Submitted by Miguel R. Amorim Neto (miguel@sibi.ufrj.br) on 2017-07-10T21:32:43Z No. of bitstreams: 1 580844.pdf: 18693090 bytes, checksum: a53bd2e1125b0ef11f4c1be99490f445 (MD5) / Made available in DSpace on 2017-07-10T21:32:43Z (GMT). No. of bitstreams: 1 580844.pdf: 18693090 bytes, checksum: a53bd2e1125b0ef11f4c1be99490f445 (MD5) Previous issue date: 2002-08-28 / Partindo da premissa de Samuel Adler, que compara a transcrição orquestral à tradução poética, o presente texto investiga três transcrições orquestrais da suíte para piano “Quadros de uma Exposição” de Modest Mussorgsky. As transcriç6es foram realizadas por Maurice Ravel, Francisco Mignone e Vladimir Ashkenazy. O objetivo do presente trabalho é estabelecer critérios a partir dos quais seja possível estabelecer até que ponte uma transcrição é uma obra original ou uma recriação, ligada à ideia primitiva. / Based on Samuel Adler's idem concerning the similarities of orchestral transcription and poetic translation, this research investigates three orchestral transcription of Modest P. Mussorgsky's piano suite “Picture at an Exhibition”. There transcriptions are those by Mauriçe Ravel, Francisco Mignone and VIadimir Ashkenaq. The aim of the present work is to establish some criteria according to wish a transcription may be regarded a original composition or a new creative process linked to the primary work.

Submitted by Alberto Vieira (martins_vieira@ibest.com.br) on 2017-08-09T17:14:57Z No. of bitstreams: 2 508913 vol.1.pdf: 16149594 bytes, checksum: 9ee6d83785d1623de27b3412efdd0fa0 (MD5) 508913 vol.2.pdf: 25612230 bytes, checksum: 675fcb34e4b8d3331a8f79ff694e1e56 (MD5) / Made available in DSpace on 2017-08-09T17:14:57Z (GMT). No. of bitstreams: 2 508913 vol.1.pdf: 16149594 bytes, checksum: 9ee6d83785d1623de27b3412efdd0fa0 (MD5) 508913 vol.2.pdf: 25612230 bytes, checksum: 675fcb34e4b8d3331a8f79ff694e1e56 (MD5) Previous issue date: 1992-12-15 / Estudo sobre o conteúdo descritivo na obra 'Quadros de uma Exposição' de Modest Mussorgsky, procura ressaltar a importância, para o interprete, de conhecer o conteúdo descritivo esta peça que abrange, entre outros aspectos, a fonte inspiradora da obra, os conteúdos psicológicos do compositor e as influências do social, do histórico e do "folclore" russos. O trabalho teve, como ponto de referência o "Fac-simile" da peça que possibilitou o estudo comparativo entre o original e várias edições. Consta, também, da pesquisa, uma seleção fonográfica com observações a respeito da concepção interpretativa de importantes pianistas. Foram pesquisados os conteúdos biográficos e estilisticos, assim como as influências e preferências de Mussorgsky. A autora do trabalho realizou, ainda, duas análises da obra, sendo uma· delas sobre a versão original pianística dos "Quadros de uma Exposição" e a outra sobre a orquestração de Ravel, identificando-se os procedimentos composicionais utilizados por Mussorgsky para elaborar uma obra essencialmente realista e descritiva. Entre os anexos, encontram-se o "Fac-simile", a partitura Urtex Edition - Schott Wien, duas análises da obra, uma entrevista e fotos. / Study on the descriptive contents in the composition 'Pictures at an Exhibition' of Modest Mussorgsky, tries to give prominence to the importance, to the interpreter, of understanding the descriptive contents of this musical composition which covers, amongst other aspects, the source of inspiration of the composition, the pychological contents by the composer and the social influences, the history and "Russian Folclore". The work had, as a point of reference, the "Fac-simile" of the musical composition which made possible, the comparative study between the original and the various editions. In the research, there is a phonographic selection with observations as to the interpretative conception of important pianists. The biographic and stylistic contents were researched as also the influences and preferences of Mussorgsky. The author of the work, also, made two analyses of the composition, one of them being on the original pianistic version os "Pictures at an Exhibition" and the other on the orchestration of Ravel, identifying the composition procedures utilized by Mussorgsky to elaborate an essentially realistic and descriptive composition. Amongst the enclosures, may be found the "Fac-simile", the Urtex Edition Schott-Wien score, two analyses of the composition, an interview and photos.

