Made available in DSpace on 2014-12-17T15:46:18Z (GMT). No. of bitstreams: 1 ValeriaMS.pdf: 557224 bytes, checksum: be746af392e23bd83b3a3ff30fe6e603 (MD5) Previous issue date: 2008-09-30 / This paper proposes discusses the theme of the youth and of the violation of rights in the context of the Young Agent Program developed in the local authority of Arez/RN, sugar cane region of the Brazilian northeast. We take like empirical reference, the young people in the age group from 15 to 17 years old that were participating of the activities of the Program, in the period of April to July of 2008. Objectives of this study were constituted, economical-partner apprehended the conditions and cultural of the young participants of the Young Agent Program, in the context of violations of rights; as well as the analysis of the limits and means, of the bases theoretician-politician, methodological and of the activities developed in the Program. In the persecution of the objectives we use like methodological instrumental the observation, activities in group with the focal group technique and the application of semi-structured interviews. As result, we notice that the violation of rights of the young persons inserted in the Young Agent Program of Arez sets itself up as reflex of the multiple determinations of the social question, inherent in the capitalist society, specified in the context of the poverty and of the social unequality that they acquire visibility in the hunger, in the unemployment / menial job, in the precarious dwelling, in the low schooling, for lack of leisure, in the violence between others. The approximations systematized in this healthy work relevant for the Unveiling of the reality of the Brazilian youth, specifically of Arez young people, in such a way that they come to subsidize future inquiries, are eaten by me also it promotes the discussion around the way like the Social Politics Programs they are implemented and driven in the capitalist society, in its neoliberal format, where the focusing and the selectivity is put on top to the detriment of the universal access of the democratic rights. So, the great challenge that is put for the XXI century is to cause to the voices from these which they do and this which build this country, in the continuous and tireless search of the rights realization in the struggle against the barbarism installed in the capitalist societycapitalista / Este trabalho prop?e discutir a tem?tica da juventude e da viola??o de direitos no ?mbito do Programa Agente Jovem desenvolvido no munic?pio de Arez/RN, regi?o canavieira do nordeste brasileiro. Tomamos como refer?ncia emp?rica, os jovens na faixa et?ria de 15 a 17 anos de idade que participavam das atividades do Programa, no per?odo de abril ? julho de 2008. Constitu?ram-se objetivos deste estudo, apreender as condi??es s?cio-econ?micas e culturais dos jovens participantes do Programa Agente Jovem, no contexto de viola??es de direitos; bem como a an?lise dos limites e possibilidades, os fundamentos te?rico-pol?ticos, metodol?gicos e as atividades desenvolvidas no Programa. Utilizamos como instrumentais metodol?gicos a observa??o, atividades em grupo com a t?cnica de grupo focal e a aplica??o de entrevistas semi-estruturadas. Como resultado, observamos que a viola??o de direitos dos jovens inseridos no Programa Agente Jovem de Arez se constitui reflexo das m?ltiplas determina??es da quest?o social, inerentes ? sociedade capitalista, particularizadas no contexto da pobreza e da desigualdade social que adquirem visibilidade na fome, no desemprego/subemprego, na moradia prec?ria, na baixa escolariza??o, na falta de lazer, na viol?ncia entre outros. As aproxima??es sistematizadas nesse trabalho s?o relevantes para o desvelamento da realidade da juventude brasileira, especificamente dos jovens de Arez, de forma que venha subsidiar futuras pesquisas, como tamb?m fomentar a discuss?o acerca da maneira como os Programas de Pol?ticas Sociais s?o implementados e conduzidos na sociedade capitalista, em seu formato neoliberal, onde se sobrep?e a focaliza??o e a seletividade em detrimento do acesso universal aos direitos democr?ticos. Assim, o grande desafio que se coloca para o s?culo XXI ? suscitar ?s vozes desses que fazem e verdadeiramente constroem esse pa?s, na busca cont?nua e incans?vel da concretiza??o de direitos na luta contra a barb?rie instalada na sociedade

