Hoje, diante das contínuas mudanças e do mercado competitivo, as empresas e organizações têm sempre a necessidade de adaptar suas práticas de negócios para atender às diferentes exigências de seus clientes e manter-se em vantagem com relação às suas concorrentes. Para ajudá-las a atingir esta meta, uma proposta promissora é o Desenvolvimento Baseado em Componentes (DBC), cuja ideia básica é a de que um novo software possa ser construído rapidamente a partir de componentes pré-existentes. Entretanto, a montagem de sistemas corporativos mais confiáveis e tolerantes a falhas a partir da integração de componentes tem-se mostrado uma tarefa relativamente complexa. E a necessidade de garantir que tal integração não falhe tornou-se algo imprescindível, sobretudo porque as consequências de uma falha podem ser extremamente graves. Para que haja uma certa garantia de que o software seja tolerante a falhas, devem ser realizadas atividades de testes e verificação formal de programas. Isto porque ambas, em conjunto, procuram garantir ao desenvolvedor que o sistema resultante da integração é, de fato, confiável. Mas a viabilidade prática de execução destas atividades depende de ferramentas que auxiliem sua realização, uma vez que a execução de ambas constitui um alto custo para o desenvolvimento do software. Tendo em vista esta necessidade de facilitar a realização de testes e verificação nos sistemas baseados em componentes (DBC), este trabalho de Mestrado se propõe a desenvolver um ambiente integrado para a verificação e teste de protocolos para a coordenação do comportamento excepcional de componentes. / Nowadays, because of continuous changes and the competitive market, companies and organizations have the necessity to adapt their business practices in order to satisfy the different requirements of their customers and then, keep themselves in advantage among their competitors. To help them to reach this aim, a promising purpose is the Component-Based Development (CBD), whose basic idea is that a new software can be built in a fast way from preexisting components. However, mounting more reliable and fault-tolerant corporative systems from components integration is a relatively complex task. And the need to assure that such integration does not fail becomes something essential, especially because the consequences of a failure can be extremely serious. To have a certain guarantee that the software will be fault-tolerant, testing activities and formal verification of programs should be done. This is because both, together, try to assure to developer that the resulting system of the integration is, in fact, reliable. But the practical feasibility of executing these activities depends on tools which support it, once both executions have a high cost to software development. Having the necessity to make test and verification easier in systems based in components (CBD), this work has, as main objective, the development of an integrated environment for verification and test of protocols to the coordination of components exceptional behaviour.

This dissertation is comprised of a pair of related compositions, Sadhana (2015) for viola and electronics, and k. tracing (2015), a violin concerto, and a thesis that outlines my approach, detailing the influences and derivation of some of the parameters of these works and my compositional process. I offer a clear approach to working in relative intonation, for which I’ve also developed a small device called the “Maya proportional scale tool.” In this essay, I trace the structure and inner-movement of each work with regard to the derivation of its harmony, melody, rhythm and orchestration.The discussion of Sadhana focuses on the derivation of its harmonies and melodic lines from the influence of a string, as well as the conception of the electronics part and the role electronics play in the formation of the composition, whereas the discussion of k. tracing focuses on the coordinating of many independent instrumental parts, and the adaptation of rhythm and orchestration.

