THE PERFORMER’S INFLUENCE ON FRANCO-BELGIAN COMPOSITIONS FROM 1870 TO 1930

The turn of the 20th century marked an ascendancy of the Franco-Belgian school of composers. French composers were inspired by the great German composers of the Romantic era, and they created their own defined national style that emerged toward the end of the 19th century. The Franco-Belgian composers’ special emphasis on tone, timbre and color encouraged a more individual, personally interpretative approach. These devices underscore the importance and influence a performer can have on the outcome of a piece. I researched the relationship between composers and violinists at a time when the Franco-Belgian style developed and flourished. The Franco-Belgian school of violin playing emerged from the Paris and Brussels conservatories as well as the symbiotic relationship between the performers and composers. Three recitals in collaboration with pianist David Ballena, which comprise this dissertation project, were performed at the University of Maryland. Each recital featured music for violin and piano from 1870 through 1930. The repertoire was chosen to reflect a performer’s influence on a composer. I examined specific composer/performer relationships that helped shape the birth of a newly defined “French” style of playing. My research focused on the stylistic interactions composers, such as César Franck, his disciple Guillaume Lekeu had with the leading prominent Belgian violinist Eugène Ysaye and between Maurice Ravel and the Hungarian violinist Jelly d’Aranyi. I also looked into the personal relationship between friends who inspired each other: Gabriel Fauré and Paul Viardot, Edouard Lalo and Pablo de Sarasate, Claude Debussy and Arthur Hartmann, and the young Lili Boulanger and Yvonne Astruc. Furthermore, I looked into the unfulfilled love between Maurice Ravel and Hélène Jourdan-Morhange, as well as the marriage of Olivier Messiaen with Claire Delbos, both relationships resulting in masterpieces for violin that have remained a part of the standard violin repertoire. My research led me to understand what type of violin playing each composer had in mind while composing, all of which led me to understand the importance a performer has in preserving national styles. The recitals were recorded on compact discs and archived within the Digital Repository at the University of Maryland (DRUM).

AMERICAN WOMEN COMPOSERS: SELECTED PUBLISHED WORKS FOR FLUTE AND PIANO AND FOR UNACCOMPANIED FLUTE COMPOSED BETWEEN 1930 AND 2008

The music of women composers often comprises only a small percentage of flutists‘ repertoire, yet there are actually many active women composers, many of whom have written for the flute. The aim of this dissertation is to chronicle a selection of works by several American women composers that have contributed to accessible flute repertoire. For the purpose of this dissertation, accessibility is described by the following parameters: works that limit the use of extended techniques, works that are suitable for performers from high school through a reasonably advanced level, works that are likely to elicit emotionally musical communication from the performer to the listener, and works that are reasonably available through music stores or outlets on the Internet that have a fairly comprehensive reach to the general public. My subjective judgment also played a role in the final selection of the 25 works included as part of this dissertation, and performed on three musically well-balanced recitals. A variety of resources were consulted for the repertoire, including Boenke‘s Flute Music by Women Composers: An Annotated Catalog, and the catalogs of publishers such as Arsis Press and Hildegard Publishing, both of which specialize in the music of women composers. The works performed and discussed are the following: Adrienne Albert – Sunswept; Marion Bauer – Prelude and Fugue, Op. 43.; Marilyn Bliss – Lament; Ann Callaway – Updraft; Ruth Crawford – Diaphonic Suite; Emma Lou Diemer – Sonata; Vivian Fine – Emily’s Images; Cynthia Folio – Arca Sacra; Nancy Galbraith – Atacama; Lita Grier – Sonata; Jennifer Higdon – The Jeffrey Mode; Edie Hill – This Floating World; Katherine Hoover – Masks; Mary Howe – Interlude between Two Pieces; Laura Kaminsky – Duo; Libby Larsen – Aubade; Alex Shapiro – Shiny Kiss; Judith Shatin – Coursing Through the Still Green; Faye-Ellen Silverman – Taming the Furies; Augusta Read Thomas – Euterpe’s Caprice; Joan Tower – Valentine Trills; Ludmila Ulehla – Capriccio; Elizabeth Vercoe – Kleemation; Gwyneth Walker – Sonata; and Judith Lang Zaimont – ‘Bubble-Up’ Rag. All of these works are worthy alternatives to the more frequently played flute repertoire, and they serve as a good starting point for anyone interested i n exploring the works of women composers.