Cette thèse porte sur les processus de constitution – problématiques – de femmes comme intellectuelles au XXe siècle. Pour ce faire, trois cas, nés vers 1900, sont étudiés : l’artiste et écrivaine proche des avant-gardes en général et des surréalistes en particulier dans le Paris des années 1920-1930 Claude Cahun, la journaliste martiniquaise du Paris colonial de ces mêmes années et figure militante et intellectuelle importante de la Martinique d’après-guerre Paulette Nardal ; et enfin Viola Klein, juive tchèque exilée en Angleterre et pionnière oubliée de la sociologie féministe. Cette étude repose sur une analyse conjointe de la trajectoire et de la production culturelle de chacune de ces femmes. Il s’agit de comprendre comment leur expérience intellectuelle s’enracine dans des processus de prise de conscience de soi en tant que sujet renvoyé à l’altérité, femme, mais aussi sujet racialisé, qui déterminent les formes d’entrée dans la pensée. Cette thèse rend également compte du positionnement complexe, dedans/dehors, de ces femmes par rapport aux mouvements (le surréalisme pour Cahun, la culture noire en général et la négritude en particulier pour Nardal), et disciplines (la sociologie de la connaissance et du travail pour Klein) « dans » lesquels elles s’inscrivent et ce qu’elles y apportent ainsi que la pluralité des formes de pensée et d’engagement qu’une telle position liminale révèle. Il s’agit enfin d’interroger le processus de diffusion et de réception des oeuvres et des idées, dans lequel les logiques d’invisibilisation et d’oubli, mais aussi de redécouverte, jouent un rôle fondamental. Ce dernier point ouvre sur une réflexion relative aux logiques (nationales, disciplinaires, idéologiques) de construction du savoir. Cette thèse, interrogeant le devenir sujet des femmes et ce que peut lui faire la postérité, se propose ainsi de contribuer à une histoire intellectuelle transnationale des femmes et du genre. / This thesis analyzes the problematic ways in which women were able to become intellectuals in the XXth century. The cases of three women, born around 1900, are here studied. The artist and writer close to the Avant-Garde in general and the Surrealist movement in particular in the 20s and the 30s Claude Cahun; the Martinican journalist of colonial Paris in those same years Paulette Nardal, an important intellectual and activist figure in Post War Martinique after 1945; and last but not least, Viola Klein, a Czech Jew, exiled in Britain, and a forgotten pioneer of feminist sociology.This study is based upon an analysis of both the itinerary and cultural production of each of these women. It aims to understand how their intellectual experience is rooted in processes of self-awareness – as subjects who have to deal with otherness, as women, but also as racialized subjects – which shape the way in which these women intellectuals come to thought and commitment. This thesis also examines the complex position, Inside/Outside, of these women in relation to the movements and disciplines they join (Surrealism for Cahun, Négritude for Nardal, Sociology of Knowledge for Klein), the contribution they make to these movements and disciplines, and the plurality of the forms of thought and commitment such a liminal position entails. The aim is to question the ways in which works and ideas are spread and received – a process in which “invisibilization”, oblivion, but also rediscovery play a major part. This last idea opens up a reflection about the conceptions (national, disciplinary, ideological) pertaining to the construction of knowledge.

The master thesis deals actual tendencies and approaches to film and audiovisual education in Czech Republic and personal pedagogical experience of students and graduates of the Film and TV School of Academy of Performing Arts in Prague.

Via interviews with five female students and one female teacher at the Documentary Film Deapartment at FAMU, this thesis seeks to define if not an exact, specific form, then a marked out area of today's female identity. In the dialogue with these women, the question how do they use their femininity in their work is asked. Which areas are opened thanks to their gender and in which way is their contemporary thinking about womanhood different (and shifted) in comparison to the previous generations of the feminist discourse? To what extent do the old models of perception of women persist and even parasitize within them, and how do they find their liberating escapes? The thesis represents an instrumental specimen taken from a limited time and space i.e. the Documentary Film Department at FAMU during the last decade (2007-2017). This work is also part for the general search of role of women here and now.

La viole de gambe en Angleterre connaît un destin singulier, passant d’une popularité incontestable dans l’aristocratie anglaise au dix-septième siècle à un rejet d’une intensité croissante au fil du dix-huitième siècle. Les représentations de l’instrument dans des documents périphériques à la sphère musicale – lettres, poèmes, peintures – trahissent la complexité de l’imaginaire qui entoure la viole. Dans sa période faste, la viole génère simultanément des images lubriques de corps sensuel, et d’instrument noble en raison de la mélancolie supposée de son timbre. Elle est alors étroitement associée au sentiment national anglais, dont elle cristalliserait la spécificité. Cependant, sa popularité décroissante auprès de l’élite voit la prolifération d’images négatives : vieillesse et stérilité semblent désormais être l’apanage de la viole, que l’on met également à distance idéologiquement comme instrument étranger. La viole réapparaît dans la deuxième moitié du dix-huitième siècle au moment où le culte de la sensibilité se développe : brièvement, son archaïsme et son timbre unique donnent voix à l’individu et ses émotions. La viole, dans le paradigme cyclique de la Renaissance tout comme dans le paradigme linéaire et discursif des Lumières, parvient à s’incarner selon des modalités esthétiques et idéologiques très différentes dans l’imaginaire anglais / In England, the viola da gamba has a singular destiny, from an incontestable popularity with the aristocracy in the seventeenth century to a rejection of increasing intensity over the eighteenth century. The representations of the instrument in documents peripheral to the musical sphere, such as letters, poems or paintings, reveal the complexity of the imaginaire surrounding the instrument. Although, in prosperous times, the viol conjures up lewd images of a sensual body, it is simultaneously associated with ideals of nobility through the supposed melancholy of its tone. At that period, it is also felt to be closely connected to the English national identity, whose specificity it appears to crystallise. However, its dwindling popularity with the elite leads to the proliferation of negative images. Senescence and sterility are increasingly associated with the viol, while ideologically, the instrument is spurned as non- English. The brief resurgence of the viol in the second half of the eighteenth century is brought on by the development of the cult of sensibility. Individual emotions are voiced through its perceived archaism and unique tone. The viola da gamba, both in the circular paradigm of the Renaissance, and in the linear and discursive paradigm of the Enlightenment, successfully embodies contrasting aesthetic and ideological imaginaires