Este trabalho de Mestrado propõe uma análise sobre a escrita orquestral da música brasileira com foco na Suíte Brasiliana n.1 de Cyro Pereira, composta em 1962. Assim, contextualiza e apresenta um histórico da escrita da música popular brasileira para orquestra, citando trechos de partituras de alguns arranjos de Pixinguinha e Radamés Gnattali na Época de Ouro da década de 1930. Analisa como os instrumentos musicais não convencionais são inseridos na orquestra e como são utilizados novos elementos rítmicos em obras do repertório sinfônico brasileiro, destacando composições de Heitor Villa-Lobos. Registra, ainda, uma pesquisa sobre os ritmos brasileiros: dobrado, toada, choro, valsa e baião. Explana sobre utilização dos recursos composicionais e das técnicas de orquestração na obra de Cyro Pereira, fazendo uso de exemplos construídos tendo como base a partitura da suíte na versão adaptada e reorquestrada de 1992. Por fim, vale ressaltar que, como parte deste trabalho, foi realizada uma edição revisada da partitura da Suíte Brasiliana n. 1 (versão de 1992). / This fine Masters work aims at analyzing the orchestral score of the Brazilian music focusing at Suite Brasiliana n.1 by Cyro Pereira, composed in 1962. Therefore, it contextualizes and presents a detailed report of the written composition of the Brazilian Popular Music for orchestra, making reference to passages of scores from some musical arrangements by Pixinguinha and Radamés Gnattali in the Época de Ouro (The Golden Period) in the thirties. It analyzes both the way through which non conventional instruments are put in the orchestra and how the new rhythmic elements of some Brazilian symphonic opuses are used, giving emphasis to the musical work composed by Villas-Lobos. It also shows a research about Brazilian rhythms: dobrado (marching music), toada, choro, valsa (waltz) and baião. Besides, it explains how the compositional resources and the techniques for orchestration are used in Cyro Pereira´s work, giving examples from the score of the suite adapted and reorchestrated in the 1992 version. Finally, it is worth to point out that it was part of this paper to make a revised version of the score Suite Brasiliana n.1 by Cyro Pereira (in the 1992 version).

Este trabalho de Mestrado propõe uma análise sobre a escrita orquestral da música brasileira com foco na Suíte Brasiliana n.1 de Cyro Pereira, composta em 1962. Assim, contextualiza e apresenta um histórico da escrita da música popular brasileira para orquestra, citando trechos de partituras de alguns arranjos de Pixinguinha e Radamés Gnattali na Época de Ouro da década de 1930. Analisa como os instrumentos musicais não convencionais são inseridos na orquestra e como são utilizados novos elementos rítmicos em obras do repertório sinfônico brasileiro, destacando composições de Heitor Villa-Lobos. Registra, ainda, uma pesquisa sobre os ritmos brasileiros: dobrado, toada, choro, valsa e baião. Explana sobre utilização dos recursos composicionais e das técnicas de orquestração na obra de Cyro Pereira, fazendo uso de exemplos construídos tendo como base a partitura da suíte na versão adaptada e reorquestrada de 1992. Por fim, vale ressaltar que, como parte deste trabalho, foi realizada uma edição revisada da partitura da Suíte Brasiliana n. 1 (versão de 1992). / This fine Masters work aims at analyzing the orchestral score of the Brazilian music focusing at Suite Brasiliana n.1 by Cyro Pereira, composed in 1962. Therefore, it contextualizes and presents a detailed report of the written composition of the Brazilian Popular Music for orchestra, making reference to passages of scores from some musical arrangements by Pixinguinha and Radamés Gnattali in the Época de Ouro (The Golden Period) in the thirties. It analyzes both the way through which non conventional instruments are put in the orchestra and how the new rhythmic elements of some Brazilian symphonic opuses are used, giving emphasis to the musical work composed by Villas-Lobos. It also shows a research about Brazilian rhythms: dobrado (marching music), toada, choro, valsa (waltz) and baião. Besides, it explains how the compositional resources and the techniques for orchestration are used in Cyro Pereira´s work, giving examples from the score of the suite adapted and reorchestrated in the 1992 version. Finally, it is worth to point out that it was part of this paper to make a revised version of the score Suite Brasiliana n.1 by Cyro Pereira (in the 1992 version).

