O ciclismo é um esporte altamente competitivo e extremamente técnico. Em função disso, o ensino da técnica da pedalada é fundamental para uma boa performance. Tendo em vista a reduzida quantidade de estudos sobre o ensino do ciclismo, o objetivo deste estudo foi de, no processo de ensino-aprendizagem da técnica da pedalada do ciclismo, verificar a influência do feedback aumentado oral e visual acerca da cinética do movimento, e com isso melhorar (1) o índice de efetividade (IE) ao longo do ciclo da pedalada, (2) o IE nas fases de propulsão e recuperação, bem como aumentar (3) a aplicação de força efetiva (FE) positiva e (4) diminuir a aplicação de FE negativa ao longo do ciclo da pedalada e (5) aumentar a economia de movimento (EC) durante a pedalada. Participaram deste estudo 19 sujeitos do sexo masculino, não-ciclistas, estudantes de uma escola estadual do município de Montenegro divididos em grupo experimental (n=10) e grupo controle (n=9). O desenho experimental constou de três etapas: (1) período de préexperimento, (2) sessões de aprendizagem e (3) período de pós-experimento. O período de pré-experimento foi dividido em dois dias de avaliação, sendo o primeiro para determinação do VO2máx e o segundo para a realização da normalização fisiológica da carga de trabalho utilizada nas sessões de aprendizagem, correspondente a 60% do VO2máx. As sessões de aprendizagem foram realizadas durante 7 dias, com a duração de trinta minutos para cada sujeito. Durante as sessões de aprendizagem, o grupo experimental recebeu feedback visual aumentado (FVA) e o grupo controle recebeu feedback aumentado (FA). O período de pós-experimento também foi dividido em dois dias de avaliação, o primeiro realizado logo após a última sessão de aprendizagem (momento pós) e o segundo realizado uma semana após a realização do momento pós (momento retenção). No período de pós-experimento, nenhum grupo recebeu feedback a respeito do seu padrão de pedalada. Para análise dos sinais de força dos indivíduos, foi utilizada uma média de 10 ciclos consecutivos de pedalada. Os resultados mostraram que o FVA exerce um efeito maior no ensino da técnica da pedalada do ciclismo do que o FA, pois o grupo experimental obteve aumentos significativos na média de IE tanto ao longo do ciclo da pedalada, quanto nas fases de propulsão e recuperação. Também foi observado, para o grupo experimental, um aumento significativo na média de aplicação de FE positiva ao longo do ciclo bem como uma redução significativa na média de FE negativa ao longo do ciclo da pedalada. O grupo experimental apresentou também maior EC ao longo da pedalada. Os achados deste estudo mostraram que o FVA apresenta-se como uma importante ferramenta no ensino da técnica da pedalada no ciclismo. / Cycling is a highly competitive and extremely technical sport. Therefore, the pedaling technique needs to be taught to improve cycling performance. Considering the reduced number of studies about the teaching of cycling, the aim of this study was, in the learning processes of cycling pedaling technique, verify the influence of augmented feedback oral and visual about the kinetics movement and thence-forth, to improve (1) the index of effectiveness (IE) along the pedaling cycle, (2) the IE in the propulsion and recovery phases (3) the application of positive effective force (EF), (4) to reduce the application of negative EF along the cycle and (5) to increase the economy of movement during the pedaling cycle. Nineteen male subjects (n=19), non-cyclists, students of a state school of the district of Montenegro participated of this study. They were divided into an experimental group (n=10) and a control group (n=9). The methodological procedures adopted for this study were divided into three stages: (1) pre-experiment period, (2) learning period and (3) post-experiment period. The pre-experiment period was divided in two days of evaluation: the first was use for determination of VO2máx and the second for the accomplishment of the physiologic normalization of the work load used in the learning period which corresponded to 60% of the VO2máx. The learning period lasted seven days, with a duration of thirty minutes per session for each subject. During the learning sessions the experimental group received augmented visual feedback (AVF) and the control group received augmented feedback (AF). The post-experiment period was also divided into two days of evaluation, with the first one, immediately after the last learning session, denominate post-test and the second one occurring one week after the post-test, denominated retention test. In the post-experiment period no group received feedback regarding their pedaling pattern. Force signals were analyzed by the calculating the average force of 10 consecutive pedaling cycles. The results showed that AVF exercises had a larger effect in the teaching of the pedaling technique compared to the AF. The experimental group obtained significant increases in the average of IE along the pedaling cycle, as well as in the IE of the propulsion and recovery phases. Also a significant increase was observed in the mean of application of positive EF and a significant reduction in the mean negative EF along the pedaling cycle. The experimental group also presented larger economy of movement along pedaling cycle. The results showed evidence that AVF is an important tool in the teaching of the pedaling technique of cycling.

