Nec(Romantic)

NEC(ROMANTIC) is a poetry collection thematically linked through images of insects, celestial bodies, bones, and other elements of the supernatural. These images are indicative of spells, but the parenthesis around romantic in the collection’s title also implies idealism. The poems explore the author’s experiences with death, grief, love, oppression, and addiction. NEC(ROMANTIC) employs the use of traditional forms such as the villanelle, sestina, and haiku to organize these experiences. Prose poetry and a peca kucha ground the center of NEC(ROMANTIC) which alternates between lyrical and narrative gestures. NEC(ROMANTIC) is influenced by Sylvia Plath. The author uses Plath’s methods of compression, sound, and rhythm to create a swift, child-like tone when examining emotionally laden topics. Ilya Kaminsky influences lyrical elements of the poems, including surrealism. Spencer Reese’s combination of the natural and personal world is also paramount to this book. Adrienne Rich and Audre Lorde influence NEC(ROMANTIC)’s political poetry.

Música em projetos socioassistenciais governamentais: práticas e concepções culturais no Serviço de Convivência e Fortalecimento de Vínculos em Natal/RN

This present research focus at the teaching of music in social programs, it discuss about the teaching concepts that permeates the educational-musical practice presents in Serviço de Convivência e Fortalecimento de Vínculos (SCFV), of Complexo Dom Bosco, in Natal-RN. The Objective is to reflect upon the music teaching concepts and the relations between musical knowledge and culture. For this, it was problematized the concepts of music teaching and learning in governmental social projects through theoretical and empirical research. After this step, it was studied the cultural aspects involving the routine in the institutions the influenced the music learning at Serviço de Convivência e Fortalecimento de Vínculos, furthermore, and how these aspects are present in the constitution of the paradigms that involve music teaching. For this, it was used a qualitative approach and a case study as type of research. As data capture tool it was used the ethnographic write, photography, interviews as a Facilitator of music with the students of the program, and video recordings of musical learning situations. Theoretical support it was used authors who study the complexity, culture and music teaching in social projects. Finally, the conclusion is that musical learning, in the SCFV context, is involved of cultural conceptions steeped to the Oratório Dom Bosco space and the same time the Brazilian Social Assistance Policy. Sometimes these concepts are contradictory: discipline, leadership and combat social exclusion refer to dialogical cultural hologram of the institutions involved in the music education process.

Ensino e aprendizagem de violão na UFRN

The instrumental teaching in Brazil has been more widely studied by music education in the last years, becoming a significative scientific investigation field. This work is focusing on analysis of the instrument teaching reality, considering more specifically the guitar teaching. In a timely manner, approaches the reality of the guitar teaching from the Universidade Federal do Rio Grande do Norte (Federal University of Rio Grande do Norte – UFRN), considering specific instrument courses in this institution. Thus, the present work was guided by the aim of understanding conceptions, contents and didactic and methodological perspectives that constitute the teaching and learning of the guitar at UFRN. To reach this main aim, we sought to verify, in general: 1) the theoretical, methodological and content perspectives that underlie guitar formation in the music courses of the UFRN; 2) the functions and the aims of the guitar disciplines in the Courses; 3) the profile of the guitar disciplines' professors; 4) the demands of the subjects directly involved in these proposals of musical education; and, 5) the conceptions about formation practices and teaching methodologies that characterize the docent action. In accordance with the aims, the methodological guidance was based on the qualitative paradigm. Thus, data collection procedures involved were: bibliographical and documentary research and interviews with three professors who taught in guitar disciplines during the semester of 2014.1 on the mentioned courses. Then, these data were systematically organized and analyzed in line with the research characteristics presented here. The results of the research evidenced the concepts, contents and didactic and methodological perspectives in the context of teaching and learning guitar in the studied empirical field. In this context, we perceive a relation between the demands of teaching and learning tool in the study field and the ones evidenced in the literature. The results demonstrated that the professors’ professional tragetory is associated with their influences from the initial musical formation and their guitar learning since they related conceptions that reflected aspects formation, sometimes converging sometimes divergente. The contentes, methodologies and general aspects are made based on parameters that demonstrate alignment with the perspectives of guitar teaching and learning in the contemporary world to the instrumental player formation. Thus, the study gave a broader diagnosis about the guitar teaching reality, demonstrating the diferences and the singularities between the Technical Course and the Course of Bachelor in Music at UFRN. Thereby, this study provides importante contribution to music education, mainly, through its reflections about the guitar pedagogy.