Hoje, diante das contínuas mudanças e do mercado competitivo, as empresas e organizações têm sempre a necessidade de adaptar suas práticas de negócios para atender às diferentes exigências de seus clientes e manter-se em vantagem com relação às suas concorrentes. Para ajudá-las a atingir esta meta, uma proposta promissora é o Desenvolvimento Baseado em Componentes (DBC), cuja ideia básica é a de que um novo software possa ser construído rapidamente a partir de componentes pré-existentes. Entretanto, a montagem de sistemas corporativos mais confiáveis e tolerantes a falhas a partir da integração de componentes tem-se mostrado uma tarefa relativamente complexa. E a necessidade de garantir que tal integração não falhe tornou-se algo imprescindível, sobretudo porque as consequências de uma falha podem ser extremamente graves. Para que haja uma certa garantia de que o software seja tolerante a falhas, devem ser realizadas atividades de testes e verificação formal de programas. Isto porque ambas, em conjunto, procuram garantir ao desenvolvedor que o sistema resultante da integração é, de fato, confiável. Mas a viabilidade prática de execução destas atividades depende de ferramentas que auxiliem sua realização, uma vez que a execução de ambas constitui um alto custo para o desenvolvimento do software. Tendo em vista esta necessidade de facilitar a realização de testes e verificação nos sistemas baseados em componentes (DBC), este trabalho de Mestrado se propõe a desenvolver um ambiente integrado para a verificação e teste de protocolos para a coordenação do comportamento excepcional de componentes. / Nowadays, because of continuous changes and the competitive market, companies and organizations have the necessity to adapt their business practices in order to satisfy the different requirements of their customers and then, keep themselves in advantage among their competitors. To help them to reach this aim, a promising purpose is the Component-Based Development (CBD), whose basic idea is that a new software can be built in a fast way from preexisting components. However, mounting more reliable and fault-tolerant corporative systems from components integration is a relatively complex task. And the need to assure that such integration does not fail becomes something essential, especially because the consequences of a failure can be extremely serious. To have a certain guarantee that the software will be fault-tolerant, testing activities and formal verification of programs should be done. This is because both, together, try to assure to developer that the resulting system of the integration is, in fact, reliable. But the practical feasibility of executing these activities depends on tools which support it, once both executions have a high cost to software development. Having the necessity to make test and verification easier in systems based in components (CBD), this work has, as main objective, the development of an integrated environment for verification and test of protocols to the coordination of components exceptional behaviour.

This dissertation presents the concurrent programming language Ora, an extension of the Orc orchestration language with the capability to execute transactions. A new formal definition of transactions is given, in terms of two complementary properties: atomicity and coatomicity. These properties are described in terms of a partial order of events, rather than as properties of a totally ordered program trace. Atomicity and coatomicity are ensured in Ora programs by a novel algorithm for multiversion concurrency control. / text

published_or_final_version / Music / Master / Master of Philosophy

No description available.

With service interaction modelling, it is customary to distinguish between two types of models: choreographies and orchestrations. A choreography describes interactions within a collection of services from a global perspective, where no service plays a privileged role. Instead, services interact in a peer-to-peer manner. In contrast, an orchestration describes the interactions between one particular service, the orchestrator, and a number of partner services. The main proposition of this work is an approach to bridge these two modelling viewpoints by synthesising orchestrators from choreographies. To start with, choreographies are defined using a simple behaviour description language based on communicating finite state machines. From such a model, orchestrators are initially synthesised in the form of state machines. It turns out that state machines are not suitable for orchestration modelling, because orchestrators generally need to engage in concurrent interactions. To address this issue, a technique is proposed to transform state machines into process models in the Business Process Modelling Notation (BPMN). Orchestrations represented in BPMN can then be augmented with additional business logic to achieve value-adding mediation. In addition, techniques exist for refining BPMN models into executable process definitions. The transformation from state machines to BPMN relies on Petri nets as an intermediary representation and leverages techniques from theory of regions to identify concurrency in the initial Petri net. Once concurrency has been identified, the resulting Petri net is transformed into a BPMN model. The original contributions of this work are: an algorithm to synthesise orchestrators from choreographies and a rules-based transformation from Petri nets into BPMN.

The systematic study of orchestral practice and instrumentation in the German Baroque Opera has until now been assigned a relatively insignificant place in biographies of specific composers, or in historical studies of particular centres. Many of these works, while presenting a valuable compilation of the instrumental methode of a particular composer, or of the adoption of his style to meet the conditions of performance which prevailed from one centre to another, do not however supply their readers with a chronogically exhaustive investigation of the role of the orchestra in the baroque theatre, nor of the contribution made by theatre orchestration of the general artistic development of orchestral music as a whole.