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O objetivo deste trabalho é oferecer uma leitura interpretativa para performance de quatro obras corais religiosas à capela do compositor brasileiro Osvaldo Lacerda: Pai Nosso (1978), Ave Maria (1979), Poema de Natal (1982) e Dai-nos Forças, Senhor (2000). O primeiro capítulo apresenta análises das quatro obras a partir de sua submissão ao Referencial de Análise de Obras Corais (RAMOS, 2003). O procedimento para utilização do referencial foi responder aos seus itens, escolher as respostas de interesse e redigir o texto dissertativo a partir delas, com o auxílio de textos escritos por Osvaldo Lacerda quando membro da Comissão de Música Sacra do Concílio Vaticano II. Partindo da realização musical desse repertório como regente assistente frente ao Coral da ECA-USP, o autor aborda no segundo capítulo as questões interpretativas de cada peça e as relaciona sob o ponto de vista de sua performance, por meio de um relato de campo que aponta aspectos relevantes do seu processo de preparação e execução. Este trabalho, portanto, fornece uma dentre as várias possibilidades de interpretação e performance desse repertório. / The purpose of this work is to provide an interpretative reading for the performance of four religious choral pieces a cappella written by the Brazilian composer Osvaldo Lacerda: Pai Nosso (1978), Ave Maria (1979), Poema de Natal (1982) and Dai-nos Forças, Senhor (2000). The first chapter presents the analysis of the four pieces after submitting them through the Analysis Referential for Choral Works (RAMOS, 2003). The procedure was to select significant answers and start writing the argumentative text from them, having as the main support texts written by Osvaldo Lacerda when he was a member of the National Comission of Sacred Music of the Vatican Council II. Admitting as the starting point the musical execution of this repertoire as assistant conductor of Coral da ECA-USP, the author addresses in the second chapter the interpretative questions of each piece and relates them under the matter of performance, through a field report comprising relevant aspects of their preparation and execution process. This paper, therefore, provides one among many possibilities of interpretation and performance of this repertoire.

O objetivo deste trabalho é oferecer uma leitura interpretativa para performance de quatro obras corais religiosas à capela do compositor brasileiro Osvaldo Lacerda: Pai Nosso (1978), Ave Maria (1979), Poema de Natal (1982) e Dai-nos Forças, Senhor (2000). O primeiro capítulo apresenta análises das quatro obras a partir de sua submissão ao Referencial de Análise de Obras Corais (RAMOS, 2003). O procedimento para utilização do referencial foi responder aos seus itens, escolher as respostas de interesse e redigir o texto dissertativo a partir delas, com o auxílio de textos escritos por Osvaldo Lacerda quando membro da Comissão de Música Sacra do Concílio Vaticano II. Partindo da realização musical desse repertório como regente assistente frente ao Coral da ECA-USP, o autor aborda no segundo capítulo as questões interpretativas de cada peça e as relaciona sob o ponto de vista de sua performance, por meio de um relato de campo que aponta aspectos relevantes do seu processo de preparação e execução. Este trabalho, portanto, fornece uma dentre as várias possibilidades de interpretação e performance desse repertório. / The purpose of this work is to provide an interpretative reading for the performance of four religious choral pieces a cappella written by the Brazilian composer Osvaldo Lacerda: Pai Nosso (1978), Ave Maria (1979), Poema de Natal (1982) and Dai-nos Forças, Senhor (2000). The first chapter presents the analysis of the four pieces after submitting them through the Analysis Referential for Choral Works (RAMOS, 2003). The procedure was to select significant answers and start writing the argumentative text from them, having as the main support texts written by Osvaldo Lacerda when he was a member of the National Comission of Sacred Music of the Vatican Council II. Admitting as the starting point the musical execution of this repertoire as assistant conductor of Coral da ECA-USP, the author addresses in the second chapter the interpretative questions of each piece and relates them under the matter of performance, through a field report comprising relevant aspects of their preparation and execution process. This paper, therefore, provides one among many possibilities of interpretation and performance of this repertoire.

No description available.