Monitoring of down-hole parameters for early kick detection

The sudden hydrocarbon influx from the formation into the wellbore poses a serious risk to the safety of the well. This sudden influx is termed a kick, which, if not controlled, may lead to a blowout. Therefore, early detection of the kick is crucial to minimize the possibility of a blowout occurrence. There is a high probability of delay in kick detection, apart from other issues when using a kick detection system that is exclusively based on surface monitoring. Down-hole monitoring techniques have a potential to detect a kick at its early stage. Down-hole monitoring could be particularly beneficial when the influx occurs as a result of a lost circulation scenario. In a lost circulation scenario, when the down-hole pressure becomes lower than the formation pore pressure, the formation fluid may starts to enter the wellbore. The lost volume of the drilling fluid is compensated by the formation fluid flowing into the well bore, making it difficult to identify the kick based on pit (mud tank) volume observations at the surface. This experimental study investigates the occurrence of a kick based on relative changes in the mass flow rate, pressure, density, and the conductivity of the fluid in the down-hole. Moreover, the parameters that are most sensitive to formation fluid are identified and a methodology to detect a kick without false alarms is reported. Pressure transmitter, the Coriolis flow and density meter, and the conductivity sensor are employed to observe the deteriorating well conditions in the down-hole. These observations are used to assess the occurrence of a kick and associated blowout risk. Monitoring of multiple down-hole parameters has a potential to improve the accuracy of interpretation related to kick occurrence, reduces the number of false alarms, and provides a broad picture of down-hole conditions. The down-hole monitoring techniques have a potential to reduce the kick detection period. A down-hole assembly of the laboratory scale drilling rig model and kick injection setup were designed, measuring instruments were acquired, a frame was fabricated, and the experimental set-up was assembled and tested. This set-up has the necessary features to evaluate kick events while implementing down-hole monitoring techniques. Various kick events are simulated on the drilling rig model. During the first set of experiments compressed air (which represents the formation fluid) is injected with constant pressure margin. In the second set of experiments the compressed air is injected with another pressure margin. The experiments are repeated with another pump (flow) rate as well. This thesis consists of three main parts. The first part gives the general introduction, motivation, outline of the thesis, and a brief description of influx: its causes, various leading and lagging indicators, and description of the several kick detection systems that are in practice in the industry. The second part describes the design and construction of the laboratory scale down-hole assembly of the drilling rig and kick injection setup, which is used to implement the proposed methodology for early kick detection. The third part discusses the experimental work, describes the methodology for early kick detection, and presents experimental results that show how different influx events affect the mass flow rate, pressure, conductivity, and density of the fluid in the down-hole, and the discussion of the results. The last chapter contains summary of the study and future research.

Sub-wavelength resonators as seismic Rayleigh waves shield

We explore the thesis that tall structures can be protected by means of seismic metamaterials. Seismic metamaterials can be built as some elements are created over soil layer with different shapes, dimensions, patterns and from different materials. Resonances in these elements are acting as locally resonant metamaterials for Rayleigh surface waves in the geophysics context. Analytically we proved that if we put infinite chain of SDOF resonator over the soil layer as an elastic, homogeneous and isotropic material, vertical component of Rayleigh wave, longitudinal resonance of oscillators will couple with each other, they would create a Rayleigh bandgap frequency, and wave will experience attenuation before it reaches the structure. As it is impossible to use infinite chain of resonators over soil layer, we considered finite number of resonators throughout our simulations. Analytical work is interpreted using finite element simulations that demonstrates the observed attenuation is due to bandgaps when oscillators are arranged at sub-wavelength scale with respect to the incident Rayleigh wave. For wavelength less than 5 meters, the resulting bandgaps are remarkably large and strongly attenuating when impedance of oscillators matches impedance of soil. Since longitudinal resonance of SDOF resonator are proportional to its length inversely, a formed array of resonators that attenuates Rayleigh waves at frequency ≤10 Hz could be designed starting from vertical pillars coupled to the ground. Optimum number of vertical pillars and their interval spacing called effective area of resonators are investigated. For 10 pillars with effective area of 1 meter and resonance frequency of 4.9 Hz, bandgap frequency causes attenuation and a sinusoidal impulsive force illustrate wave steering down phenomena. Simulation results proved analytical findings of this work.