[EN] SUMMARY "Vibraphones in jazz: the jazz vibraphone in Spain" is a thesis addressing three clearly differenciated and yet related parts - for each one of them is indispensable for the full comprehension of the next. The three topics herein addressed are: 1.- The vibraphone. In this part a description of the instrument is made, as well as references to the different types of vibraphones, performing techniques and the use of vibraphones in the 20th century. 2.- Vibraphones in international jazz. In this part an analysis of the origin of the vibraphone, its evolution and performers is carried out by connecting this topic to the different styles in jazz history. 3.- Jazz vibraphones in Spain. This is by far the most important part of this thesis. Here, starting from the Spanish Jazz history, we speak about the arrival of the vibraphone in our country, its introduction and classical conservatory teaching methodology, the main Spanish vibraphones and mallet manufacturers, predecesors of jazz vibraphones (jazz players, first jazz xylophone and vibraphone players from the 30s and 40s), Spanish Jazz vibraphone players born since the 30s, international Jazz vibraphone players with residence in Spain and main concerts performed in Spain by international vibraphone players. This thesis presents various annexes in connection to vibraphones, such as the evolution of the different models of "Deagan" vibraphones, the presence of vibraphones in chamber music, examples of vibraphone mallet models depending on manufacturers, jazz vibraphone players throughout history, jazz players, first jazz xylophone and vibraphone players in Spain, websites consulted, and finally "technical exercises for jazz vibraphone". This thesis gathers numerous figures and testimonials of the main leading figures involved with Jazz vibraphones in Spain. Apart from that, it includes several indexes, such as illustrations, tables of contents or lists of vibraphone players. This thesis ends with a specific bibliography on vibraphones, the bibliography herein used and conclusions on each of the three parts previously explained. As a main byproduct of this thesis it is noteworthy the creation of an Internet Forum -http://vibrafonojazzistico.blogspot.com- which lists and allowes Spanish Jazz vibraphone players to get in touch. In short, this thesis puts names and surnames to the protagonists of a never before told story, the story of the Jazz vibraphone players in Spain. / [ES] RESUMEN "El vibráfono en el jazz: el vibráfono jazzístico en España" es una tesis que aborda tres partes claramente diferenciadas, y a la vez relacionadas entre sí, ya que cada una de ellas es imprescindible para comprender la siguiente. Los tres temas abordados son: 1.- El vibráfono. En esta parte se realiza una descripción del instrumento y se tratan los diferentes tipos de vibráfonos, las técnicas de ejecución y la utilización del vibráfono en el siglo XX. 2.- El vibráfono en el jazz internacional. En esta parte se analiza el origen del vibráfono y su evolución e intérpretes, relacionando este tema con los diferentes estilos de la historia del jazz. 3.- El vibráfono jazzístico en España. Esta es la parte más importante de la tesis. En ella, partiendo de la historia del jazz en España, se comenta la llegada del vibráfono a nuestro país, su introducción y didáctica clásica en los conservatorios, los principales fabricantes españoles de vibráfonos y baquetas de vibráfono, los antecedentes del vibráfono jazzístico ("jazz-bandistas", primeros xilofonistas "jazzísticos" y vibrafonistas de los años 30 y 40), vibrafonistas jazzísticos españoles nacidos desde la década de los años 30 hasta la actualidad, vibrafonistas jazzísticos internacionales residentes en España y principales conciertos realizados en España por vibrafonistas internacionales. La tesis presenta diversos anexos relacionados con el vibráfono, como la evolución de los distintos modelos de vibráfonos "Deagan", la presencia del vibráfono en la música de cámara, ejemplos de modelos de baquetas de vibráfono según fabricante, vibrafonistas de jazz a lo largo de la historia, "jazz-bandistas", primeros xilofonistas "jazzísticos" y vibrafonistas jazzísticos en España, páginas web consultadas y "ejercicios técnicos para el vibráfono jazzístico". La tesis recoge numerosas figuras y testimonios de las principales figuras relacionadas con el vibráfono jazzístico en España. Además, incluye diversos índices, como por ejemplo ilustraciones, tablas o vibrafonistas. La