Submitted by ANA CLARA DE SOUZA PAIVA null (acspaiva@rc.unesp.br) on 2017-03-24T14:09:32Z No. of bitstreams: 1 Tese Final para Impressão Divisa.pdf: 2998595 bytes, checksum: 0e6aeaf0257f6918935850088fb5c68d (MD5) / Approved for entry into archive by Luiz Galeffi (luizgaleffi@gmail.com) on 2017-03-24T17:53:11Z (GMT) No. of bitstreams: 1 paiva_acs_dr_rcla.pdf: 2998595 bytes, checksum: 0e6aeaf0257f6918935850088fb5c68d (MD5) / Made available in DSpace on 2017-03-24T17:53:11Z (GMT). No. of bitstreams: 1 paiva_acs_dr_rcla.pdf: 2998595 bytes, checksum: 0e6aeaf0257f6918935850088fb5c68d (MD5) Previous issue date: 2017-03-10 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Diferentes experiências rítmicas podem influenciar funções psicoacústicas durante a reprodução de estruturas rítmicas. A periodicidade do pulso é um elemento básico, presente no ritmo musical, unido ao agrupamento de eventos sucessivos e que é essencial à compreensão e interpretação de estruturas de sequências sonoras. O objetivo deste estudo foi avaliar os efeitos da experiência musical no campo da dança e da música no padrão perceptivo-motor de reprodução de estruturas rítmicas monotônicas e musicais organizadas em tarefas com crescente complexidade. Foram selecionados previamente 60 adultos jovens para compor três grupos: 1) grupo com experiência com ritmo constituído por músicos (MU; n = 20); 2) grupo com experiência com ritmo constituído de dançarinos (DA; n = 20); e 3) grupo sem experiência profissional com música e dança (SE; n = 20). Os três grupos realizaram dois testes psicoacústicos rítmicos: o primeiro, um teste de percepção e reprodução de estruturas rítmicas monotônicas que consistia em ouvir a um estímulo rítmico e reproduzi-lo imediatamente, e o segundo, um teste de percepção e reprodução de estruturas rítmicas musicais, em que a sequência rítmica apresentada é reproduzida simultaneamente à escuta. As variáveis analisadas incluíram frequência de acertos (FA) para ambos os testes, regularidade temporal (RT) do tempo de início da resposta (s), duração (s) dos pulsos e pausas de cada estrutura rítmica para o teste monotônico. E no teste musical a variável sincronismo (SINC) foi verificada pela diferença relativa (%) entre a estrutura temporal do teste e a estrutura temporal da resposta. Os valores SINC foram subdivididos em desvio temporal do pulso e desvio temporal da pausa (componentes psicoacústicos rítmicos). Os resultados encontrados foram divididos em: Etapa 1 - Efeitos da experiência musical e da natureza de testes rítmicos monotônicos e musicais na percepção rítmica, Etapa 2 - Efeitos da memória na regularidade temporal da resposta rítmica, e Etapa 3 - Padrão perceptivo-motor de sincronização rítmica. Os resultados encontrados na Etapa 1 mostraram diferenças entre os grupos com e sem experiência musical. O grupo de MU teve FA acima de 90% nos dois testes. A reprodução do teste musical refletiu o desempenho superior pelos grupos SE e MU comparados ao desempenho no teste monotônico. Em ambos os testes encontramos efeito de complexidade da tarefa apenas para estruturas terminais da sequência, porém com particularidades na variabilidade para cada grupo. Em relação à regularidade temporal do teste monotônico apenas pausas foram variáveis associadas com diferenças entre grupos e complexidade da tarefa. O SINC mostrou que variabilidade da pausa é o parâmetro indicativo de diferenças entre grupo, confirmando o desempenho superior dos grupos com experiência com música. Concluímos que a experiência musical dos participantes teve efeito sobre o padrão perceptivo-motor durante o processamento da informação psicoacústica de estruturas rítmicas com testes monotônicos e musicais, particularmente em parâmetros de variabilidade. A complexidade dos padrões rítmicos parece ter impacto de dificuldade apenas em estruturas terminais em ambos os testes. / Different rhythmic experiences can influence psychoacoustic functions during the reproduction of rhythmic structures. The frequency of the pulse is a basic element in the musical rhythm and the grouping of successive events are essential to the understanding and interpretation of sound sequences. The purpose of this study was to evaluate the effects of musical experience in the field of dance and music on perceptive-motor pattern of monotonic rhythm and musical rhythm with structures organized into tasks with increasing complexity. Sixty young adults were selected to comprise three groups: 1) group with experience with rhythm consisting of musicians (MU; n = 20); 2) group with experience with rhythm consisting of dancers (DA; n = 20); and 3) group without experience with music or dance (SE; n = 20). The three groups performed two tests: the first test of perception and reproduction of monotonic rhythmic structures that were responded immediately after their presentation; the second test required perception and synchronization of tapping to musical rhythmic structures. The variables we examined included frequency of correct performance (FA) in both tests, temporal regularity (RT) of initiation of the response, duration of pulses and pauses of each rhythmic structure for monotonic test. In the musical test timing (SINC) was verified using the relative difference (%) between the temporal structure of the test and the temporal structure of the response. The values SINC were subdivided into temporal deviation of pulse and pause (psychoacoustic rhythmic components). The results were divided in: 1- Effects of musical experience and nature of monotonic rhythm and musical rhythm tests on rhythm perception, 2 - Memory effects on temporal rhythmic regularity, and 3 - Perceptual-motor pattern of rhythm synchronization. The results showed differences between the groups with and without musical experience. The MU group showed a 90% FA in both tests. Performance in the music test reflected superior performance by groups with musical experience compared to performance in the monotonic test. In both tests effect of task complexity was found only in the terminal sequence structures, but with distinctive variability for each group. In relation to temporal regularity of the monotone test, pauses were the variables associated with deterioration of performance in relation to complexity of the task. The SINC has shown that variability of pause is the parameter that detected differences between groups, confirming the superior performance of groups with experience with music. We conclude that experience with music had an effect on the perceptual-motor pattern during the processing of structures with monotonic and musical psychoacoustic rhythms, particularly of parameters of variability. The complexity of rhythmic patterns seems to appear in terminal structures in both tests.