Introduction des sonorités du Mexique préhispanique dans l'orchestration moderne

Les compositions musicales de l’étudiante qui accompagne cette thèse sous la forme d’un disque audio est disponible au comptoir de la Bibliothèque de musique sous le titre : Cristina García Islas (https://umontreal.on.worldcat.org/oclc/1135201695)

Musiciens migrants d'origine arabe dans le contexte montréalais : le parcours de la reconnaissance

Ce mémoire traite des parcours de musiciens migrants d’origine arabe à Montréal. Il s’intéresse à la manière dont ces derniers construisent leurs carrières musicales dans ce contexte et acquièrent la reconnaissance des différents acteurs qu’ils côtoient – pairs, intervenants culturels, public. La méthodologie adoptée est de nature qualitative et correspond à une perspective ethnosociologique, le contexte musical de l’étude inscrivant la démarche dans le domaine de la sociomusicologie. Cinq musiciens ayant migré d’un pays arabe avec une pratique musicale préalable ont été rencontrés, ainsi que cinq acteurs du milieu musical qui interagissent avec eux. Ce corpus d’entretiens a été complété par de l’observation et l’étude de traces (ex. : disques, cv). La démarche d’enquête a permis d’élaborer un ensemble de propositions visant à comprendre les phénomènes sociaux observés. Il apparaît que ces musiciens construisent leurs carrières montréalaises grâce à une actualisation et réappropriation originale des sources et influences musicales accumulées au fil de leur vie, processus néanmoins tributaire des rouages du milieu musical. Celui-ci est constitué de multiples acteurs ayant chacun leurs objectifs, intérêts, contraintes vis-à-vis desquels les musiciens doivent s’ajuster, négocier, faire des compromis. Puis, l’ethnicité arabe qui est construite et mise en scène par les performances musicales peut vraisemblablement agir comme outil pour se démarquer dans le contexte montréalais. Cependant, les dynamiques qui sous-tendent les rapports sociaux que ces artistes entretiennent dans la métropole font en sorte qu’ils ont ultimement peu d’emprise sur la manière dont se manifeste la reconnaissance à leur égard et vis-à-vis de leurs pratiques musicales.

The sound of whiteness: early music vocal performance practice in Britain

American Musicological Society annual meeting, San Francisco, 10 Nov. 2011

A Philosophy of Operatic Storytelling

This dissertation presents the first theoretical model for understanding narration and point of view in opera, examining repertoire from Richard Wagner to Benjamin Britten. Prior music scholarship on musical narratives and narrativity has drawn primarily on continental literary theory and philosophy of the 1960s to the middle of the 1980s. This study, by contrast, engages with current debates in the analytic branch of aesthetic philosophy. One reason why the concept of point of view has not been more extensively explored in opera studies is the widespread belief that operas are not narratives. This study questions key premises on which this assumption rests. In so doing, it presents a new definition of narrative. Arguably, a narrative is an utterance intended to communicate a story, where "story" is understood to involve the representation of a particular agent or agents exercising their agency. This study explores the role of narrators in opera, introducing the first taxonomy of explicit fictional operatic narrators. Through a close analysis of Britten and Myfanwy Piper's Owen Wingrave, it offers an explanation of music's power to orient spectators to the points of view of opera characters by providing audiences with access to characters' perceptual experiences and cognitive, affective, and psychological states. My analysis also helps account for how our subjective access to fictional characters may engender sympathy for them. The second half of the dissertation focuses on opera in performance. Current thinking in music scholarship predominantly holds that fidelity is an outmoded concern. I argue that performing a work-for-performance is a matter of intentionally modelling one's performance on the work-for-performance's features and achieving a moderate degree of fidelity or matching between the two. Finally, this study investigates how the creative decisions of the performers and director impact the point of view from which an opera is told.

Legends as music: new composition in the traditional Irish idiom

Engaging Ireland’s rich heritages of traditional music, story-telling, song, dance, and language, this doctoral composition project is a unique undertaking in the amalgamation of native art forms and the narrative realisation of Irish legends. The centrepiece of the project comprises of two collections of compositions inspired by the legends Oidhe Chloinne Lir (the tragic fate of the children of Lir) and Loinges Mac nUislenn (the exile of the sons of Uisliu). An interdisciplinary approach of traditional research and creative practice was employed in the development of this project, which informed and supported the formulation of personal and distinctive recensions of the chosen narratives, and the composition of over three hundred new works. Grounded in Irish traditional music, the compositional voice speaks in the familiar styles and structures of the idiom, and also resonates in contemporary and singular spaces. The Irish harping tradition is continued and extended in this research through the composition and recording of new music which is particularly suited to the instrument. Outputs include contextual, critical, and creative writings, recordings, video materials, musical scores, and storyboard and performance design artwork.

