Thesis (M.A.)--Abilene Christian University, 1996. / Includes abstract. Includes bibliographical references (leaves 86-88).

Thesis (M.A.)--Trinity International University, 2001. / Abstract. Includes bibliographical references (leaves 152-159).

Thesis (M.A.)--Trinity International University, 2001. / Abstract. Includes bibliographical references (leaves 152-159).

Submitted by Lucas Kaique Martins Roncaselli (lucaskaiique@hotmail.com) on 2016-03-31T19:01:49Z No. of bitstreams: 1 dissertação - Fabricação e caracterização elétrica de filmes nanoestruturados de derivados do politiofeno.pdf: 2213057 bytes, checksum: 090f4d69287d8df3078f3e9849957e37 (MD5) / Approved for entry into archive by Felipe Augusto Arakaki (arakaki@reitoria.unesp.br) on 2016-04-05T13:52:15Z (GMT) No. of bitstreams: 1 roncaselli_lkm_me_prud.pdf: 2213057 bytes, checksum: 090f4d69287d8df3078f3e9849957e37 (MD5) / Made available in DSpace on 2016-04-05T13:52:15Z (GMT). No. of bitstreams: 1 roncaselli_lkm_me_prud.pdf: 2213057 bytes, checksum: 090f4d69287d8df3078f3e9849957e37 (MD5) Previous issue date: 2016-02-19 / Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Neste trabalho foram utilizados derivados alquilados do politiofeno (P3ATs), sendo eles regioirregulares (RI) e regiorregulares (RR), diferenciados pela organização molecular. Esses materiais apresentam diferentes características quando fabricados usando técnicas diferentes como, a Langmuir-Blodgett (LB) e a Langmuir-Schaeffer (LS). O objetivo fica em fabricar filmes mistos com ambas as técnicas LB e LS, sendo os derivados misturados com ácido esteárico (Stearic Acid, SA), afim de verificar os diagramas de energia de acordo com a organização e condutividade de cada politiofeno. Foram depositados filmes de LB e LS de poli(3-butiltiofeno) (P3BT), poli(3-hexiltiofeno) (P3HT), poli(3-octiltiofeno) (P3OT) e de poli(3-dodectiltiofeno) (P3DDT). Os P3ATs poli(3-alquiltiofenos) foram depositados em ITO (Indium-Tin Oxide), e realizado para a caracterização desses materiais de espectroscopia UV-Visível, eletroquímicas e condutividade. Através dessas medidas foi possível estabelecer uma relação entre a organização, reversibilidade e condutividade desses materiais, possibilitando construir um diagrama de energia para esses derivados alquilados do politiofeno. / In this work we were used alkylated derivatives of polythiophene (P3ATs), and they regioirregulares (RI) andregiorregulares (RR), differentiated by molecular organization. These materials exhibit different characteristics when manufactured using different techniques such as the Langmuir-Blodgett (LB) and Langmuir-Schaeffer (LS). The objective is to manufacture mixed films with both LB and LS techniques, and derivatives mixed with stearic acid (Stearic Acid SA) in order to check the energy diagram according to the conductivity of each organization and polythiophene. LB films were deposited and LS poly(3-butylthiophene) (P3BT), poly(3-hexylthiophene) (P3HT), poly(3-octylthiophene) (P3OT) and poly(3-dodectiltiofeno) (P3DDT). The P3ATs poly(3-alquiltiofenos) were deposited on ITO (Indium-Tin Oxide), and held for characterizing these materials spectroscopy UV-Visible, electrochemical, and conductivity. Through these measures it was possible to establish a relationship between the organization, reversibility and conductivity of these materials, making it possible to build an energy diagram for these alkylated derivatives of polythiophene.