tesis finaliza con una bibliografía específica de vibráfono, la bibliografía empleada y las conclusiones de cada una de las tres partes explicadas anteriormente. Una de las utilidades más importantes que ha supuesto la elaboración de esta tesis ha sido la creación de un foro en internet que reúne y pone en contacto a los vibrafonistas de jazz españoles, http://vibrafonojazzistico.blogspot.com. En definitiva, esta tesis pone nombre y apellidos a los protagonistas de una historia nunca contada, la historia del vibráfono jazzístico en España. / [CAT] RESUM "El vibràfon en el jazz: el vibràfon jazzístic a España" és una tesi que aborda tres parts clarament diferenciades, i al mateix temps relacionades entre si, ja que cada una d'elles és imprescindible per a comprendre la següent. Els tres temes abordats són: 1.- El vibràfon. En esta part es realitza una descripció de l'instrument i es tracten els diferents tipus de vibràfons, les tècniques d'execució i la utilització del vibràfon en el segle XX. 2.- El vibràfon en el jazz internacional. En esta part s'analitza l'origen del vibràfon i la seua evolució i intèrprets, relacionant este tema amb els diferents estils de la història del jazz. 3.- El vibràfon jazzístic a Espanya. Esta és la part més important de la tesi. En ella, partint de la història del jazz a Espanya, es comenta l'arribada del vibràfon al nostre país, la seua introducció i didàctica clàssica en els conservatoris, els principals fabricants espanyols de vibràfons i baquetes de vibràfon, els antecedents del vibràfon jazzístic ("jazz-bandistas", primers xilofonistas "jazzístics" i vibrafonistas dels anys 30 i 40), vibrafonistas jazzístics espanyols nascuts des de la dècada dels anys 30 fins a l'actualitat, vibrafonistas jazzístics internacionals residents a Espanya i principals concerts realitzats a Espanya per vibrafonistas internacionals. La tesi presenta diversos annexos relacionats amb el vibràfon, com l'evolució dels distints models de vibràfons "Deagan", la presència del vibràfon en la música de cambra, exemples de models de baquetes de vibràfon segons fabricant, vibrafonistas de jazz al llarg de la història, "jazz-bandistas", primers xilofonistas "jazzístics" i vibrafonistas jazzístics a Espanya, pàgines web consultades i "exercicis tècnics per al vibràfon jazzístic". La tesi arreplega nombroses figures i testimonis de les principals figures relacionades amb el vibràfon jazzístic a Espanya. A més, inclou diversos índexs, com per exemple il¿lustracions, taules o vibrafonistas. La tesi finalitza amb una bibliografia específica de vibràfon, la bibliografia utilitzada i les conclusions de cada una de les tres parts explicades anteriorment. Una de les utilitats més importants que ha suposat l'elaboració d'esta tesi ha sigut la creació d'un fòrum en internet que reunix i posa en contacte als vibrafonistas de jazz espanyols, http://vibrafonojazzistico.blogspot.com. En definitiva, esta tesi posa nom i cognoms als protagonistes d'una història mai contada, la història del vibràfon jazzístic a Espanya. / Pérez Vigo, R. (2016). El Vibráfono en el jazz: El Vibráfono Jazzístico en España [Tesis doctoral no publicada]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/62323 / TESIS

In track cycling sprint events, optimal cadence PRopt is a dynamic aspect of fatigue. It is currently unclear what cadence is optimal for an athlete’s performance in sprint races and how it can be calculated. We examined fatigue-induced changes in optimal cadence during a maximal sprint using a mathematical approach. Nine elite track cyclists completed a 6-s high-frequency pedaling test and a 60-s isokinetic all-out sprint on a bicycle ergometer with continuous monitoring of crank force and cadence. Fatigue-free force-velocity (F/v) and power-velocity (P/v) profiles were derived from both tests. The development of fatigue during the 60-s sprint was assessed by fixing the slope of the fatigue-free F/v profile. Fatigue-induced alterations in PRopt were determined by non-linear regression analysis using a mono-exponential equation at constant slope. The study revealed that PRopt at any instant during a 60-s maximal sprint can be estimated accurately using a mono-exponential equation. In an isokinetic mode, a mean PRopt can be identified that enables the athlete to generate the highest mean power output over the course of the effort. Adding the time domain to the fatigue-free F/v and P/v profiles allows time-dependent cycling power to be modelled independent of cadence.