O clima apresenta uma importância indiscutível, constituindo-se num dos mais relevantes elementos da biosfera, desta forma imprescindível o conhecimento minucioso de sua dinâmica, bem como de sua interação com os outros elementos do ambiente. Optou-se pelo estudo de uma \"bacia hidrográfica\" pelas facilidades de análise que a mesma oferece, pois por se tratar de uma unidade bem delimitada, todos os processos geológicos, geomorfológicos, hidrológicos, pedológicos, climatológicos, entre outros, ocorrem, em seu limite natural. Para tanto, selecionou-se a Bacia do Ribeirão do Lobo, por apresentar uma consistência de dados meteorológicos fundamentais para este estudo, e por abranger uma área de foco de muitas pesquisas em diversas áreas do conhecimento. Assim, uma das metas desta pesquisa foi apresentar informações climatológicas que subsidiarão a compreensão dos fenômenos interligados em outras áreas. A concepção climática elaborada por SORRE (1951) e na análise rítmica preconizada por MONTEIRO (1971) foram os conceitos norteadores desta pesquisa, entretanto, numa primeira etapa efetuou-se uma abordagem climática tradicional, utilizando-se de estatística e de computação, para definir as tendências ao longo da referida bacia hidrográfica. Assim, sob a temática do clima, foram analisados quatro episódios representativos, descrevendo o comportamento da circulação atmosférica e as repercussões nos elementos climáticos. / The climate presents an unquestionable importance, being constituted in one of the most important elements of the biosphere, thus becoming indispensable the meticulous knowledge of its dynamics, as well as its interaction with the other elements ofthe atmosphere. The study of a hydrographic basin was opted due to its easiness of analysis therefore for being a well delimited physical unit, all the geological processes, geomorphologic, hidrologic, pedologic, climatological, amog others, occur in its natural boundary. For this purpose, the Wolf River System was selected, by presenting a consistence of fundamental meteorological data for this study, and for comprising a focus area of many researches in several areas of knowledge. Thus, one of the goals of this research was to present climatological information that will subsidize the understanding of the interlinked phenomena in other areas. The climactic conception elaborated by SORRE (1951) and in the rhythmic analysis extolled by MONTEIRO (1971) were the guideline of this research, however, in a first stage it occurred a traditional climactic approach, making use of the statistics and of the computation, to define the tendencies along referred hydrographic basin. So, under the optics dynamics of the climate, four representative episodes were analyzed, describing the behavior of the atmospheric circulation and the repercussions in the climactic elements.