Este trabalho tem o objetivo de marcar uma viés de recepção sugerido por uma das obras mais representativas da musique concrète: a Symphonie pour un Homme Seul. Propõe delimitar, através da abordagem especificamente desta obra, a poética do uso da voz e dos sons corporais nesta prática musical que sofreu uma influência direta da criação dramática radiofônica por via do desvio do ambiente de criação do rádio para a música, efetuado por seu criador, Pierre Schaeffer. O viés da recepção levantado na obra e destacado pela pesquisa consiste em uma Escuta da Intimidade, conceito que se refere a um vetor de identificação na escuta trazido por via de traços sonoros deixados pelas manifestações do corpo e inscritos na obra. Este vetor pode se dar, seja por uma noção imaginária de proximidade entre a emissão virtual dos sons e o lugar da escuta, seja pela sugestão de uma intencionalidade no ouvinte que toma por seus os sons escutados, como se os tivesse emitido. Estes traços da intimidade são trazidos pela influência da poética radiofônica e são inscritos de forma contínua no seu suporte - a gravação sonora. A partir da análise das estratégias composicionais de um dos movimentos da obra, Erotica, e da comparação de seu original com uma versão realizada em performance, espera-se salientar as particularidades de sua inscrição sonora, as quais decorrem na escuta da intimidade que pontuamos aqui. / Our aim in this work is to point out a possible strategy of reception enabled by one of the most representative works of Musique Concrète: the Symphonie pour un homme seul. It also proposes to understand the use of a \"poetics of the voice\" and of bodily sounds in such musical practice, which are the result of the influence of the radiophonic drama via a departure from the media of radio to music operated by its creator, Pierre Schaeffer. The specific strategy of reception brought by the Symphonie and pointed out in our work consists in a Listening of Intimacy. This concept refers to a kind of listening that identifies bodily traces left inscribed in the music. This vector of listening can be seen as much as an imaginary proximity between the sounding sources and the listener´s position, as a suggestion of an intentionality on the listener, which takes as yours the sounds he listened as if they came from his own emission. Those intimacy traces are brought together by the influence of the radiophonic poetics and are inscribed in the material support of the works - the audio recording. From the analysis of one of the movements of the piece, Erotica, and the comparison of the orginal version with a transcription for performance with live musicians, we hope to put forward the specificities of its (sound inscription, which results on the listening of intimacy that we hereby present. viii

Uppsatsen jämför en teistisk-metafysisk och en existentiell trosförståelse när det gäller deras förklaringar till att en människa har att förhålla sig till vissa värden som objektivt givna, och vad som krävs av en människa för att få tillgång till denna kunskap. Som representant för det teistisk-metafysiska perspektivet används Francis A. Schaeffer och för det existentiella Paul Tillich.

by Daymon Johnson. / Typescript. / Ph. D. Florida State University 1994 / Includes bibliographical references.

No description available.

No description available.

This dissertation is a thorough examination of the problems modern composers of electronic music face when writing or discussing acousmatic music as derived from Pierre Schaeffer. By taking a close examination of Schaeffer's own writings on the subjects of reduced listening and acousmatic sounds, I illustrate the difficulties and inconsistencies in Schaeffer's philosophy and the problems that his reliance on Husserl's phenomenology creates. Further examination of criticisms of Husserl from Derrida and Heidegger highlight the ways that Schaeffer's phenomenology needs to be updated for the modern acousmatic composer. Articles by modern acousmatic composers such as Adrian Moore, Denis Smalley, Simon Emmerson, and others illustrate how artists have dealt with the problems in Schaeffer's ideas and the inconsistent ways they have applied his principles of sound and the sound object. I argue that a new method of musical meaning as a method of composition and analysis is necessary to resolve these conflicts and inconsistencies. This method is found in the writings of J.L. Austin, and Ludwig Wittgenstein through Andrew Chung, who places significant emphasis on the actions and effects that music takes. By reframing the acousmatic problem through meaning-as-use, I attempt to modernize Schaeffer's conceptions of sound and emphasize the significance of the ways that sound is used by composers as the crux of a modern acousmatic praxis.