A história da atividade musical na Igreja Presbiteriana Unida de São Paulo: uma fisionomia possível

Pós-graduação em Música - IA

Jovens estudantes de música na cibercultura musical: facebook e educação musical 2.0

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

Processo de desenvolvimento da imaginação na pré-escola: implicações de um programa de intervenção ludo-pedagógico a partir do gênero musical samba

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

O uso das tecnologias no cotidiano, na educação e no ensino musical sob uma perspectiva educacional e sociocultural

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

Construction and commissioning of a collinear laser spectroscopy setup at TRIGA Mainz and laser spectroscopy of magnesium isotopes at ISOLDE (CERN)

Collinear laser spectroscopy has been used as a tool for nuclear physics for more than 30 years. The unique possibility to extract nuclear properties like spins, radii and nuclear moments in a model-independent manner leads to important physics results to test the predictive power of existing nuclear models. rnThis work presents the construction and the commissioning of a new collinear laser spectroscopy experiment TRIGA-LASER as a part of the TRIGA-SPEC facility at the TRIGA research reactor at the University of Mainz. The goal of the experiment is to study the nuclear structure of radioactive isotopes which will be produced by neutron-induced fission near the reactor core and transported to an ion source by a gas jet system. rnThe versatility of the collinear laser spectroscopy technique will be exploited in the second part of this thesis. The nuclear spin and the magnetic moment of the neutron-deficient isotope Mg-21 will be presented, which were measured by the detection of the beta-decay asymmetry induced by nuclear polarization after optical pumping. A combination of this detection method with the classical fluorescence detection is then used to determine the isotope shifts of the neutron-rich magnesium isotopes from Mg-24 through Mg-32 to study the transition to the ''island of inversion''.

La estructura del himno ambrosiano y su relación con las funciones tonales de la escala musical

La utilización del himno religioso en Occidente, como una forma de control ideológico frente al avance de las heterodoxias, fue instaurada definitivamente por Ambrosio, obispo de Milán, al conciliar el material himnódico precedente con las necesidades catequísticas que la época le impuso. El episcopus milanés logró concebir un modelo poético, estrófico y rítmico de fácil recepción que funcionaba como instrumento de conversión e instrucción doctrinal y un regulador de las oraciones litúrgicas. El himno ambrosiano no fue, sin embargo, el primero que se ajustó a los principios del credo niceno en la lucha contra diversas formas de herejía, en particular el arrianismo, pero sí fue el primero que innovó desde lo musical y lo rítmico. Su popularidad, basada en su modo ?cantable?, se cimentó a partir de la novedad de su estructura compositiva, en la que se pueden advertir frecuentes correspondencias métricas y acentuales que posibilitaba una más rápida memorización. A través de esta comunicación se procurará exponer las innovaciones estructurales de la himnodia ambrosiana en materia rítmica, las cuales giran en torno a la repetición arbitraria del número ocho; asimismo el número ocho contiene funciones temático-emotivas comparables con las funciones tonales de la escala musical y, en especial, el modo jónico que es el que llegó hasta hoy como escala mayor natural

La estructura del himno ambrosiano y su relación con las funciones tonales de la escala musical

La utilización del himno religioso en Occidente, como una forma de control ideológico frente al avance de las heterodoxias, fue instaurada definitivamente por Ambrosio, obispo de Milán, al conciliar el material himnódico precedente con las necesidades catequísticas que la época le impuso. El episcopus milanés logró concebir un modelo poético, estrófico y rítmico de fácil recepción que funcionaba como instrumento de conversión e instrucción doctrinal y un regulador de las oraciones litúrgicas. El himno ambrosiano no fue, sin embargo, el primero que se ajustó a los principios del credo niceno en la lucha contra diversas formas de herejía, en particular el arrianismo, pero sí fue el primero que innovó desde lo musical y lo rítmico. Su popularidad, basada en su modo ?cantable?, se cimentó a partir de la novedad de su estructura compositiva, en la que se pueden advertir frecuentes correspondencias métricas y acentuales que posibilitaba una más rápida memorización. A través de esta comunicación se procurará exponer las innovaciones estructurales de la himnodia ambrosiana en materia rítmica, las cuales giran en torno a la repetición arbitraria del número ocho; asimismo el número ocho contiene funciones temático-emotivas comparables con las funciones tonales de la escala musical y, en especial, el modo jónico que es el que llegó hasta hoy como escala mayor natural

La estructura del himno ambrosiano y su relación con las funciones tonales de la escala musical

La utilización del himno religioso en Occidente, como una forma de control ideológico frente al avance de las heterodoxias, fue instaurada definitivamente por Ambrosio, obispo de Milán, al conciliar el material himnódico precedente con las necesidades catequísticas que la época le impuso. El episcopus milanés logró concebir un modelo poético, estrófico y rítmico de fácil recepción que funcionaba como instrumento de conversión e instrucción doctrinal y un regulador de las oraciones litúrgicas. El himno ambrosiano no fue, sin embargo, el primero que se ajustó a los principios del credo niceno en la lucha contra diversas formas de herejía, en particular el arrianismo, pero sí fue el primero que innovó desde lo musical y lo rítmico. Su popularidad, basada en su modo ?cantable?, se cimentó a partir de la novedad de su estructura compositiva, en la que se pueden advertir frecuentes correspondencias métricas y acentuales que posibilitaba una más rápida memorización. A través de esta comunicación se procurará exponer las innovaciones estructurales de la himnodia ambrosiana en materia rítmica, las cuales giran en torno a la repetición arbitraria del número ocho; asimismo el número ocho contiene funciones temático-emotivas comparables con las funciones tonales de la escala musical y, en especial, el modo jónico que es el que llegó hasta hoy como escala mayor natural