Les problématiques scientifiques étudiant la biomécanique du mouvement de pédalage en cyclisme ont fait et font toujours l'objet de nombreux travaux. Ces travaux touchent de divers domaines, technologique par exemple pour l'amélioration du matériel qui a considérablement évolué, physiologique pour l'amélioration des capacités physiques et des rendements énergétiques en fonction des styles de pédalage, et biomécanique pour l'expertise, en particulier, de l'efficacité de mouvement de pédalage. Le travail présenté s'inscrit dans ce dernier champ scientifique : la biomécanique du mouvement.</br>Le travail réalisé a bénéficié d'un appel à projet de l'Agence Française de la Lutte contre le Dopage avec pour objectif : « [SIC] se réarmer vis-à-vis du dopage en adoptant des démarches qui se veulent originales et concrètes, notamment en se plaçant du point de vue de l'entourage scientifique de sportifs dopés » en se focalisant sur les thèmes « [SIC] Travail, puissance et rendement énergétique».</br>Dans ce contexte, l'objectif général des travaux est l'évaluation du profil biomécanique du coureur cycliste par mesures en laboratoire. Pour cela, une plateforme expérimentale a été validée et nous a permis d'aborder deux questions centrales i) qu'est ce qui crée la force produite à la pédale ? ii) que peut-on attendre d'une évaluation énergétique mécanique du mouvement de pédalage? Ces deux points sont abordés à partir d'un protocole de tests de type incrémentiel tel que l'exige la Fédération Française de Cyclisme. Les résultats ont été obtenus sur une cohorte de coureurs Elite. / Numerous studies investigated and still investigate pedaling motion in cycling from a biomechanical point of view. These studies involve various fields, like technologic for improving the material which has considerably evolved, physiologic for physical capacities and energy efficiencies' improvement according to pedaling styles, and biomechanics for motion's expertise and pedaling efficiency in particularly. This work takes part in the last scientific field: the biomechanics of movement.</br>This work received a call for proposals of the AFLD (Agence Française de la Lutte contre le Dopage) in order to: "[SIC] rearm regarding doping by adopting original and practical approaches, considering scientific environment of doped athletes" by focusing on the themes of "[SIC] Work, power and energy efficiency".</br>In this context, the general objective of this work is the biomechanical evaluation of cyclist's profile in laboratory conditions. For this, an experimental platform has been validated and allowed us to follow two central issues i) How is created the force produced to the pedal? ii) What can be expected from a mechanical energy evaluation of pedaling motion? These two points are discussed through incremental protocol tests as required by the French Cycling Federation. The results were obtained on a cohort of Elite cyclists.

Das Jahr is considered Fanny Hensel's most impressive accomplishment of piano solo work. However, the only modern edition that is extant includes many additional editorial markings. By further analyzing the sections that are technically challenging or musically demanding from an interpretive standpoint, pianists wishing to perform the work will have to find workable fingerings and pedal markings to learn this piano cycle. For this reason, this dissertation will not only provide readers with an original text of Das Jahr, but also assist pianists in finding practical solutions that can help them to interpret this distinctive work successfully on the modern piano.

No description available.