Cyclotides are plant proteins with a unique topology, defined as the cyclic cystine knot motif. The motif endows cyclotides with exceptional chemical and biological stability. They also exhibit a wide range of biological activities including insecticidal, cytotoxic, anti-HIV and antimicrobial effects. Hence, cyclotides have become potential candidates in the development of peptide-based drugs; either as scaffolds to stabilize susceptible peptide sequences or as drugs by their own right. In this thesis, important parameters that could be inputs toward this development have been tuned. An extraction protocol that can be extended to industrial scale production of the cyclotides from natural sources was developed; accordingly, a single maceration with hydroalcoholic solutions of medium polarity represented an optimum extraction method. Moreover, it was shown that investigating the cyclotide content of cyclotide-bearing plants from diverse environments is a promising approach for extending the knowledge of both structural and biological diversity of these proteins. Five novel cyclotides with new sequence diversity were isolated and characterized from a violet that grows on Ethiopian highlands at an altitude of 3400 m. One of the areas where the cyclotide framework has attracted interest is the development of stable antimicrobial peptides. A stability study was carried out to determine the stability of the cyclotide framework in a cocktail of bacterial proteases and serum where the native forms of tested cyclotides exhibited high stability profile. Understanding the modes of cyclotide-cell interaction is certainly an important factor for the potential development of cyclotide-based drugs. Cellular studies were carried out using the comet assay and microautoradiography. A bell-shaped dose response curve was obtained for the DNA damaging effect of the cyclotides in the comet assay, which was the first toxicological assay of its kind on this class of proteins. The microautoradiography study revealed that the cyclotides penetrate into the cells even at cytotoxic concentrations. From previous reports, it was known that the cyclotides interact with membranes; the cellular studies in this thesis added to this knowledge by clearly demonstrating that these proteins have multiple modes of action.

The purpose of this study was to create a document which would provide a variety of insights into Mozart's Trio in E-Flat, K. 498, for piano, clarinet, and viola. Three specific areas were investigated. A melodic analysis of the work was developed with the intention of illuminating the structure of the musical material itself. This analysis explored the dual forces of unity and contrast. Specific motivic shapes were explored which serve to unite the various thematic areas of the work; other elements were identified which are consistently utilized to create contrast and conflict.Secondly, the writer undertook a comparison of current editions of K. 498. Editions were identified as one of three types. Those editions identified as Authentic sought to reflect Mozart's original manuscript; Interpretive editions presented an editorial view of the Trio. Imitative editions were developed entirely from previously existing editions. Comparisons were made both within individual categories as well as between categories. The writer conducted a personal investigation of Mozart's manuscript which provided valuable information regarding the authenticity of certain passages.The study concluded with an investigation of current views on the presentation of K. 498 in performance. Information was obtained from recorded performances of the Trio. In addition, the writer conducted a survey of the opinions of teachers and performers. Comments on the revision of specific passages relative to pitch are included, as well as opinions on tempo, meter, dynamics, articulations, stresses, balance, the interpretation of specific phrases, and musical character. / School of Music

Orientador: Emerson Luiz de Biaggi / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-12T12:06:02Z (GMT). No. of bitstreams: 1 Pereira_AntonioCarlosdeMello_M.pdf: 3600416 bytes, checksum: c92d7d21bb89a916777ef4de9d4054a7 (MD5) Previous issue date: 2008 / Resumo: Este trabalho tem o intuito de contribuir para a pesquisa e o enriquecimento do repertório de música brasileira específica para viola, em vista da pouca quantidade de obras em forma de concerto escritas para o instrumento no Brasil. A produção de uma partitura editada e a redução no formato para viola e piano, permite em primeiro lugar o estudo de forma prática da obra por músicos e professores, e conseqüentemente sua aplicação no currículo das escolas de música, conservatórios e universidades. Isso contribui para divulgar esse concerto especialmente representativo na obra de Claudio Santoro. O trabalho de edição utiliza sugestões de James Grier, com uma investigação histórica sobre as fontes, estabelecendo critérios de revisão e edição fundamentados num estudo e identificação dos elementos de estilo do compositor. Em seguida realizamos uma análise da peça seguindo a proposta de Jan LaRue em seu livro Guidelines for Style Analysis, que igualmente propõe a identificação dos elementos musicais, suas inter-relações que ajudam a definir aspectos de estilo do compositor. Finalizando, oferecemos informações e sugestões como subsídios para a interpretação do concerto, sempre lembrando a conexão da parte teórica e analítica com a realidade prática do intérprete. As sugestões de sonoridades específicas são embasadas em aspectos técnicas da prática violística com especificações em dedilhados, arcadas, e articulações. / Abstract: The primary purpose of this study is to contribute to the research on the contemporary Brazilian repertoire for viola, which has very few concertos. The musical edition prepared in this research, including the score, the reduction for viola and piano, and the solo-viola part, will allow its study by musicians, teachers and students, and consequently its inclusion in the curriculum of conservatories, music schools and universities. This way we hope to help preserving this concerto so representative of Claudio Santoro's musical production. The edition process was based on James Grier's suggestions, using historic investigation of the sources and establishing review and edition criteria based on the identification of the composer's style. In the sequence of the study, we use the method proposed by Jan LaRue's in his book "Guidelines for Style Analysis" to identify the musical elements and its inter-relation to help define aspects of the composer's style. Finally, we offer information and subsidies for the interpretation of the concert, connecting analysis and instrumental practice, with suggestions about musical and technical problems. / Mestrado / Mestre em Música