Este trabalho se propõe a investigar o trânsito de informações musicais que se dá no campo de intersecção existente entre o universo do violão solo, em especial aquele ligado à música erudita ou de concerto, e o universo da canção popular no Brasil. Foram realizadas entrevistas com sete mestres de reconhecida atuação nos universos abordados. Sérgio Assad, Marco Pereira e Paulo Bellinati ligados à prática do violão solo; João Bosco, Paulo César Pinheiro e Luiz Tatit, à canção popular; e Guinga, que atua na face de contato entre os campos estudados. A opção pelo formato de montagem permite que os diversos discursos convivam entre si por meio dos sete capítulos que compõem esta dissertação. Essa montagem pode ser acompanhada através da leitura das transcrições descritivas das entrevistas realizadas e da escuta dos tracks do DVD anexo. Assim, o presente trabalho se vale tanto dos recursos próprios da tradição escrita quanto de recursos que obedecem à dinâmica da tradição não-escrita, os quais se complementam nesta pesquisa a fim de contemplar a natureza da matéria musical nascida da interação entre estes universos. / The present work investigates the exchange of musical information within the intersection between the universe of solo guitar - especially when connected with classical music - and the universe of Brazilian popular song. For this purpose seven renowend guitar masters from both universes were interviewed: Sérgio Assad, Marco Pereira and Paulo Bellinati - connected to solo guitar practice; João Bosco, Paulo César Pinheiro and Luiz Tatit, linked to popular song; and Guinga, whose work is in the intersection zone between the two previous approaches. Through a montage format, the various discourses are able to weave among each other in the seven chapters that comprise this dissertation. One can accompany this montage by reading the descriptive transcriptions of the interviews, and by listening to the tracks on the accompanying DVD. Therefore, the work employs both tools from the written tradition and tools which respect the dynamics of non-written tradition, which complement one another IN the goal to embrace the characteristics of musical material generated from the interaction of both universes.

O presente trabalho procura descrever e avaliar possibilidades de reconhecimento de ambiguidades rítmicas a partir da perspectiva do ouvinte musical. Adota como principais referenciais: a análise de cenário auditivo, de Bregman (1990); a percepção por categorias, de Clarke (1987); o conceito de relógio interno, de Povel e Essens (1985) e a indução do tempo musical, de Povel e Okkerman (1981); o modelo de regras de preferência, de Lerdahl e Jackendoff (1983), depois desenvolvido por Temperley (2001); os critérios de padrões inerentes e o padrão da linha do tempo, de Kubik (1962); conceitos da psicologia da expectativa, de Huron (2007) e a aplicação de princípios gestálticos a processos cognitivos de percepção do ritmo. Com base neste referencial teórico, propõe parâmetros organizados como fatores endógenos e exógenos para a verificação de aspectos relacionados à maneira como ouvintes médios percebem as articulações rítmicas propostas nos exemplos musicais propostos. Por considerar que os compassos iniciais de uma obra constituem uma fase onde ocorre o processo de indução da percepção métrica, os exemplos musicais são constituídos de análises de trechos iniciais de obras musicais potencialmente ambíguos nomeadamente, Sinfonia n. 5, op. 67 (I), Sonata para piano, op. 14, n. 2 (I), Sonata para piano, op. 109 (I), de Beethoven; Quarteto de cordas, op. 51 n. 1 (I), de Brahms; Sinfonia n. 5, op. 64 (III), de Tchaikovsky. Traz, ainda, um exemplo de ambiguidade entre Ijexá e Drum n´Bass. Na conclusão, defende a ideia de que alguns modelos cognitivos atuais são capazes de justificar percepções auditivas ambíguas. / This study describes and evaluates the recognition of possibilities of rhythmic ambiguity from the perspective of the musical listener. Adopts as main references: the Auditory Scene Analysis, by Bregman (1990); the Categorical Rhythm Perception, by Clarke (1987); internal clock concept, by Povel and Essens (1985), and induction of musical time, by Povel and Okkerman (1981); the preference rule model, by Lerdahl and Jackendoff (1983), later developed by Temperley (2001); Inherent patterns and Timeline pattern criteria, by Kubik (1962); Psychology of Expectation concepts, by Huron (2007), and application of Gestalt principles to cognitive processes of rhythm perception. Based on this theoretical framework it proposes parameters organized as endogenous and exogenous factors to verify aspects related to the perception of proposed articulations by averages listeners, in the proposed rhythmic musical examples. Considering that the initial measures of a work constitute a stage where the induction process of meter perception occurs, the musical examples are made up of initial excerpts analysis from musical works potentially ambiguous namely, Symphony no. 5, op. 67 (I), Piano Sonata, op. 14, no. 2 (I), Piano Sonata, op. 109 (I), by Beethoven; String Quartet, op. 51 no. 1 (I), by Brahms; Symphony no. 5, op. 64 (III), Tchaikovsky. This paper also provides an example of ambiguity between Ijexá pattern and Drum n\'bass pattern. In the conclusion, defends the idea that some current cognitive models are able to justify ambiguous auditory perceptions.

