Trio no. 1 for piano, violin and cello (both versions) in B minor, op.8.

Contains both the 1854 and the 1891 versions.

A longitudinal study of Project Trio: A dropout prevention program in a large urban environment

The subject of dropout prevention/reduction is deservedly receiving attention as a problem that, if not resolved, could threaten our national future.^ This study investigates a small segment of the overall dropout problem, which has apparently unique features of program design and population selection. The evidence presented here should add to the knowledge bank of this complicated problem.^ Project Trio was one of a number of dropout prevention programs and activities which were conducted in Dade County school years 1984-85 and 1985-86, and it is here investigated longitudinally through the end of the 1987-88 school year. It involved 17 junior and senior high schools, and 27 programs, 10 the first year and 17 the second, with over 1,000 total students, who had been selected by the schools from a list of the "at risk" students provided by the district, and were divided approximately evenly into the classical research design of an experimental group and the control group, which following standard procedure was to take the regular school curriculum. No school had more than 25 students in either group.^ Each school modified the basic design of the project to accommodate the individual school characteristics and the perceived needs of their students; however all schools projects were to include some form of academic enhancement, counseling and career awareness study.^ The conclusion of this study was that the control group had a significantly lower dropout rate than the experimental group. Though impossible to make a certain determination of the reasons for this unexpected result, it appears from evidence presented that one cause may have been inadequate administration at the local level.^ This study was also a longitudinal investigation of the "at risk" population as a whole for the three and four year period, to determine if academic factors were present in records may be used to identify dropout proneness.^ A significant correlation was found between dropping out and various measures including scores on the Quality of School Life Instrument, attendance, grade point averages, mathematics grades, and overage in grade, important identifiers in selection for dropout prevention programs. ^

Into the Bends of Time and Musical Forces in Jazz: Group Interaction and Double-time in “My Foolish Heart” as performed by the Bill Evans Trio with Scott LaFaro and Paul Motian.

Into the Bends of Time is a 40-minute work in seven movements for a large chamber orchestra with electronics, utilizing real-time computer-assisted processing of music performed by live musicians. The piece explores various combinations of interactive relationships between players and electronics, ranging from relatively basic processing effects to musical gestures achieved through stages of computer analysis, in which resulting sounds are crafted according to parameters of the incoming musical material. Additionally, some elements of interaction are multi-dimensional, in that they rely on the participation of two or more performers fulfilling distinct roles in the interactive process with the computer in order to generate musical material. Through processes of controlled randomness, several electronic effects induce elements of chance into their realization so that no two performances of this work are exactly alike. The piece gets its name from the notion that real-time computer-assisted processing, in which sound pressure waves are transduced into electrical energy, converted to digital data, artfully modified, converted back into electrical energy and transduced into sound waves, represents a “bending” of time.

The Bill Evans Trio featuring bassist Scott LaFaro and drummer Paul Motian is widely regarded as one of the most important and influential piano trios in the history of jazz, lauded for its unparalleled level of group interaction. Most analyses of Bill Evans’ recordings, however, focus on his playing alone and fail to take group interaction into account. This paper examines one performance in particular, of Victor Young’s “My Foolish Heart” as recorded in a live performance by the Bill Evans Trio in 1961. In Part One, I discuss Steve Larson’s theory of musical forces (expanded by Robert S. Hatten) and its applicability to jazz performance. I examine other recordings of ballads by this same trio in order to draw observations about normative ballad performance practice. I discuss meter and phrase structure and show how the relationship between the two is fixed in a formal structure of repeated choruses. I then develop a model of perpetual motion based on the musical forces inherent in this structure. In Part Two, I offer a full transcription and close analysis of “My Foolish Heart,” showing how elements of group interaction work with and against the musical forces inherent in the model of perpetual motion to achieve an unconventional, dynamic use of double-time. I explore the concept of a unified agential persona and discuss its role in imparting the song’s inherent rhetorical tension to the instrumental musical discourse.

