Pure spinor formalism as an N ≤ 2 topological string

Following suggestions of Nekrasov and Siegel, a non-minimal set of fields are added to the pure spinor formalism for the superstring. Twisted ĉ ≤ 3 N ≤ 2 generators are then constructed where the pure spinor BRST operator is the fermionic spin-one generator, and the formalism is interpreted as a critical topological string. Three applications of this topological string theory include the super-Poincaré covariant computation of multiloop superstring amplitudes without picture-changing operators, the construction of a cubic open superstring field theory without contact-term problems, and a new four-dimensional version of the pure spinor formalism which computes F-terms in the spacetime action. © SISSA 2005.

Gravitational field of a straight cosmic string in the framework of higher-derivative gravity

The gravitational properties of a straight cosmic string are studied in the linear approximation of higher-derivative gravity. These properties are shown to be very different from those found using linearized Einstein gravity: there exists a short range gravitational (anti-gravitational) force in the nonrelativistic limit; in addition, the deflection angle of a light ray moving in a plane orthogonal to the string depends on the impact parameter. © 2008 World Scientific Publishing Company.

FTMOntology: An ontology to fill the semantic gap between music, mood, personality, and human physiology

This paper presents a domain ontology, the FeelingTheMusic Ontology - FTMOntology. FTMOntology is designed to represent the complex domain of music and how it relates to other domains like mood, personality and physiology. This includes representing the main concepts and relations of music domain with each of the above-mentioned domains. The concepts and relations between music, mood, personality and physiology. The main contribution of this work is to model and relate these different domains in a consistent ontology. © 2011 Springer-Verlag.

Generating string solutions in BTZ

Integrability of classical strings in the BTZ black hole enables the construction and study of classical string propagation in this background. We first apply the dressing method to obtain classical string solutions in the BTZ black hole. We dress time like geodesics in the BTZ black hole and obtain open string solutions which are pinned on the boundary at a single point and whose end points move on time like geodesics. These strings upon regularising their charge and spins have a dispersion relation similar to that of giant magnons. We then dress space like geodesics which start and end on the boundary of the BTZ black hole and obtain minimal surfaces which can penetrate the horizon of the black hole while being pinned at the boundary. Finally we embed the giant gluon solutions in the BTZ background in two different ways. They can be embedded as a spiral which contracts and expands touching the horizon or a spike which originates from the boundary and touches the horizon. © 2013 SISSA, Trieste, Italy.

Black holes in realistic branes: Black string-like objects?

A realistic model describing a black string-like object in an expanding Universe is analyzed in the context of the McVittie's solution of the Einstein field equations. The bulk metric near the brane is provided analogously to previous solutions for black strings. In particular, we show that at least when the Hubble parameter on the brane is positive, a black string-like object seems to play a fundamental role in the braneworld scenario, generalizing the standard black strings in the context of a dynamical brane. © 2013 Elsevier B.V.

Stravinsky neoclássico: uma análise dos procedimentos composicionais

Pós-graduação em Música - IA

A evocação de sonoridades instrumentais na escrita para piano no ciclo Winterreise de Franz Schubert

Pós-graduação em Música - IA

O estranho perfeito: a música orquestral de Franz Zappa. -

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

Arranjos de Guerra-Peixe para a orquestra da Rádio Nacional do Rio de Janeiro

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

Orquestra Sinfônica de Ribeirão Preto (SP): representações e significado social

Pós-graduação em Música - IA

Transformação e formação da técnica do trompete: de Monteverdi a Stockhaunsen

Pós-graduação em Música - IA

Application of open string ?eld theory to the in?ationary scenario

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

The effects of auditory stimulation with music on heart rate variability in healthy women

OBJECTIVES: There are no data in the literature with regard to the acute effects of different styles of music on the geometric indices of heart rate variability. In this study, we evaluated the acute effects of relaxant baroque and excitatory heavy metal music on the geometric indices of heart rate variability in women. METHODS: We conducted this study in 21 healthy women ranging in age from 18 to 35 years. We excluded persons with previous experience with musical instruments and persons who had an affinity for the song styles. We evaluated two groups: Group 1 (n = 21), who were exposed to relaxant classical baroque musical and excitatory heavy metal auditory stimulation; and Group 2 (n = 19), who were exposed to both styles of music and white noise auditory stimulation. Using earphones, the volunteers were exposed to baroque or heavy metal music for five minutes. After the first music exposure to baroque or heavy metal music, they remained at rest for five minutes; subsequently, they were re-exposed to the opposite music (70-80 dB). A different group of women were exposed to the same music styles plus white noise auditory stimulation (90 dB). The sequence of the songs was randomized for each individual. We analyzed the following indices: triangular index, triangular interpolation of RR intervals and Poincaré plot (standard deviation of instantaneous beat-by-beat variability, standard deviation of the long-term RR interval, standard deviation of instantaneous beat-by-beat variability and standard deviation of the long-term RR interval ratio), low frequency, high frequency, low frequency/high frequency ratio, standard deviation of all the normal RR intervals, root-mean square of differences between the adjacent normal RR intervals and the percentage of adjacent RR intervals with a difference of duration greater than 50 ms. Heart rate variability was recorded at rest for 10 minutes. RESULTS: The triangular index and the standard deviation of the long-term RR interval indices were reduced during exposure to both music styles in the first group and tended to decrease in the second group whereas the white noise exposure decreased the high frequency index. We observed no changes regarding the triangular interpolation of RR intervals, standard deviation of instantaneous beat-by-beat variability and standard deviation of instantaneous beat-by-beat variability/standard deviation in the long-term RR interval ratio. CONCLUSION: We suggest that relaxant baroque and excitatory heavy metal music slightly decrease global heart rate variability because of the equivalent sound level.

Repertório barroco e suas possibilidades ao violão: aspectos teóricos e métodos transcritivos a partir das cordas dedilhadas

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

O concerto para viola e orquestra de Antônio Borges-Cunha: forma e interpretação

This article has as object of study the Concerto for Viola and Orquestra by Antonio Borges-Cunha. We investigated the work by observing its formal structure. This resulted in data which were relevant to the understanding of the work itself and to decisive procedures in its interpretation. These data were then applied to specific issues in the area of performance, by means of a process whereby the sensations of movement and direction were delineated. This investigation discusses interpretation and the queries regarding the paths which performers can choose in their quest for positive results in expressivity. It is a study specifically geared to the area of performance and, in a broader sense, serves composers that are interested in the performer's contribution to the creative process of a work.