In considering Maurice Ravel's orchestration of Mussorgsky’s Pictures At An Exhibition, this paper will consider the work of Ravel from two aspects. First, it will deal with Ravel as a classical craftsman as evident in this orchestration. Second, it will explore this work and in two of his original works in which color is of main importance and some of his characteristics as a colorist. These considerations will follow a preliminary background of Mussorgsky’s piano score, and extant editions thereof.

Energy production in power plants comes with both high costs and turnover whereas variations in the production strategy—that is, which boilers, coolers, or generators that should be running—have big impact on the economic result. This is especially true for a combined heat and power (CHP) plant where the production of district heating and electricity is linked, thus allowing for a higher flexibility in the production strategy and potential of increasing the revenue. Previous research states that thermo-economic optimization can have a great impact on economic result of power plants, but every power plant is operating under a unique set of conditions depending on its location, operating market, load demand, construction, surrounding, and the like, and comparable studies on CHP plants in Sweden are very few. This study aims to fill this research gap by evaluating savings potential of a CHP plant in Lidköping, Sweden by utilizing thermo-economic optimization with the approach of combining actual historical data from the power plant with mass-flow equations and constraints to construct a mathematical MODEST model that is optimized by linear programming. The result demonstrates a clear theoretical potential to improve earnings and the conclusion that the studied CHP would benefit by implementing optimization procedures or software to schedule production. The result was also comparable to previous research but varied over time, which highlights how unique conditions may impact the result.

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Studien syftar till att undersöka rektorers föreställningar om estetik och vad de tror att estetiken betyder för elevernas lärande i grundskolan. I studien medverkar fem rektorer som är verksamma i Malmö stad. Anledning till denna undersökningsgrupp beror på att rektorer har mycket att säga till om när det gäller allt från anställning av pedagoger, till arbetssätt och satsning på estetisk och kultur i skolan. Metoden som jag har använt är kvalitativ intervju och intervjuerna genomfördes under oktober och november 2011. Teorin som jag har valt att använda i studien är teoretisk- och praktisk kunskap av Bernt Gustavsson (2002) i sin bok Vad är kunskap? Resultatet av studien visar på att rektorernas föreställningar om estetik handlar om det fysiska utseendet. Många av rektorerna är intevana att använda sig av estetik som definition och saknar kunskap om estetik som begrepp.Rektorerna ställer sig positiva till effekterna av estetiskt arbete som enligt dem själva innebär b la:bättre språk och identitetsutveckling och bättre sammanhållning. Rektorerna ger uttryck för att detfinns en hierarki mellan teoretisk- och praktisk kunskap och att det lönar sig mer med teoretiskkunskap. De bekräftar därmed teorin om praktisk och teoretisk kunskap, där praktisk kunskap haren underställd och marginaliserad roll i relation till teoretisk kunskap. De bekräftar också bilden avatt estetik är något man kan ta fram för att ge eleverna en lättsam och rolig stund. Det finns rektorer som gör anspråk på den radikala estetiken, men trots goda ansatser ger de flesta rektorer uttryck för att skolans arbetssätt är modesta.

