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

Pós-graduação em Música - IA

Quadros de uma exposição para violão solo por Kazuhito Yamashita: um estudos dos efeitos técnicos a partir da comparação com o original para piano e a orquestração de Maurice Ravel

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

A leitura à primeira vista e o ensino de piano

Pós-graduação em Música - IA

Técnicas estendidas na performance e no ensino do contrabaixo acústico no Brasil

Pós-graduação em Música - IA

A influência da música eletroacústica sobre obras para piano de György Ligeti e a criação de estilemas pianísticos

Pós-graduação em Música - IA

Efficiency of partial treatment of cattle infested with horn fly using 40% diazinon

Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP)

Revisão crítica das canções para a voz e piano de Heitor Villa-Lobos: publicadas pela Editora Max Eschig

Esta revisão crítica apresenta uma análise do conjunto de canções de Heitor Villa-Lobos (1887-1959), publicado pela editora Max Eschig de Paris. As trinta canções publicadas formam um painel importante do estilo vocal e pianístico do compositor, pontuando praticamente toda sua vida criativa. O trabalho respeitou a ordem cronológica da criação das coleções de canções: de 1919 e 1946. Além das trinta canções publicadas, incluiu-se no trabalho as três canções não publicadas que fazem parte da série Canções Típicas Brasileiras. Tais obras estão depositadas nos arquivos do Museu Villa-Lobos no Rio de Janeiro, Brasil.

The horn of plenty de McQueen: uma conjunção paródica entre o design, a moda e a arte no contemporâneo

Pós-graduação em Design - FAAC

Escherichia coli strains isolated from the uteri horn, mouth, and rectum of bitches suffering from pyometra: virulence factors, antimicrobial susceptibilities, and clonal relationships among strains

Pyometra is recognized as one of the main causes of disease and death in the bitch, and Escherichia coli is the major pathogen associated with this disease. In this study, 70 E. coli isolates from the uteri horn, mouth, and rectum of bitches suffering from the disease and 43 E. coli isolates from the rectum of clinically healthy bitches were examined for the presence of uropathogenic virulence genes and susceptibility to antimicrobial drugs. DNA profiles of isolates from uteri horn and mouth in bitches with pyometra were compared by REP, ERIC, and BOX-PCR. Virulence gene frequencies detected in isolates from canine pyometra were as follows: 95.7% fim, 27.1% iss, 25.7% hly, 18.5% iuc, and 17.1% usp. Predominant resistance was determined for cephalothin, ampicillin, and nalidixic acid among the isolates from all sites examined. Multidrug resistance was found on ∼ 50% pyometra isolates. Using the genotypic methods some isolates from uteri, pus, and saliva of the same bitch proved to have identical DNA profiles which is a reason for concern due to the close relationship between household pets and humans.

Raising of horn fly haematobia irritans (L.) (diptera: muscidae) in laboratory by means of egg and larva inoculation

Several studies have required Haematobia irritans (L.) raising in laboratory. The present study assessed two methods of inoculating immature forms of H. irritans to obtain adults. In 2007, 15 Nellore steers (Bos indicus) (L.) were used for the collection of feces free of anthelmintic treatment and flies to produce for eggs and larva. For method I, 30 eggs were incubated in square filter paper (5 × 5 cm) and deposited on bovine feces (500 g) where they were kept until hatching and spontaneous penetration of larvae (L1) into the fecal mass. After 24 h, eggs were analyzed under a stereoscope microscope (40×) for the number of larvae that instinctively penetrated the feces. In method II, larvae were obtained only by natural egg hatching. At birth, 30 larvae were collected and individually inoculated, directly onto the fecal plate by employing a moistened brush. The tests were carried out at controlled temperature (28˚C ± 2˚C) and saturated humidity (80%) until the emergence of flies with both methods. The number of emerged flies was considered in the result. Using method I, 276 (76.7%) flies emerged from 360 inoculated eggs, while using method II, 283 (78.6%) flies emerged from 360 inoculated larvae. There was no significant difference (P = 0.7821) between methods for the number of flies; however, the proportion between males and females by means of larva inoculation was different from 1:1 (P = 0.0146). Results indicated that both methods led to a satisfactory production of flies and egg inoculation provided an easier establishment.