Building from building waste: The development of an instrument to determine the circularity of materials from the existing building stock in order to maximise high quality reuse

On a global level the population growth and increase of the middle class lead to a growing demand on material resources. The built environment has an enormous impact on this scarcity. In addition, a surplus of construction and demolition waste is a common problem. The construction industry claims to recycle 95% of this waste but this is in fact mainly downcycling. Towards the circular economy, the quality of reuse becomes of increasing importance. Buildings are material warehouses that can contribute to this high quality reuse. However, several aspects to achieve this are unknown and a need for more insight into the potential for high quality reuse of building materials exists. Therefore an instrument has been developed that determines the circularity of construction waste in order to maximise high quality reuse. The instrument is based on three principles: ‘product and material flows in the end of life phase’, ‘future value of secondary materials and products’ and ‘the success of repetition in a new life cycle’. These principles are further divided into a number of criteria to which values and weighting factors are assigned. A degree of circularity can then be determined as a percentage. A case study for a typical 70s building is carried out. For concrete, the circularity is increased from 25% to 50% by mapping out the potential for high quality reuse. During the development of the instrument it was clarified that some criteria are difficult to measure. Accurate and reliable data are limited and assumptions had to be made. To increase the reliability of the instrument, experts have reviewed the instrument several times. In the long-term, the instrument can be used as a tool for quantitative research to reduce the amount of construction and demolition waste and contribute to the reduction of raw material scarcity.

At any price: Russia is embarking on the construction of South Stream. OSW Commentary No. 98, 2012-12-07

Gazprom is determined to continue its efforts to build the South Stream gas pipeline regardless of the slump on the European gas market and the fact that there is sufficient capacity already in the existing transport infrastructure. The official inauguration of the maritime section of South Stream was held on 7 December this year, but the construction itself will commence in 2014. The agreements concluded so far, both intergovernmental and between corporations, are necessary for the launch of the construction of the new pipeline, but still do not guarantee that the project will be completed on time. First of all, some legal problems have yet to be resolved, such as the evaluation of the compliance of the planned actions with the ‘third energy package’ or the fact that ecological surveys required under European law need to be carried out. Secondly, given the present situation on the European gas market and medium-term forecasts, the high cost of implementation of this project and the maintenance expenses of existing pipelines – which are not being used to full capacity – the new project seems to be unfeasible. However, Gazprom’s determination in its efforts to build the pipeline proves that Russia is ready to take a high economic risk to maintain its dominant position on the European gas supply market; it will restrict the possibilities of alternative infrastructural projects being implemented (above all, the EU’s Southern Corridor) and use the construction of new pipelines as an instrument of political pressure on the present transit countries (especially Ukraine).

The Boston musical education society's collection of church music : consisting of original psalm and hymn tunes, select pieces, chants, &c., including compositions adapted to the service of the Protestant Episcopal Church /

Two voice parts with keyboard accompaniment.

The life of Beethoven, including his correspondence with his friends, numerous characteristic traits, and remarks on his musical works.

"Systematic catalogue of all the original works by Ludwig von Beethoven, as published by T. Haslinger, from Vienna": v. 2, p. 377-384.

Musica sacra : or Springfield and Utica collections united: consisting of psalm and hymn tunes, anthems and chants; arranged for two, three or four voices, with a figured bass for the organ or piano forte.

Combines the "Springfield collection", edited by Warriner (Springfield, 1813) and "Musica sacra", published for the Oneida musical society (Utica, 1816)

University Memorial Hall interior -- Frieze Memorial Organ

Jenison, Edward S., architect. Originally kinown as "The Great Columbian Exposition Organ," built by Farrand & Votey Organ Co. In 1894, the University Musical Society bought the organ. (It had been at the Chicago World's Fair in 1893.) The organ was transported to Ann Arbor and rebuilt in the old University Hall; formally dedicated in December 1894; in place at the second annual May festival in 1895. Named after Henry S. Frieze, music patron and acting president in the late 1800s. Moved to Hill Auditorium when it was built in 1913. Received extensive repairs in 1928.

University Memorial Hall interior -- Frieze Memorial Organ

Jenison, Edward S., architect. Originally kinown as "The Great Columbian Exposition Organ," built by Farrand & Votey Organ Co. In 1894, the University Musical Society bought the organ. (It had been at the Chicago World's Fair in 1893.) The organ was transported to Ann Arbor and rebuilt in the old University Hall; formally dedicated in December 1894; in place at the second annual May festival in 1895. Named after Henry S. Frieze, music patron and acting president in the late 1800s. Moved to Hill Auditorium when it was built in 1913. Received extensive repairs in 1928.