MOTIVATION AND SATISFACTION IN CONTEXT OF JOB TRAINING IN TOURIST ORGANIZATIONS

This research aims to determine the dimensions of motivation and satisfaction, acquired, through the perception in context of job training, by future technicians (students) in the hospitality and tourism industry, particularly by technical courses in the hotel and restaurant sector. The methodology comprises three distinct stages. First were recovered instruments (questionnaires), already validated by other authors of motivation and satisfaction, which had the intention to replicate studies conducted in other scientific knowledge fields, such as tourism. Those instruments were recovered from the reviewed literature conducted about other themes. On second place the measuring instruments were submitted to a pre-test, or rather, were subject of a pioneer study, in order to verify other assumptions such as semantic errors or see if there was the possibility of some prepared questions to be consider invalidated by poor formulation or interpretation. Finally, were applied in three educational institutions who agreed to cooperate on the research, with the reservation that the interviewed needed a mandatory pre-requirement that consisted in conducting a minimum training in work context (TWC). Then, proceed the statistical analysis to support all the empirical part. The results show that, in general, motivation and satisfaction were present during the period of training in work context. To some people it meant a very important period of personal and professional life, concerning the interactions, emotions and involvement with touristic organizations but also the personal and social relationships.

Double bass and electric bass: the case study of John Patitucci

The electric bass and double bass are two different instruments sharing a common function: they link harmony with rhythm, especially when talking about jazz music. The capacity of a bassist to fully support an ensemble is something that can be achieved individually playing electric or double bass. However there are some bassists who, despite of the technical differences between these two instruments, choose to play both. Some of these performers are true masters using and switching electric and double bass according to the different musical settings. It is possible to define similarities and differences between the electric and double bass, but is it viable to use similar approaches too? In order to investigate this field, I focus my research on one exemplar player who combines all the qualities needed to both play electric than double bass: John Patitucci, an inspiration for bassists of all generations and a musician who synthesizes all the fundamental characteristics of an ideal bass player. This dissertation is inspired by Patitucci’s example and by the urge to fill a gap in the specialized literature concerning the history and application of different left and right hand techniques on the electric and double bass. The main purpose of this study is to create the backbone of a bass program for teaching both instruments using John Patitucci as example. His technical approach on both instruments and his soloing vocabulary are points of departure of this dissertation. I begin my study with the historical origins of Patitucci’s techniques ending with the development of exercises created in order to teach his techniques and vocabulary to those who aspire to play electric and double bass; RESUMO: Baixo elétrico e contrabaixo, dois instrumentos distintos que partilham uma função comum: a possibilidade de produzir um conjunto de notas capazes de interligar uma grelha harmonia a uma base rítmica, criando uma coesão estética e musical, sobretudo na música jazz. A capacidade de um baixista de conseguir alcançar de forma eficiente esta ligação como sólido suporte para um “ensemble” musical está na base de uma sua eventual afirmação profissional. Há músicos que apesar das diferencias técnicas entre estes dois instrumentos, decidiram tocar ambos; alguns deles conseguiram destacarse, usando e trocando o baixo elétrico e o contrabaixo para servir melhor diferentes situações musicais. O contrabaixo e baixo elétrico têm características em comum mas ao mesmo tempo diferem por apresentar algumas diferenças técnica substanciais; será por isso possível abordar, explorar e aprender ambos utilizando uma mesma base metodológica? Com o intuito de explorar esta possibilidade direcionei a minha pesquisa para o estudo de um músico que no curso da sua longa carreira consegui grande destaque em quanto baixista elétrico e contrabaixista. John Patitucci é a síntese desta tipologia de músico, sendo uma fonte de inspiração para baixistas de todas as gerações. Esta dissertação é inspirada no seu exemplo e no desejo de colmatar o vazio presente na literatura musical comum aos dois instrumentos sobre a história e aplicação das técnicas da mão esquerda e direita. O foco principal é a criação de uma base sólida para o futuro desenvolvimento de um programa de ensino comum para o baixo eléctrico e o contrabaixo, utilizando o vocabulário técnico e improvisativo de Patitucci como ponto de partida. A dissertação aborda as origens históricas das técnicas utilizadas por Patitucci desenvolvendo, numa fase sucessiva, exercícios criados com a função de ensinar as suas técnicas aos que desejarem aprofundar a prática do baixo elétrico e do contrabaixo.

Power Quality Evaluation of a Photovoltaic System on an Electric Grid

This paper focuses on tests of photovoltaic systems in order to address two case studies with silicon monocrystalline and silicon polycrystalline panels, respectively. The first case is an identification of the three parameters of the single-diode equivalent circuit for modelling photovoltaic systems with conclusion about the inevitably age degradation. A comparison between experimental observed and computed I-V and V-P characteristics curves is carried out at standard test conditions. The second case is an experimental observation on a photovoltaic system connected to an electric grid in what regards the quality of the energy injected into the grid. A measuring of the harmonic content in the voltage and in the current waveforms at the terminals of the photovoltaic system is carried out in order to conclude about the conformity with the Standard EN 50160 and the IEEE 519-1992, respectively.