Les contraintes sociales agissant sur la critique musicale journalistique à Montréal en contexte de compétition marchande

Exploration empirique et théorique des diverses contraintes sociales agissant sur la pratique de la critique musicale dans les médias montréalais en contexte de compétition marchande. Pour ce faire, une enquête sociologique qualitative fut menée auprès d’un échantillon de dix animateurs et journalistes musicaux de Montréal. L’auteur développe une théorie selon laquelle critiquer esthétiquement consiste à trier et à choisir en fonction du goût au moyen d’un concept appelé « dynamique EGC », soit le processus par lequel les expériences esthétiques sont filtrées par le goût, qui commande une réponse actée sous forme de critique d’art. Sa recherche s’intéresse d’abord aux impératifs (obstacles) du métier d’animateur et de journaliste musical et montre que c’est la compétition marchande qui prédomine dans un tel travail parce qu’elle surplombe tout le reste. Le mémoire s’attarde ensuite à étudier les déterminismes sociaux poussant certains individus à vouloir pratiquer ce métier. Il est montré que les déterminismes particuliers incitant à la pratique du métier d’animateur musical ne sont pas les mêmes que ceux incitant à la pratique du journalisme musical. Les animateurs sont des « conservateurs esthétiques » qui aiment constamment partager implicitement leur passion, tandis que les journalistes sont des « progressistes esthétiques » préférant donner leur avis explicitement lorsque nécessaire, mais pas nécessairement tout le temps. Dans tous les cas, animateurs et journalistes musicaux sont à comprendre comme des « militants esthétiques », des gens qui tentent de convaincre en même temps qu’ils tentent d’acquérir de la notoriété critique.

Biocompatibility Assessment of Biosorbable Polymer Coated Nitinol Alloys

Owing to an increased risk of aging population and a higher incidence of coronary artery disease (CAD), there is a need for more reliable and safer treatments. Numerous varieties of durable polymer-coated drug eluting stents (DES) are available in the market in order to mitigate in-stent restenosis. However, there are certain issues regarding their usage such as delayed arterial healing, thrombosis, inflammation, toxic corrosion by-products, mechanical stability and degradation. As a result, significant amount of research has to be devoted to the improvement of biodegradable polymer-coated implant materials in an effort to enhance their bioactive response. In this investigation, magneto-electropolished (MEP) and a novel biodegradable polymer coated ternary Nitinol alloys, NiTiTa and NiTiCr were prepared to study their bio and hemocompatibility properties. The initial interaction of a biomaterial with its surroundings is dependent on its surface characteristics such as, composition, corrosion resistance, work of adhesion and morphology. In-vitro corrosion tests such as potentiodynamic polarization and electrochemical impedance spectroscopic (EIS) studies were conducted to determine the coating stability and longevity. In-vitro hemocompatibility studies and HUVEC cell growth was performed to determine their thrombogenic and biocompatibility properties. Critical delamination load of the polymer coated Nitinol alloys was determined using Nano-scratch analysis. Sulforhodamine B (SRB) assays were performed to elucidate the effect of metal ions leached from Nitinol alloys on the viability of HUVEC cells. Scanning Electron Microscopy (SEM), X-ray Photoelectron Spectroscopy (XPS), contact angle meter and X-ray diffraction (XRD) were used to characterize the surface of the alloys. MEP treated and polymer coated (PC) Nitinol alloys displayed a corrosion resistant polymer coating as compared to uncoated alloys. MEP and PC has resulted in reduced Ni and Cr ion leaching from NiTi5Cr and subsequently low cytotoxicity. Thrombogenicity tests revealed significantly less platelet adhesion and confluent endothelial cell growth on polymer coated and uncoated ternary MEP Nitinol alloys. Finally, this research addresses the bio and hemocompatibility of MEP + PC ternary Nitinol alloys that could be used to manufacture blood contacting devices such as stents and vascular implants which can lead to lower U.S. healthcare spending.

Music Learning Networks: Supporting the Music Learning of Adolescents

Thesis (Ph.D.)--University of Washington, 2016-08

Saraswati Sings: The Slide-Guitar in India

Thesis (Ph.D.)--University of Washington, 2016-08

Muzyka i muzyczność prozy japońskiej okresu Heian (794-1192)

Wydział Neofilologii: Katedra Orientalistyki