Esta pesquisa teve por objetivo analisar como certas práticas e representações das ciências influenciaram a concepção de corpo feminino presente nos primeiros livros brasileiros de Ginástica Feminina e Rítmica, objeto circunscrito, assim, pelas temáticas de gênero, corpo feminino e história da ciência. A ciência, considerada como elemento cultural na sociedade, tematizando, influenciando e sofrendo influência da cultura, pode tanto agir sobre a concepção de corpo como produzi-la, através de um discurso prescritivo. Antes tratado somente em comparação ao homem, o lugar do corpo feminino pode ser realçado a partir da Ginástica Feminina e Rítmica, prática corporal elaborada originalmente para as mulheres. A análise de cunho histórico dos primeiros manuais da modalidade no Brasil, de meados do século XX, incluindo a investigação de seus enquadramentos contextuais e de elementos das trajetórias de suas autoras, permitiu a compreensão da influência de algumas visões de ciência sobre expectativas a respeito do corpo feminino e das formas de intervenção sobre ele. Além de notar a presença de aspectos relacionados a ideias e conteúdos de determinadas ciências, como noções de evolução e experimentação, mostramos como os manuais analisados partem de uma certa visão de ciência para almejar sistematicidade, estruturar sua argumentação e empregar imagens. Nos manuais, a mulher, seu corpo e o feminino são representados como dotados de uma essência natural, mas que é passível de intervenção e cuidado por meio da Ginástica Feminina e Rítmica / The aim of this investigation was to analyze how certain practices and representations of the sciences influenced the conception of the female body in the first Brazilian handbooks of Womens and Rhythmic Gymnastics (an object thus circumscribed by the themes of gender, the female body and history of science). Considered as a cultural element in society, thematising, influencing and being influenced by culture, science can at the same time act upon conceptions of the body and construct it through a prescriptive discourse. Beforehand considered only in comparison to male bodies, the place of female ones can be highlighted within the universe of Womens and Rhythmic Gymnastics, bodily practices originally designed for women. The historical analysis of the first Brazilian handbooks of such practices, dating from the mid-twentieth century, including their contexts and elements of the trajectories of their authors, allowed us to understand the bearing of some visions of science on expectations about the female body and ways of intervening on it. In addition to noting the presence some ideas and contents related to certain sciences, such as notions of evolution and experimentation, here we show how the handbooks are based on a certain vision of science that leads to claims of systematicity, as well as structures their arguments and use of images. In the handbooks, women, their bodies, and the feminine are represented as having a natural essence, one that is nevertheless subject to intervention and care through Womens and Rhythmic Gymnastics

The goal of this thesis is to explore different control strategies to execute rhythmic movements. This issue is covered both with design perspectives (implementation in a robot) and analysis perspectives. Indeed we aim at analyzing both our robot behavior, and the behavior of human subjects executing the same task. Interesting parallels between these data sets are raised, illustrating for instance the ubiquitous trade-off of control theory between performance and robustness. / L'objectif de cette thèse est d'explorer différentes stratégies d'exécution des mouvements rythmiques. Cet objectif est couvert à la fois dans des perspectives d'implémentation (sur un robot) et d'analyse. En effet, nous souhaitons analyser à la fois le comportement de notre robot, et le comportement de sujets humains exécutant la même tâche. Des parallèles intéressants, entre les deux ensemble de données, sont proposés et illustrent, par exemple, le compromis entre la robustesse et la performance, souvent utilisé dans la thèorie du contrôle.