Coudre le poids des matériaux modestes est l’enjeu plastique de mon travail depuis plusieurs années. Par une extraction et une exploration du modeste au sein d’assemblages cousus, s’est ouvert un questionnement sur la sculpture. La thèse Du silence à l’ouvrage, témoigne de leur passage de futiles à surfaces planes au sein de suspensions et interroge leur fragilité et poids théorique. En détournant les usages traditionnels, je couds des assemblages qui silencieusement interroge le quotidien, le savoir-faire, l’ordre apparent des choses et des représentations. Je tisse une constellation d’interprétations, de formes et de références dont la force symbolique et politique se révèle dans le modeste. Les formes sculpturales découlent de ce préexistant, négocient avec lui et l’agencent. Elles ne naissent pas d’une modification provenant de l’extérieur mais de la matérialité des matériaux les composant. Une chute où les matières racontent leur tragédie et épuisent leur possible, pour devenir des formes empathiques aux poids symboliques. Mes recherches exposent les assemblages cousus pour révéler les tensions inhérentes à la matière et sa provenance. / Stitching the weight of modest materials is the fundamental question; it is the heart of my research these past several years. Modest mediums are able to raise questions about sculpture by extraction and exploration of their materiality in stitched assemblies. The thesis Du silence à l’ouvrage shows their passage from futile object to flat surface in suspensions and tell their fragility and their theoretical weight. Turning away from traditional uses, I sew assemblies that silently asks every day, knowledge, the apparent order of things and representations. I weave a constellation of interpretations, shapes and items whose symbolic and political force is revealed in the modest. Sculptural forms derive from the pre-existing, negotiates with it and arranges it. The sculpture is born more from an external change than from the materiality of its components. It is a fall where materials recount their tragedy and deplete their potential becoming empathetic forms of symbolic weight. My research demonstrates stitched assemblies and reveals the tensions inherent in the material and its provenance.

O presente trabalho apresenta uma discussão sobre a tese da prioridade analítica da linguagem sobre o pensamento. Essa tese, que estabelece que uma explicação filosófica do pensamento – entendido como aquilo que pode ser verdadeiro ou falso – apenas pode ser obtida por meio da análise da linguagem, é formulada e defendida à luz do que Michael Dummett chamou de teoria do significado. Em seguida, duas reações contrárias à tese da prioridade analítica são consideradas. O núcleo da primeira crítica, capitaneada por John McDowell, é a alegada impossibilidade de uma explicação da linguagem que não se ancore em uma explicação dos pensamentos. Diante disso, McDowell defende uma revisão de nossas pretensões explicativas no que diz respeito à linguagem e ao pensamento. A segunda crítica à tese da prioridade analítica da linguagem sobre o pensamento é formulada a partir da filosofia madura de Gareth Evans. Nesse caso, a crítica não é dirigida à ambição explicativa, e sim a ordem pretendida da explicação. Em vez de explicarmos os pensamentos por meio de uma elucidação do significado das expressões, ele propõe que uma explicação do significado das expressões se dê em termos de uma teoria dos pensamentos concebida de forma independente de uma análise dos significados das expressões. Por fim, o presente trabalho conclui que as críticas consideradas não são bem-sucedidas, e que a posição de Dummett merece ser considerada mais seriamente dentro do debate atual sobre metodologia filosófica. / The present work presents a discussion about the thesis of the priority of language over thought in the order of explanation. This thesis, which establishes that a philosophical explanation of thought, understood as that which can be true or false, can only be obtained through the analysis of language, is formulated and defended in the light of what Michael Dummett called the theory of meaning. Then, two reactions contrary to the thesis of the priority are considered. The core of the first criticism, commanded by John McDowell, is the alleged impossibility of an explanation of language that is not based on an explanation of the thoughts. In view of this, he advocates a revision of our explanatory pretensions in regard to language and thought. The second criticism of the thesis of the priority of language over thought is formulated from the mature philosophy of Gareth Evans. In this case, criticism is not directed at explanatory ambition, but at the intended order of explanation. Instead of explaining thoughts by means of an elucidation of the meaning of expressions, he proposes that an explanation of the meaning of expressions be given in terms of a theory of thoughts conceived independently of an analysis of the meanings of expressions. Finally, the present work concludes that the criticisms analyzed are not successful, and that Dummett's position deserves to be considered more seriously in the current debate on philosophical methodology.