The twentieth century jazz piano trio: the rise of an iconic jazz paradigm

Considerando a gravação de 1947 The Bud Powell Trio como a gravação referência de trio de piano de jazz moderno, esta tese centra-se no surgimento e evolução do trio de jazz moderno cujo líder é pianista. Começando por apresentar, uma resenha dos estilos e técnicas para piano de da época pre-Powell, esta tese investiga a génese dos trios de piano jazz e examina três dos mais influeciais pianostas de jazz e lideres dos mais legendários trios de piano jazz modernos: Bud Powell, Bill Evans e Keith Jarrett. Esta tese também abordará o paradoxo inerente a um sistema democrático - a expressão própria do individuo, em justaposição com a responsabilidade para com o todo – e a sua inequivoca analogia com o gestalt do trio de piano de jazz moderno. Desde a primeira gravação de um trio de jazz com pianista como líder em 1935, o trio de jazz moderno, evoluiu tornando-se um exemplo de democracia – um contexto de igualdade em que as funções rítmicas, harmónicas, e melódicas estão igualmente distribuídas entre os três instrumentistas, que são ao mesmo tempo solistas e acompanhadores. Esta tese sublinha a eficácia do trio de jazz moderno – o seu início, e porque subsiste – baseado na sua força e beleza estética; ABSTRACT: THE TWENTIETH CENTURY JAZZ PIANO TRIO – The Rise of an Iconic Jazz Paradigm by Susan Muscarella Designating Bud Powell’s 1947 recording, The Bud Powell Trio, as the modern jazz piano trio benchmark, here, this thesis traces the emergence and evolution of the pianistled, piano-bass-drums-comprised modern jazz piano trio. Beginning with a general overview of pre-Powell jazz piano styles and techniques, this thesis investigates the earliest, most salient pre-Powell jazz piano trios, and examines three seminal modern jazz pianists and leaders of legendary modern jazz piano trios, Bud Powell, Bill Evans and Keith Jarrett. This thesis also brings to the fore the paradox inherent in a democratic system – individual self-expression juxtaposed with responsibility to the whole – and its unequivocal analogy to the modern jazz piano trio gestalt. From the earliest recording of a primarily piano-dominated piano-bass-drums-comprised jazz piano trio in 1935, the modern jazz piano trio has evolved to become a paragon of democracy – an egalitarian playing field in which rhythmic, harmonic and melodic roles are evenly distributed among all three instrumentalists who have come to serve as both soloists and accompanists.

Metas do Conselho Nacional de Justi??a 2012/2013: uma an??lise dos contornos gerenciais assumidos pela reforma do poder judici??rio no Brasil

Este artigo tem como objetivo avan??ar no estudo do processo de reforma do Poder Judici??rio brasileiro, o qual se insere no processo de reforma do Estado p??trio. A partir das contribui????es de Osborne e Gaebler (1992) e Abrucio (2006), buscou-se tra??ar um paralelo entre as l??gicas gerencial e fiscal e esclarecer como as mesmas refletiram nos indicadores de efic??cia, efici??ncia e efetividade do Poder Judici??rio no Brasil. Para atingir o objetivo proposto, optou-se por utilizar como m??todo a an??lise de conte??do de Bardin (2002), pela regra de enumera????o do tipo frequ??ncia, buscando, com isso, observar o papel que o Conselho Nacional de Justi??a exerceu nesse processo e a l??gica do plano de metas estabelecido pela institui????o para os anos de 2012 e 2013. Como resultado, observou-se que as metas estabelecidas para o bi??nio buscaram implantar uma gest??o mais eficaz nesse n??cleo estrat??gico do Estado, com ??nfase na celeridade processual, gest??o administrativa e informatiza????o dos procedimentos. Percebeu-se que a l??gica gerencial continua exercendo grande influ??ncia no modelo de gest??o adotado. Como novidade, verificou-se a inser????o de indicadores de efetividade, os quais podem permitir aproximar os objetivos dessa esfera de poder com os da sociedade brasileira, repercutindo na elabora????o de metas futuras.

Leonardo, a flauta: uns sentimentos selvagens

Este artigo pretende contribuir para a etnologia das "flautas sagradas" nas Terras Baixas da América do Sul, retomando a análise de um episódio ocorrido entre 1947 e 1953, envolvendo Leonardo Villas Boas e os índios kamayurá, xinguanos tupi-guarani. Nesse momento, Leonardo manteve, continuada e publicamente, relações amorosas com Pele de Reclusa, esposa do grande xamã e chefe Kutamapù. O affair provocou comoção entre os índios, que colocaram um trio de flautas na casa do herói. Assim, quando Pele de Reclusa a freqüentava, via as flautas. Violada a regra que proíbe às mulheres ver as flautas, Pele de Reclusa sofreu estupro coletivo, o que originou seu ostracismo e o afastamento dos Villas Boas dos Kamayurá. Para estes, "ver" contrasta com "ouvir". A primeira noção aponta para uma forma analítica de conhecimento ("explicação"), a segunda, sintética ("compreensão"). A exacerbação da capacidade de "ver" é, para eles, sinal de associalidade - no caso dos feiticeiros - e de suprema socialidade - no caso dos pajés. O exagero da aptidão de "ouvir", ao contrário, é considerado condição de virtuosidade na música e nas artes verbais. Se entre esses índios, às mulheres é vedado ver as flautas, ouvi-las é delas esperado. As pistas para a compreensão indígena do episódio provêm de sua maneira de construção dos sentidos, dos gêneros e do poder - no todo, de sua forma de constituição do mundo: quando Pele de Reclusa violou o inviolável, Leonardo transformou-se em "flauta", sua casa na "casa das flautas", e os homens numa coletividade delas, tudo passando a ocorrer sob sua ética feroz.