This thesis demonstrates how an interdisciplinary, organic music program built on the theory of Alfred North Whitehead and the practice of Carl Orff fosters freedom, imagination, creative expression, discipline, and wisdom so that children may learn about themselves, others, and the living world through an interdisciplinary approach to music. The thesis also addresses the failure of music educators to fully recognize and embrace the compatibility of Orff and Whiteheads work and the subsequent deficiency of school systems to provide aesthetic experiences through elementary music programs that develop wisdom.<p> The thesis underlines the importance of education that enables balanced growth in children; provides an historical perspective on the factors that contributed to the development of Orffs Schulwerk; emphasizes the importance of arts education in Whiteheads educational philosophy; and provides a constructive proposal for a music education program utilizing the philosophy and practice of Whitehead and Orff. The potentiality for music education and a process-based approach combining the work of Orff and Whitehead designed to nurture growth and wisdom and help children live life to the fullest, are underscored.

In this thesis I argue in favour of student-oriented education for China based on the educational philosophy of Alfred North Whitehead. Whiteheads educational thought, while Western in origin, has a strong appeal for Chinese educators because of its openness to other cultural traditions.<p> My own experience as a student and teacher, coupled with a general review of the history of education in China, shows how education is, and has been, exclusively defined by students success in exams. This approach, which I refer to as test-oriented education, is problematical because, by overemphasizing students performance in exams, it abstracts learning from their experience. The result is that learning becomes boring and useless to most students, and they do not see the relevance of education to life.<p> In contrast, Whitehead proposes that education be based on students rich experience and that its aim should be their full self-development as beings imbued with body, mind and spirit. I refer to this approach as student-oriented education, and I believe it would provide more humane, well-rounded, and culturally appropriate forms of learning to Chinese students. More specifically, Whiteheads protest against inert ideas underlines the importance of two key concepts in education, namely the interest of students and the usefulness of knowledge. Second, his conception of learning, or the rhythm of education, works as a guide in making education interesting and useful. Third, his account of technical education helps to restore a balance between abstraction and concreteness, precision and romance, discipline and freedom, education and life, and his insights on arts and aesthetic appreciation strengthen the life of the spirit by directing students attention to the value and beauty in their lives. Finally, his advocacy of a balanced education enables a balanced development of students by paying equal attention to their bodily feelings, spiritual cultivation, and intellectual capabilities. In this manner, education can evoke into life wisdom and beauty which otherwise would remain lost in the past.

Rett syndrome is a neurodevelopmental disorder that is predominately caused by mutations of the MECP2 gene. As neuronal apoptosis is not observed in RTT patients and MeCP2-deficient mice, the neurological deficits may be reversible. To address this, we reactivated MeCP2 expression ubiquitously in MeCP2-deficient mice after symptom onset. Our results showed that life span, behavioural performances, EEG activity, thermoregulation, and daily rhythmic activity were significantly improved after MeCP2 reactivation. Furthermore, the extent of improvement was dependent upon the efficiency of MeCP2 reactivation. To assess the role of the catecholaminergic system in Rett syndrome pathophysiology, we selectively preserved MeCP2 function within tyrosine hydroxylase expressing cells. We observed a significant improvement in the life span of male rescue mice and reduced sudden unexplained death rates in female rescue mice. Behavioural performances and EEG patterns were also significantly improved.

Rett syndrome is a neurodevelopmental disorder that is predominately caused by mutations of the MECP2 gene. As neuronal apoptosis is not observed in RTT patients and MeCP2-deficient mice, the neurological deficits may be reversible. To address this, we reactivated MeCP2 expression ubiquitously in MeCP2-deficient mice after symptom onset. Our results showed that life span, behavioural performances, EEG activity, thermoregulation, and daily rhythmic activity were significantly improved after MeCP2 reactivation. Furthermore, the extent of improvement was dependent upon the efficiency of MeCP2 reactivation. To assess the role of the catecholaminergic system in Rett syndrome pathophysiology, we selectively preserved MeCP2 function within tyrosine hydroxylase expressing cells. We observed a significant improvement in the life span of male rescue mice and reduced sudden unexplained death rates in female rescue mice. Behavioural performances and EEG patterns were also significantly improved.