The main goal of the following diploma thesis is to analyse the marketing and communication strategy of Viola theatre and to suggest its future improvements. The thesis itself contains eight chapters, divided into theoretical and practical parts. First four theoretical chapters are devoted to marketing, marketing mix, situation analysis and marketing and commercial communications and strategies. Following chapters create the practical part of the thesis and contain information about Viola theatre, analysis of its marketing mix, evaluation of recent marketing and communication strategy and interpretation of field research results. Based on these analyses, the last chapter brings suggestions and recommendations for improvements in future marketing and communication strategy of Viola theatre.

Orientador: Emerson Luiz de Biaggi / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-27T09:43:22Z (GMT). No. of bitstreams: 1 Sacco_AnaCarolinaRobusti_M.pdf: 15590996 bytes, checksum: ae62d7c571cb9ee599acbdfd96cc3ecb (MD5) Previous issue date: 2015 / Resumo: O objeto de estudo deste trabalho é a peça "Trio das Águas" composta por Ricardo Tacuchian no ano de 2012 e dedicada ao Terra Brasilis Trio, grupo no qual a autora desta dissertação atua como pianista. O primeiro capítulo aborda aspectos do ofício de compositor segundo Tacuchian, seus anseios e motivações para compor, fazendo ainda uma breve explanação a respeito dos fundamentos teóricos do Sistema ¿ T, ferramenta de controle de alturas desenvolvida pelo compositor no início dos anos 80 utilizada para a composição do "Trio das Águas". No segundo capítulo identificamos aspectos relevantes do emprego do Sistema ¿ T e que serviram de base para estruturar esta primeira interpretação. As sugestões interpretativas aqui encontradas baseiam-se no trabalho em conjunto dos primeiros intérpretes da obra com o compositor, buscando melhor compreensão de suas ideias quanto à concepção da obra, sonoridade e articulações desejadas. Os anexos consistem em textos de autoria do compositor sobre a abordagem estética em suas obras e seu Sistema ¿ T, disponibilizados pelo mesmo, e que deram suporte a essa dissertação. Ao levantar essas informações, o presente trabalho tem por objetivo dar subsídios aos futuros intérpretes desta peça no desenvolvimento de uma interpretação coerente com as idéias do compositor / Abstract: The subject of this dissertation is the piece "Trio das Águas" (Water¿s Trio) composed by Ricardo Tacuchian in the year 2012 and dedicated to the Terra Brasilis Trio, ensemble where the author of this dissertation acts as pianist. The first chapter addresses aspects of the composer¿s craft, his wishes and motivations to compose it, and explains the T-System (Sistema ¿T), a pitch control tool developed by the in the 1980¿s used in the composition of the "Trio das Águas". In the second chapter, we identify relevant aspects of the use of this T-System that worked as basis for the first interpretation of the piece. The interpretative suggestions are based in the collaborative work of the first interpreters with the composer, seeking a better comprehension of his ideas about the concept of the work, sonority and desirable articulations. The attachments consist of texts by the composer about the aesthetical approach in his pieces and the "Sistema ¿ T". These texts, made available by the composer himself, served as basis for this dissertation. The present dissertation has as its goal to offer support to future interpreters of this piece, facilitating the development of an interpretation coherent with the composer¿s ideas / Mestrado / Praticas Interpretativas / Mestra em Música