The Magisterial thesis deals with composers of jewish ancestry and their viola compositions. It consists of three parts. The first part describes the historical and religious context these composers lived in. The second part deals with the developement of jewish music and its characteristics. The last part is about the individual composers and their lives and works with focus on viola compositions.

Orientador: Jose Roberto Zan / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-14T17:30:30Z (GMT). No. of bitstreams: 1 Pinto_JoaoPaulodoAmaral_M.pdf: 6828945 bytes, checksum: b0e6967a207bca86632cf629ed108239 (MD5) Previous issue date: 2008 / Resumo: Esse trabalho é resultado de uma pesquisa sobre a obra musical do músico e compositor Tião Carreiro (José Dias Nunes, 1934-1993). O enfoque principal foi identificar os elementos constitutivos e as características do estilo desse artista como instrumentista de viola, instrumento reconhecido como o símbolo da chamada música caipira. Para tanto, foram analisados musicalmente os dois LPs instrumentais do violeiro gravados em 1976 e 1979. Além disso, foram abordados os aspetos históricos da viola caipira, do segmento instrumental sertanejo e da trajetória do artista no mercado fonográfico. A partir das análises musicais, foi identificado um conjunto de elementos e técnicas utilizados pelo músico para construir seus toques e solos. A pesquisa também relacionou e caracterizou musicalmente as matrizes e gêneros, caipiras ou não, utilizados pelo violeiro na gravação desses dois discos. Entre eles, destaca-se o pagode de viola, gênero criado no final dos anos cinqüenta a partir da combinação de algumas matrizes musicais e que, por ter se tornado a marca principal do violeiro, foi objeto de uma investigação mais aprofundada. / Abstract: This work is the result of a research on the musical work of the musician and composer Tião Carreiro (José Dias Nunes, 1934-1993). The main focus was to identify the constituent elements and the characteristics of the style of this artist as a viola (Brazilian ten-string guitar) instrumentalist, considering the viola a recognized instrument as the symbol of what is so called música caipira (typical rural music of the central-southern region of Brazil). For that, the two first instrumental LPS of the artist, recorded in 1976 and 1979, were musically analysed. Besides that, historical aspects of viola caipira, also from the instrumental sertanejo segment and the trajectory of the artist in the phonographic market were approached. From these musical analyses a group of elements and techniques used by the musician to build his touches and solos was identified. The research also related and musically characterized the origins and genders, caipira or not, used by the violeiro in the recordings of these two records. Among them, there is one in particular, the pagode de viola, gender created at the end of the fifties's, from the combination of some musical origins and that, for having become the main mark of the violeiro, was the subject of a deepened investigation. / Mestrado / Mestre em Música

