen zwischen beiden Orchestern nicht streng waren. Während der Aufenthalte in Sachsen waren die Musiker auf den Brühlschen Schlössern, besonders in Pförten in der Niederlausitz, tätig. Mit 26 Jahren wurde Georg Gebel als Komponist und Cembalist Mitglied der privaten Kammermusik des Grafen Brühl. Anlass und Interpreten der vorliegenden Triosonate sind nicht bekannt. Die Vermeidung von leiterfremden Tönen und die idiomatische Schreibweise deuten auf die Verwendung einer einreihigen Harfe hin. Da bisher jedoch kein Dresdner Instrumentalist nachgewiesen werden konnte, der eine solche Harfe spielte, könnte Gebel das vorliegende Werk auch für eine Liebhaberin oder einen Liebhaber des Instruments komponiert haben, um es in einem Salon in einem der Brühlschen Schlösser zum Klingen zu bringen.

Este trabalho trata do processo de transcrição do Concerto em Dó Maior K 299 para Flauta e Harpa de Wolfgang Amadeus Mozart. O objetivo geral foi a transcrição da parte da harpa do concerto para violão de sete cordas. Por meio da análise comparativa de transcrições do próprio compositor do concerto e do estudo de referencial teórico, foram classificados os procedimentos necessários para a realização da transcrição, que são: compressão de registro, supressão de notas, mudança na disposição de notas, e transferência da parte da harpa para a orquestra. Esses procedimentos vão diretamente ao encontro da adaptação idiomática e musical ao instrumento para o qual verte a transcrição, e à fidelidade ao original da obra. Concluiu-se, por fim, que a transcrição de uma obra, deve se embasar em uma metodologia aplicada, que defina as diretrizes do processo e adapte a linha composicional do original às escolhas pessoais do transcritor. / The present work deals with the Concerto in C Major for Flute and Harp K299 by Wolfgang Amadeus Mozart. The main objective was the transcription of the Harp part of the concerto for a seven-string guitar. Through comparative analysis of transcriptions made by the composer himself, along with further reading, the necessary procedures to accomplish this transcription were identified and classified. They are: range compression, suppression of notes, change in the disposition of notes and the transference of accompaniment material from the harp part to the orchestra. Such procedures agree with an idiomatic and musical adaptation for the target instrument, while remaining accurate to the original work. It was concluded that the transcription of a work must be based on an applied methodology that define the guidelines and adapt the original compositional idiom to the personal choices of the transcriber.

Este trabalho trata do processo de transcrição do Concerto em Dó Maior K 299 para Flauta e Harpa de Wolfgang Amadeus Mozart. O objetivo geral foi a transcrição da parte da harpa do concerto para violão de sete cordas. Por meio da análise comparativa de transcrições do próprio compositor do concerto e do estudo de referencial teórico, foram classificados os procedimentos necessários para a realização da transcrição, que são: compressão de registro, supressão de notas, mudança na disposição de notas, e transferência da parte da harpa para a orquestra. Esses procedimentos vão diretamente ao encontro da adaptação idiomática e musical ao instrumento para o qual verte a transcrição, e à fidelidade ao original da obra. Concluiu-se, por fim, que a transcrição de uma obra, deve se embasar em uma metodologia aplicada, que defina as diretrizes do processo e adapte a linha composicional do original às escolhas pessoais do transcritor. / The present work deals with the Concerto in C Major for Flute and Harp K299 by Wolfgang Amadeus Mozart. The main objective was the transcription of the Harp part of the concerto for a seven-string guitar. Through comparative analysis of transcriptions made by the composer himself, along with further reading, the necessary procedures to accomplish this transcription were identified and classified. They are: range compression, suppression of notes, change in the disposition of notes and the transference of accompaniment material from the harp part to the orchestra. Such procedures agree with an idiomatic and musical adaptation for the target instrument, while remaining accurate to the original work. It was concluded that the transcription of a work must be based on an applied methodology that define the guidelines and adapt the original compositional idiom to the personal choices of the transcriber.

Este trabalho trata do processo de transcrição do Concerto em Dó Maior K 299 para Flauta e Harpa de Wolfgang Amadeus Mozart. O objetivo geral foi a transcrição da parte da harpa do concerto para violão de sete cordas. Por meio da análise comparativa de transcrições do próprio compositor do concerto e do estudo de referencial teórico, foram classificados os procedimentos necessários para a realização da transcrição, que são: compressão de registro, supressão de notas, mudança na disposição de notas, e transferência da parte da harpa para a orquestra. Esses procedimentos vão diretamente ao encontro da adaptação idiomática e musical ao instrumento para o qual verte a transcrição, e à fidelidade ao original da obra. Concluiu-se, por fim, que a transcrição de uma obra, deve se embasar em uma metodologia aplicada, que defina as diretrizes do processo e adapte a linha composicional do original às escolhas pessoais do transcritor. / The present work deals with the Concerto in C Major for Flute and Harp K299 by Wolfgang Amadeus Mozart. The main objective was the transcription of the Harp part of the concerto for a seven-string guitar. Through comparative analysis of transcriptions made by the composer himself, along with further reading, the necessary procedures to accomplish this transcription were identified and classified. They are: range compression, suppression of notes, change in the disposition of notes and the transference of accompaniment material from the harp part to the orchestra. Such procedures agree with an idiomatic and musical adaptation for the target instrument, while remaining accurate to the original work. It was concluded that the transcription of a work must be based on an applied methodology that define the guidelines and adapt the original compositional idiom to the personal choices of the transcriber.

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

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>

Bearing layers are used in road and building constructions as underlying soil layers to provide stability and support to the top layer that takes up the load. A normal bearing layer contains different amounts of materials such as stone, gravel, and filler. That mixture of materials contains a large amount of filler to give the product tightness and stability. Draining bearing layers usually contain less filler than ordinary bearing layers, because their purpose is to improve the drainage properties and reduce the risk of damage due to water collection.This thesis work took place at NCC's quarries in Sälgsjö and Hammarby. At NCC's rock quarry, there already is a standard bearing layer with a grain size of 0/32 and a filler content of approximately 4–5%. In this degree project, a production process has been created to obtain a drain bearing layer where the filler content is reduced to approximately 2–3%. The requirement for a draining carrier layer is 2–3% filler content and this requirement has been followed in this production process. The draining bearing layer has been produced based on a standard product with the same grain size.There are practical limitations in how the operations work and what capabilities are required. Moisture in the material has also been a limitation. In this project, work is done with freshly crushed material, which has a relatively low moisture content (1–2%). A vibration-free screen like the function of the harp has been designed and built. Then the standard product was run through the harp at different gradients and the new product was analyzed in the lab to see what filler content was achieved. A simulation test was performed using a FEM design program called Digiroad at Chalmers University of Technology in Gothenburg.The results demonstrate that the utilization of the developed models of harp screens reduces the proportion of filler in the material. Additionally, the conducted harp screen analyses confirm that the designed harp screens are effective in transforming a standard bearing layer into a draining bearing layer, which helps to prevent water accumulation under roads or buildings and thus reduces the risk of damage and problems. The efficient production process for producing draining bearing layers can be of great importance to ensure a sustainable and safe infrastructure.

No description available.