Denna studie syftar till att utforska och jämföra violalärares tolkningar hur de motiverar elever att öva och spela. Detta görs med forskningsfrågorna: Vilka uppfattningar har violalärarna angående motivation? Vilken betydelse och roll har enligt violalärare motivation när det gäller violaelevernas övande och spelande? På vilka sätt upplever violalärare att de arbetar för att gynna elevers motivation att öva och spela? Studiens vetenskapsfilosofiska utgångspunkt är hermeneutik. Den forskningsmetod som används är semistrukturerad intervju och det är fem violalärare som har intervjuats. Intervjuerna har transkriberats och bearbetats med hjälp av tematisk analys utifrån lärarnas syn på violan som instrument, deras arbetssätt för att gynna övning och violaspel, vad rollen som violalärare innebär och syn på motivation. Violalärarnas arbetssätt har belysts var för sig och jämförts med varandra. Resultatet är uppdelat i fyra huvudteman: Violalärarnas tolkningar om instrumentet viola, Violalärare – arbetsroller och relationer, Violalärarnas tolkningar om motivation och Violalärarnas tolkningar om övning. Utifrån resultatet har jag tolkat lärarnas svar. Studien visar bland annat att respondenterna ser att motivation att spela och öva viola kommer ur varandet i musiken, samspel med andra liksom att prestera och därigenom uppleva framgångar. Vad gäller övning visar sig mål och övningssystem som viktiga faktorer, som gör elever mer självgående i sitt egna övande. Det fastställs även att relationen mellan lärare och elever är grundstenen i undervisningen. Underhålla och sköta om instrumenten påverkar elevens upplevelse positivt i det vardagliga övandet. Arbetsklimatet framträder som viktigt för att ge musikundervisningen status. För att elever och lärare ska kunna prestera behöver de ha grundläggande behov tillfredsställda. Rollen som lärare innebär att vara i god spelform och känna sig inspirerad, som vidare influerar eleverna. Läraren har en viktig roll att grunda för elevens självständighet inom musikens värld. Föräldrars inkludering i lärandet och miljön hemma påverkar övningen. / This study aims to explore and compare the ways viola teachers motivate their pupils to practice and playing. The study has three research questions: What opinions do the viola teachers have regarding motivation? What significance and role does the motivation have regarding the viola students’ practice? What’s the viola teachers’ experiences and roles to promote student motivation of practice and playing? The theoretical foundation is hermeneutics. The interviews have been transcribed and processed using thematic analysis based on views of the viola as an instrument, what the viola teacher’s role entails, viola teachers’ ways of working to promote exercise and viola playing and views of motivation. The viola teachers’ ways of working has been illuminated and compared separately, and then simultaneously. The result is divided into four main themes: Teachers’ interpretations of the instrument viola, The viola teacher - work role and relationships, Teachers’ interpretations of motivation and Teachers’ interpretations of exercise. Based on the results, I have interpreted the teachers’ answers. The study shows, among other things, that the respondents see that motivation of playing and practice viola comes from being in the music, interacting with others as well as performing and thereby experiencing success. As far as exercise is concerned, goals and training systems appear to be important factors that make students more self-sufficient in their own practice. It is also established that the relationship between teachers and students is the basic foundation of teaching. Maintaining the instruments positively affects students’ experiences in everyday practice. The working climate emerges as important in order to give the music education status. The role of the teacher is to be in good shape and feel inspired, which is affecting the students. The teacher has an important role to play for the student’s independence in the music world.

This research is the first known large-scale, instrument-specific, epidemiological study on the occupational health problems of violists. An online survey was developed based on a biopsychosocial framework to assess demographics, pain, musculoskeletal and non-musculoskeletal problems, music performance anxiety, and musician identity. Additionally, this is the first study known to investigate violists' perceptions and attitudes regarding viola jokes and negative stereotypes associated with viola players and their effects on violists' occupational health. Validated tools used to measure violists' health problems included the short-form McGill Pain Questionnaire (SF-MPQ) and the Musician's Identity Measurement Scale (MIMS). Results: This survey yielded a cohort N = 324 that was diverse in age, education, and professional involvement. The overall prevalence for violists that experienced musculoskeletal pain in the past year was 79%. For violists in pain, 51% reported being reluctant to inform others of their playing-related pain. In the past year, 89% of violists experienced music performance anxiety. 49% of violists reported having negative thoughts about viola jokes, with 23% indicating they experience music performance anxiety because of viola jokes. The prevalence rates for non-musculoskeletal problems, perceived factors that influence pain, and the influence of viola jokes suggest that high levels of biopsychosocial stressors are often associated with the classical music genre and playing the viola. The results from this research can be used to enhance music teacher-training programs, inform performance practice and viola pedagogy, and educate clinicians about the health risks of playing the viola.