Detta arbete är en observationsstudie av gruppundervisning i fiol och altfiol vid kulturskolan. Till undersökningsobjekt valdes gruppundervisning i fiol och altfiol. Båda instrumenten har en lång tradition av individuell undervisning men även gruppundervisning i ensembleform, inte sällan kombinerad vilket vill säga individuell lektion och ensemblelektion. Syftet med studien var att undersöka hur formen och strukturen för en sådan undervisning kan se ut och hur elever och lärare fungerar tillsammans i undervisningen. Studien har en multimodal socialsemiotisk och etnografisk metodologisk ansats och använder dessa i en kombination i valet av metod, vilket genomförts genom observation av undervisning samt transkription av utvalda delar som spelats in med ljud och bild. Observatören har haft närvarande men i första hand inte deltagande roll i undervisningen. Två kulturskolor där fiolundervisningen har en lång och stark tradition valdes ut och några av stråkpedagogerna vid dessa kulturskolor valde att delta i studien. Resultatet visar att formen för undervisningen byggde på principen att härma läraren och att läraren hjälpte eleven att justera och placera instrumentet samt att sång eller ramsor användes för rytminlärning. Skillnader kunde identifieras mellan undervisning i större och i mindre grupp både till form och struktur samt hur individerna interagerade, kommunicerade och tillämpade lärande av varandra. Resultatet ger en inblick i hur gruppundervisning i fiol och altfiol vid två kommunala kulturskolor i Stockholms län kan fungera och är ett tillskott till fortsatt forskning om gruppundervisning i kulturskolan. / This thesis is an observational study regarding group education in violin and viola at the Swedish Municipal School of Arts. As an object of study, group teaching in violin and viola was chosen. Both instruments have a long tradition of individual teaching, but also group teaching in ensemble form, not seldom combined, which means an individual lesson and an ensemble lesson. The purpose of the study was to investigate the form and structure of such group education and to get a closer look at how pupils and teachers interacted in that form of teaching. The study has a multimodal social semiotic and ethnographic methodological approach, and investigate through a combination of these, implemented through observation of teaching as well as transcription and analysis of selected parts recorded in audio and video. The observant was present but was not participating in the teaching process. Two municipal schools of arts, where the violin and viola education has a long and substantial tradition, were selected, and some of the teachers at these schools were chosen to participate in the study. The results show that the education formed the way that the pupil mimicked the teacher, that the teacher often helped the pupils to adjust and place the instrument, and that singing or different frames was used for rhythm learning. Differences were identified regarding teaching in bigger versus smaller groups by form and structure as well as how the participants interacted, communicated and applied knowledge from each other. The result gives an insight into how group teaching in violin and viola at two municipal schools of arts in Stockholm might function, and contributes to further research regarding group education.

In this thesis project techniques for training a rapid image classifier that can recognize an object of a predefined type has been studied. Classifiers have been trained with the AdaBoost algorithm, with and without the use of Viola-Jones cascades. The use of Weight trimming in the classifier training has been evaluated and resulted in a significant speed up of the training, as well as improving the performance of the trained classifier. Different preprocessings of the images have also been tested, but resulted for the most part in worse performance for the classifiers when used individually. Several rectangle shaped Haar-like features including novel versions have been evaluated and the magnitude versions proved to be best at separating the image classes.

Orientador: José Maria Campos dos Santos / Dissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Engenharia Mecânica / Made available in DSpace on 2018-08-22T11:33:43Z (GMT). No. of bitstreams: 1 Paiva_GuilhermeOrelli_M.pdf: 4245499 bytes, checksum: dbf4eaee15fa8956c837eb4d59464baf (MD5) Previous issue date: 2013 / Resumo: Atualmente, um importante aspecto da pesquisa em acústica musical consiste em relacionar propriedades físicas mensuráveis de um instrumento musical e a avaliação subjetiva de sua qualidade sonora ou tonal. Tem sido necessário, portanto, o desenvolvimento de métodos analíticos e numéricos para previsão do comportamento vibroacústico do instrumento, possibilitando a determinação de parâmetros objetivos que possam ser usados para controlar a sua qualidade tonal. Dessa forma, o presente trabalho realiza análises modais acústica, estrutural e vibroacústica (acoplamento entre fluido e estrutura), calculadas pelo método de elementos finitos (MEF), com o objetivo de determinar o comportamento dinâmico da caixa de ressonância da viola em termos de frequências naturais e as correspondentes formas dos modos. Primeiramente, é apresentado um modelo simplificado, que despreza as estruturas internas de reforço, mas adota as dimensões principais de uma viola real. Depois o mesmo modelo foi expandido, sendo acrescentados os reforços internos, porém com dimensões ainda aproximadas. Por fim, o terceiro modelo foi elaborado em relação às dimensões de uma viola real e seus respectivos reforços internos. Com isso, também foram realizados procedimentos experimentais a fim de verificar as capacidades e limitações do método computacional empregado. Finalmente, os resultados obtidos pelos métodos numéricos e experimentais são comparados e discutidos / Abstract: An important aspect of musical acoustics research is to identify the relationship of measurable physical properties of a musical instrument with the subjective evaluation of their sound quality or tone. Therefore, for musical instruments including resonance box, it is important to develop analytical or numerical methods to predict accurately its vibroacoustic behavior. These methods will enable the determination of key parameters that can be used to control the tone and sound quality. This work uses theoretical modal analysis with finite element method (FEM) to determine the dynamic behavior of a Brazilian guitar resonance box in terms of natural frequency and mode shapes. At first, is presented a simplified model that neglects the internal structures of reinforcement (struts, ribs, brackets, etc.), but adopts the main dimensions of a real Brazilian guitar. Then the same model was expanded with the addition of the internal reinforcements, but with approximate dimensions yet. Finally, the third model was designed regarding the dimensions of a real Brazilian guitar and their internal reinforcements. Experimental procedures were also performed to verify the capabilities and limitations of the computational method employed. The results obtained by numerical and experimental methods are compared and discussed / Mestrado / Mecanica dos Sólidos e Projeto Mecanico / Mestre em Engenharia Mecânica