La fabrication additive (FA) est devenue une nouvelle alternative pour la fabrication des pièces dans l'industrie. Cependant, il existe encore des limites pour ce procédé, en particulier la forme finale défavorable et les propriétés macroscopiques indésirables des pièces métalliques construites dans les systèmes de FA. La distorsion ou la fissure due à la contrainte résiduelle de ces pièces pose généralement de graves problèmes pour certains types de technologie de la FA métallique. Dans un système de FA, la qualité finale d'une pièce métallique dépend de nombreux paramètres de procédé, qui sont normalement optimisés par une série d'expériences sur des machines de FA. La simulation macroscopique dédiée au procédé de FA est une alternative potentielle pour les pièces métalliques fabriquées par la fabrication additive. Dans cette thèse, nous étudions d'abord le pré-processing de la simulation de FA par la méthode des éléments finis (FEM). Le procédé de fabrication additive est un phénomène multi-physique des champs couplés (champs thermique, mécanique et métallurgique). La simulation macroscopique est réalisée à deux niveaux différents. Au niveau de la couche, la reconstruction du modèle 3D est effectuée à partir du fichier de chemin de balayage de la machine de FA, basée sur la manipulation inverse de l'algorithme d'offsetting-clipping. Au niveau de la pièce, le modèle 3D de CAO est reconstruit dans un maillage des voxels, ce qui est pratique pour une pièce avec une géométrie complexe. Avec les températures de préchauffage différentes et les paramètres du procédé différents, la contrainte résiduelle d'une pièce est analysée. Ces simulations impliquent la technique potentielle pour réduire la contrainte résiduelle par l'optimisation des paramètres du procédé, au lieu de moyens traditionnels par augmenter la température de préchauffage. Basées sur la plateforme de simulation de FEM ci-dessus, deux simulations au niveau de ligne sont également étudiées dans cette thèse, visant à la relation entre le procédé de FA et la qualité finale de la pièce. Ces exemples démontrent la possibilité d'utiliser des simulations macroscopiques pour améliorer le contrôle de la qualité pendant le procédé de FA. Dans la première tâche, l'ensemble de données des paramètres de chauffage et la contrainte résiduelle sont générés par la simulation de FA. La corrélation entre eux est étudiée en utilisant des algorithmes de régression, tel que le réseau neuronal artificiel. Dans la deuxième tâche, un contrôleur de PID pour la boucle de rétroaction puissance-température est intégré dans la simulation de procédé de FA et l'auto-réglage de PID est numériquement étudié au lieu d'utiliser la machine de FA. Les deux tâches montrent le rôle important de la simulation de procédé macroscopique de FA, qui peut remplacer ou combiner les nombreuses expériences essai-erreur dans la fabrication additive métallique. / Additive manufacturing (AM) has become a new option for the fabrication of metallic parts in industry. However, there are still some limitations for this application, especially the unfavourable final shape and undesired macroscopic properties of metallic parts built in AM systems. The distortion or crack due to the residual stress of these parts leads usually to severe problems for some kinds of metal AM technology. In an AM system, the final quality of a metallic part depends on many process parameters, which are normally optimized by a series of experiments on AM machines. In order to reduce the considerable time consumption and financial expense of AM experiments, the numerical simulation dedicated to AM process is a prospective alternative for metallic part fabricated by additive manufacturing. Because of the multi-scale character in AM process and the complex geometrical structures of parts, most of the academic researches in AM simulation concentrated on the microscopic melting pool. Consequently, the macroscopic simulation for the AM process of a metallic part becomes a current focus in this domain. In this thesis, we first study the pre-processing of AM simulation on Finite Element Method (FEM). The process of additive manufacturing is a multi-physics problem of coupled fields (thermal, mechanical, and metallurgical fields). The macroscopic simulation is conducted in two different levels with some special pre-processing work. For the layer level, the reconstruction of 3D model is conducted from the scan path file of AM machine, based on the inverse manipulation of offsetting-clipping algorithm. For the part level, the 3D model from CAD is reconstructed into a voxel-based mesh, which is convenient for a part with complex geometry. The residual stress of a part is analysed under different preheat temperatures and different process parameters. These simulations imply the potential technique of reducing residual stress by the optimisation of process parameters, instead of the traditional way by increasing preheat temperature. Based on the FEM simulation platform above, two simulations at line level are also studied in this thesis, aiming at the relation between the AM process and part's final quality. These examples demonstrate the feasibility of using macroscopic simulations to improve the quality control during the AM process. In the first task, dataset of heating parameters and residual stress are generated by AM simulation. The correlation between them is studied by using some regression algorithm, such as artificial neural network. In the second task, a PID controller for power-temperature feedback loop is integrated into AM process simulation and the PID auto-tuning is numerically investigated instead of using AM machine. Both of the two tasks show the important role of AM macroscopic process simulation, which may replace or combine with the numerous trial and error of experiments in metal additive manufacturing.