Caracterización del régimen de heladas meteorológicas y agrometeorológicas en Balcarce (Argentina) en el período 1970 - 1999

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Os conhecimentos supostos disponíveis na transição entre o ensino médio e superior: a noção de sistemas de equações lineares

Nossa pesquisa sobre as diferentes possibilidades de tratamento da noção de sistemas de equações lineares na transição entre o Ensino Médio e Superior. O referencial teórico escolhido é a noção de níveis de conhecimento esperados dos estudantes conforme definição de Robert (1997) apoiado das abordagens teóricas em termos de quadro de Douady (1984), de pontos de vista de Rogalski (1995) e complementado pela teoria antropológica do didático de Bosch e Chevallard (1999), que permite analisar as diferentes relações institucionais esperadas existentes assim como as relações pessoais desenvolvidas pelos estudantes em função das anteriores. Observamos que apesar da coerência entre as relações institucionais esperadas e existentes, os resultados obtidos pelos estudantes nas macroavaliações, tanto no Ensino Médio como no Ensino Superior, não correspondem às expectativas.

A transição ensino médio e superior: a noção de retas e planos em IR2 e IR3

Os resultados apresentados referem-se à pesquisa sobre a transição Ensino Médio e Superior para as noções de Geometria Analítica. O referencial teórico da pesquisa é a Teoria Antropológica do Didático de Bosch e Chevallard (1999), a noção de quadro de Douady (1984), a noção de ponto de vista de Rogalski (1995, 2001) e a abordagem teórica em termos de níveis de conhecimento de Robert (1997). As análises das relações institucionais foram efetuadas por meio de documentos oficiais e livros didáticos e as relações pessoais por meio de macro avaliações. Os resultados encontrados mostram uma crescente preocupação institucional com a articulação dos ostensivos e não ostensivos associados às noções de Geometria Analítica e uma tendência em deixar o tratamento do espaço IR3 para Ensino Superior.

Os pontos de vista privilegiados no ensino da noção de derivad de uma função no ensino superior do brasil

O objetivo dessa pesquisa é analisar os pontos de vista sobre a noção de derivada de uma função desenvolvida no Ensino Médio e que podem servir de apoio para a disciplina de Cálculo Diferencial e Integral no Ensino Superior. Para isso, escolhemos como referenciais teóricos centrais os pontos de vista de Thurston (1995) e a abordagem teórica em termos de pontos de vista de Rogalski (1995). Para melhor identificar as dificuldades associadas ao ensino e à aprendizagem da noção de derivada na transição Ensino Médio e Superior complementamos as análises utilizando as abordagens teóricas em termos de quadros de Douady (1984) e níveis de conhecimento de Robert(1997) e a teoria antropológica do didático de Bosch e Chevallard (1999). Os resultados encontrados mostram que pouca atenção é dada ao trabalho desenvolvido no Ensino Médio, não se levando em conta os conhecimentos prévios dos estudantes, o que pode justificar as dificuldades encontradas por esses nos primeiros anos do Ensino Superior.

El poder y las coaliciones

Para medir el poder en organizaciones donde no se aplica el sistema de un hombre, un voto se recurre a un campo de la matemática denominado teoría del elección social. Los sistemas de votación con peso son frecuentes en política economía etcétera, donde algunos países de personas tienen más influencia que otros. En este artículo analizamos los ejemplos reales de sistemas de votación con peso: el Consejo de Seguridad de las Naciones Unidas y el Consejo de ministros de la Comunidad Económica Europea.