Hino à Unesp: versão para canto e piano, em Ré maior

Este hino foi composto para as comemorações do Jubileu de Prata (25 anos) da Unesp em 2001. Edmundo Villani-Cortes, então professor de Composição do Instituto de Artes, campus de São Paulo, escreveu a música e o então aluno de graduação no curso de Bacharelado em Música com habilitação em Composição e Regência, Julio Bellodi, a convite dele, escreveu a letra. A obra, interpretada pela Orquestra de Câmara da Unesp, teve sua estreia em 3 de dezembro daquele ano.

Using Three Dimensional Motion Capture Technology to Describe and Assess Piano Technique: A Case Study

The purpose of the study was to examine any differences that exist in the quality of motions employed by pianists when they are sight-reading versus performing repertoire. A secondary question of interest was whether or not an improvement in the efficiency of motion could be observed between two sight-reading trials of the same musical excerpt. While data analysis for the full study is ongoing, the following results from a case study are illustrative.

Bach-Busoni Chaconne: A Piano Transcription Analysis

In 1893 Ferruccio Busoni transcribed, for the piano, the famous Bach Chaconne for violin solo from the Partita No.2 in D minor. Numerous transcriptions of this piece for different various instruments exist; however Busoni's transcription stands above all others. The purpose of this study was to analyze what the famous, twentieth-century pianist did when he transcribed Bach's Chaconne. What information exists on the topic comes primarily from pianists who dared to learn this exceptionally difficult, beautiful composition. Busoni's accomplishments lie in the new concept, a conceptual transcription, which has two roots: understanding how, historically, we are connected to the music, and how once genres have a special meaning in the twentieth-century. Every generation of musicians brings their own specific point of view and interpretation. Busoni lived on the border of the two centuries and, in his transcription, reveled in several issues overlooked by the previous generation. With his keen understanding of the piece, Busoni highlighted many different genres present in the music, thus allowing recognition of the last movement of the Partita No. 2 in D minor as a Requiem for Bach's wife. By underscoring the genres, Busoni used them as strata. The idea of strata comes from the aesthetics of “play,” and from a different approach to the quality of sound on piano originally intended for a high string instrument. Busoni's arrangement of the texture added both orchestral quality and stereophonic perception. The strata add to a certain reading of Bach's original. Busoni promoted a dramatic approach opening the possibility of reading the chaconne as a multi-layered form. Through Busoni', we see the possibility not only of a tripartite, variation form, but also a composition, with the elements of a concerto, and a sonata. Who could imagine, that a composition written by a young composer at the fin de siecle, intended for practical use by pianists, would subtly influence so many contemporaries and generations, that they will find his findings and music inspiring. Adviser: Dr. Mark K. Clinton

The Prelude from Suite for solo Piano Le Tombeau de Couperin by Maurice Ravel: compositional and interpretive considerations

This article, part of a doctoral research conducted at the Department of Music of the ECA/USP/FAPESP aims to elucidate compositional and technical procedures in the Prelude from the suite Le Tombeau de Couperin (1914-1917) by french composer Maurice Ravel. Such procedures are traced back to French barroque composer Francois Couperin (1668-1733) harpsichord pieces, and are translated by Ravel to the modern piano. Thus, by studying the works for harpsichord by Couperin it was possible to see a kind of fusion of two languages and two instrumental techniques apart in time. This fusion of languages poses several interpretive questions.

Horn-schunck optical flow with a multi-scale strategy

[EN] The seminal work of Horn and Schunck [8] is the first variational method for optical flow estimation. It introduced a novel framework where the optical flow is computed as the solution of a minimization problem. From the assumption that pixel intensities do not change over time, the optical flow constraint equation is derived. This equation relates the optical flow with the derivatives of the image. There are infinitely many vector fields that satisfy the optical flow constraint, thus the problem is ill-posed. To overcome this problem, Horn and Schunck introduced an additional regularity condition that restricts the possible solutions. Their method minimizes both the optical flow constraint and the magnitude of the variations of the flow field, producing smooth vector fields. One of the limitations of this method is that, typically, it can only estimate small motions. In the presence of large displacements, this method fails when the gradient of the image is not smooth enough. In this work, we describe an implementation of the original Horn and Schunck method and also introduce a multi-scale strategy in order to deal with larger displacements. For this multi-scale strategy, we create a pyramidal structure of downsampled images and change the optical flow constraint equation with a nonlinear formulation. In order to tackle this nonlinear formula, we linearize it and solve the method iteratively in each scale. In this sense, there are two common approaches: one that computes the motion increment in the iterations, like in ; or the one we follow, that computes the full flow during the iterations, like in. The solutions are incrementally refined ower the scales. This pyramidal structure is a standard tool in many optical flow methods.