Hymnus Paradisi (1938), a large-scale choral and orchestral work, is well-known as an elegiac masterpiece written by Herbert Howells in response to the sudden loss of his young son in 1935. The composition of this work, as noted by the composer himself and those close to him, successfully served as a means of working through his grief during the difficult years that followed Michael's death. In this dissertation, I provide linear analyses for Howells' Hymnus Paradisi as well as its predecessor, Howells' Requiem (1932), which was adapted and greatly expanded in the creation of Hymnus Paradisi. These analyses and accompanying explanations are intended to provide insight into the intricate contrapuntal style in which Howells writes, showing that an often complex musical surface is underpinned by traditional linear and harmonic patterns on the deeper structural levels. In addition to examining the middleground and background structural levels within each movement, I also demonstrate how Howells creates large-scale musical continuity and shapes the overall composition through the use of large-scale linear connections, shown through the meta-Ursatz (an Ursatz which extends across multiple movements creating multi-movement unity). Finally, in my interpretation of these analyses, I discuss specific motives in Hymnus Paradisi which, I hypothesize, musically represent the crisis of Michael's death. These motives are initially introduced in the "Preludio," composed out on multiple structural levels as Hymnus Paradisi unfolds, and, finally, I argue, are transformed as a representation of the process of healing, and ultimately, catharsis.

The purpose of this dissertation is to offer a pedagogical guide to Woodsprite and Waterbug Collection (1977) by Dan Beaty (1937-2002) through an analysis of its pedagogical values and teaching applications. This set consists of twelve short, intermediate-level pieces, featuring various contemporary idioms. Each piece is also pedagogically written to help intermediate students to refine specific pianistic techniques beyond the elementary level. In addition, Beaty's collection expands students' musical vision and musicianship for more advanced studies via the incorporation of contemporary music theory and techniques. These qualities make Woodsprite and Waterbug Collection a valuable tool for intermediate piano students. It is also useful for instructors searching for repertoire to introduce contemporary idioms. The author hopes that this study will encourage performers, teachers and scholars to consider this work and Beaty's other piano compositions. By studying Woodsprite and Waterbug Collection, students will be more appreciative of contemporary repertoire and will welcome learning similar pieces in the future.

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This diploma thesis deals with the topic of setting the poems of Josef Václav Sládek to music. The main source of the analyzed data is a bibliographic list of compositions, which was compiled after my own research in the databases and catalogues of the National Library of Czech Republic, the Municipal Library in Prague and Czech Museum of Music, as well as in specialised literature. The first chapter briefly summarizes the general principles of setting poetry to music and then it focuses on particular aspects of Sládek's poetics, which encourage composers to set his poems to music. The first chapter also outlines Sládek's poetics in different poetry collections. The second chapter gives a detailed analysis of the compiled bibliographic list of compositions in terms of the frequency in which particular poems have been set to music, the number of works composed by different authors, vocal and instrumental cast, and also time contexts. The third, and the most comprehensive chapter, is divided in accordance with the proposed semantically significant thematic areas of Sládek's poetic work - love poetry, poetry for children, peasantism and folk echo poetry and militantpatriotism. In the subchapters, Sládek's work is at first viewed through a literary prism, then the author attempts a musical analysis and...

Jack Heggie's 2011 song cycle Pieces of 9/11: Memories from Houston is a collection of six songs with texts by Gene Scheer. Commissioned by the Houston Grand Opera, it was premiered on September 11, 2011 at the Rothko Chapel in Houston, TX. Based on interviews with people from Houston by Gene Scheer, this cycle tells stories and experiences by those affected by the September 11, 2001 terrorist attacks on the World Trade Center in New York City, The Pentagon in Washington DC, and those aboard United Flight 93 that crashed in Shanksville, Pennsylvania. Scheer's acclaimed storytelling in each song is beautifully set to varying styles of music composed by Heggie, with the familiar theme from Bach's Cello Suite No. 1 in G Major, BWV 1007 woven throughout the cycle. This document is an in-depth look at the cycle to be used by vocal coaches and singers in their preparation and performance. The first introductory chapter is followed by a chapter detailing the song cycle from concept to fruition. The third chapter concentrates on the uses of Bach's Cello Suite No. 1 in G Major, BWV 1007. The fourth chapter discusses the six individual songs first by discussing the background of each text, then an analysis of the music, and concluding with the relevance to 9/11. Chapter 5 includes performance notes, gathered from interviews with Heggie, Scheer, and one of the girl sopranos, Ashley Traughber. Appendices include a timeline of events on 9/11, the three interviews, a chronology of Jake Heggie's vocal works to date, and the author's personal 9/11 story as I was just a few blocks away from the World Trade Center on 9/11.