Made available in DSpace on 2016-03-15T19:43:50Z (GMT). No. of bitstreams: 1 Jorge Wilson da Conceicao.pdf: 1329948 bytes, checksum: 8a8e05250acaf2ac2c516f33f7a24f66 (MD5) Previous issue date: 2010-03-17 / Secretaria da Educação do Estado de São Paulo / Our focus on this research are on Spolin Theatre Game System and Art teachers procedures at public school. In order to better understand the universe in which this system belongs, we first present a study about games and improvisational games. Then we verify if teachers graduated in Theatre Arts work with theatre games, as well as how teachers work with them. With this in mind, we interviewed six teacher from different schools about issues concerning Spolin‟s system theory, academic education in Art, continuing education, and their practice with the games. This research took place in the City of Guarulhos, with Theatre teachers from Regional Department of Teaching named Guarulhos North which belongs to The Education Department of the State of São Paulo. In order to gain the data we talked to participant teachers of the research by the means of semi-structured interviews in two different moments: December, 2008 and October, 2009. Besides, we have also interviewed the specialist in theatre studies Professor Mariana Muniz from Federal University of Minas Gerais, and the actress and clown Rhena de Faria member of Cia. do Quintal. The datas from the search showed us important issues teachers have to deal with to work with improvisational games in the public school, such as: the graduating degree in Art; the role of continuing education; school structure and culture difficulties; how familiar teachers are with improvisational games and theatre games as well as Art teaching on contemporary theatre. / Esta pesquisa tem como foco o Sistema de Jogos Teatrais de Viola Spolin, e a prática de professores de Arte na escola pública. Para um melhor entendimento do universo em que esta categoria de jogos está inserida, apresentamos inicialmente um estudo sobre o jogo, e sobre os jogos de improvisação. A partir disso, buscamos verificar se os professores que possuem especialização em Teatro trabalham com os jogos teatrais, e como se dá essa prática. Com esse objetivo, entrevistamos seis professores de diferentes escolas sobre questões acerca da teoria do sistema de Spolin, a formação acadêmica e contínua, e suas práticas com jogos. A investigação foi realizada na Cidade de Guarulhos, com professores que possuem formação em Artes Cênicas da Diretoria Regional de Ensino Guarulhos Norte da Secretaria de Estado da Educação. A coleta de dados se deu por meio de entrevista semiestruturada que aconteceu em dois momentos diferentes: Dezembro de 2008 e Outubro de 2009. Além disso, e com o intuito de entender a contribuição dos jogos teatrais para práticas contemporâneas, também realizamos entrevistas com especialistas em jogos de improvisação: a estudiosa em assuntos teatrais Profª Mariana Muniz da Universidade Federal de Minas Gerais e a atriz e palhaça Rhena de Faria do Grupo Jogando no Quintal. A análise dos dados nos apontou questões importantes que permeiam as práticas dos professores com jogos de improvisação na escola pública, como: a formação acadêmica da licenciatura em Artes Cênicas; o papel da formação continuada; as dificuldades impostas pela estrutura e cultura escolares; e a familiaridade ou não dos professores com jogos de improvisação, com o sistema de Spolin, e o ensino de teatro contemporâneo.

Made available in DSpace on 2016-03-15T19:48:09Z (GMT). No. of bitstreams: 1 Luiz Manoel Gregolim Junior.pdf: 218617 bytes, checksum: 8eb106c2afd12acbe61a45546d096055 (MD5) Previous issue date: 2011-02-10 / This dissertation examines the Presence of the Sacred in Brazilian Country Roots Music mainly focused on songs of the duo Tião Carreiro and Pardinho. By this way, a historical study of hillbilly music, hillbilly traditions and hillbilly culture is done. Through the same historical perspective is carried out a research on the life and work of the duo Tiao Carreiro and Pardinho, and finally analyzes the presence of the sacred in its music and in other duo artists music. With this dissertation, we attempt to observe the religious expression found in Brazilian country roots music, but also other religious events found in the music of the highlighted duo. In regard to the presence of sacred in songs the difference from this duo to the others duo artists is the fact that its songs contain other manifestations of religiosity beyond Brazilian popular catholicism. / A presente dissertação versa sobre a Presença do Sagrado na Música de Raiz Caipira Brasileira, mais especificamente analisa as músicas da dupla caipira Tião Carreiro e Pardinho. Dessa forma realiza-se um estudo histórico da música caipira, das tradições caipiras e da cultura caipira. Na mesma perspectiva histórica é feita uma pesquisa sobre a vida e a obra da dupla Tião Carreiro e Pardinho, e por fim apresenta-se uma análise da presença do sagrado nas músicas caipiras desta e de outras duplas. Esta dissertação procura observar as manifestações religiosas encontradas na música caipira, como também outras faces religiosas presentes nas músicas da dupla em destaque. Em se tratando da presença do sagrado, a diferença dessa dupla das demais está no fato de conter em suas músicas outras manifestações da religiosidade brasileira além do catolicismo popular.

Thesis (M.M.)--East Carolina University, 1998. / Submitted to the faculty of the School of Music. Includes bibliographical references (leaf 13).