Musikalische Werke.

"Thematisches Verzeichniss der Flötensonaten": v. 1, p. xix-xxii.

Interacção entre estruturas intervalares e estruturas espectrais, na música instrumental/vocal

A presente tese apresenta-se num formato bipartido, sendo a primeira parte uma investigação teórica e a segunda parte um conjunto de composições originais que procuram estabelecer, directa e indirectamente, uma relação com a temática investigada. A investigação incide sobre as diferentes relações que se podem estabelecer entre estruturas intervalares e estruturas espectrais, a partir de um conjunto representativo de obras de diferentes compositores. As obras originais da segunda parte configuram um objecto final de análise e reflexão. As composições que integram a segunda parte da tese são: Inês – sete miniaturas sobre A Castro, para soprano e orquestra, sobre excertos de “Castro”, de António Ferreira; Um sino contra o tempo, para flauta, clarinete, percussão e piano; Terra, para orquestra de cordas; Dor e Amor, para voz, flauta, clarinete, percussão, harpa, piano, violino, viola e violoncelo, sobre poemas de Nuno Júdice; e Ode a Gaia, para soprano solo, coro misto e electrónica, a partir de textos de diversos autores e épocas, desde Homero a Fernando Pessoa. Esta investigação surge a partir da convicção de que é possível e enriquecedor para a composição a coexistência e o estabelecimento de uma relação entre estruturas que valorizam as qualidades dos intervalos que as constituem e estruturas de tipo espectral. Se o pensamento intervalar pode ser relacionado com princípios de estruturação ligados a toda uma tradição musical, desde a música modal, à tonal e à atonal, o pensamento espectral relaciona-se com o estudo do fenómeno sonoro e do timbre e é integrado mais tardiamente no séc. XX como um possível modelo estruturante na composição. A investigação sobre as obras seleccionadas, sobretudo de compositores que colocam o fenómeno da percepção num plano central, procura diferentes interacções entre os dois tipos de estrutura, interrogando-se sobre em que medida é que essa interacção influencia ou é mesmo determinante para o resultado musical final. São analisadas diferentes aplicações, tais como: a procura de qualidades acústicas na criação de estruturas intervalares, a criação de timbres particulares para linhas estruturantes, a manipulação tímbrica de estruturas verticais, a inter-relação de camadas intervalares e espectrais na textura musical de forma sincrónica e diacrónica, e o surgimento de material intervalar a partir de estruturas espectrais. Os principais resultados passam pela confirmação de que o pensamento intervalar é compatível com o pensamento espectral e vice-versa, podendo-se concluir que são essenciais diferentes funções para os dois tipos de estrutura na textura musical e que quer as estruturas intervalares quer as espectrais se relacionam com diferentes aspectos da percepção, tendo, assim, uma influência determinante no resultado musical final, na eficácia da escuta e na sua fruição.

The architecture of children’s use of language and tools when problem solving collaboratively with robotics

This paper demonstrates, following Vygotsky, that language and tool use has a critical role in the collaborative problem-solving behaviour of school-age children. It reports original ethnographic classroom research examining the convergence of speech and practical activity in children’s collaborative problem solving with robotics programming tasks. The researchers analysed children’s interactions during a series of problem solving experiments in which Lego Mindstorms toolsets were used by teachers to create robotics design challenges among 24 students in a Year 4 Australian classroom (students aged 8.5–9.5 years). The design challenges were incrementally difficult, beginning with basic programming of straight line movement, and progressing to more complex challenges involving programming of the robots to raise Lego figures from conduit pipes using robots as pulleys with string and recycled materials. Data collection involved micro-genetic analysis of students’ speech interactions with tools, peers, and other experts, teacher interviews, and student focus group data. Coding the repeated patterns in the transcripts, the authors outline the structure of the children’s social speech in joint problem solving, demonstrating the patterns of speech and interaction that play an important role in the socialisation of the school-age child’s practical intellect.

"No Encores" The Royal Dublin Society Concert Archive Recitals in Retrospect: 1925-50

A large archive of sources for the RDS classical music recitals is extant in the Society’s Library, Ballsbridge, Dublin. The recitals were established in 1886 for the promotion of chamber music and in order to expose Dublin audiences to the works of the great composers. Extant in the collection are minute books; autographed programmes; newspaper cuttings which include previews, reviews and advertisements; correspondences with artists and agents; promotional material; selections of photographs; records of attendance, artists fees and takings; and volumes of printed music.
This paper will document the organisation, management and occurrence of the RDS classical music recitals for the period 1925 to 1950 and will encompass the opening of the current concert hall (The Members’ Hall, 1925), the Society’s bi-centenary celebrations (1931) and the continuance of the recitals within the context of the Second World War (1939- 45). The paper will examine and analyse the following: networks, repertoire and reception.
The RDS music committee established significant links with many performers and UK-based classical music agents. Recitalists include musicians of international renown; Myra Hess, Isolde Menges, Lili Kraus, Joseph Szigeti, Leon Goossens, Sir Hamilton Harty and The Hallé Orchestra, The Catterall Quartet and many local, Dublin-based musicians; Raidió Éireann Orchestra, Dublin String Orchestra, Dublin Philharmonic Orchestra and Culwick Choral Society. The compromises and collaborations in evidence between the music committee, agents and performers resulted in the presentation of varied and well-balanced programmes featuring sonatas, quartets, trios, concerti, overtures, symphonies and songs by composers including Beethoven, Mozart, Haydn and Brahms. Works by contemporary composers including Bax, Dohnanyi, Szymanowski and Suk were also regularly performed, as were works with an Irish influence or flavour. Audiences mainly consisted of members of the Society, music students were encouraged to attend at a reduced rate and reviews were regularly published in the Irish Times, Irish Independent and Irish Press.

Valse from the Serenade for string instruments, op. 48 /

Caption title.

Introduction et allegro pour harpe avec accpagnement de quatuor à cordes, flûte et clarinette /

For harp, flute, clarinet, and string quartet.

Fantasia on a theme by Thomas Tallis for double stringed orchestra (Curwen ed.)

Mode of access: Internet.

Ouvertüre zur Oper Euristeo,

For string orchestra, with bass realized for piano.

Suite aus "Studenten Music" 1654, für 2 Violinen, 2 Violen, Violoncello (Kontrabass) und Klavier. [Für den prakt. Gebrauch

Originally for 5 instruments with continuo; the bass is realized for piano. The continuo part realized for keyboard instrument.

Crowd Sourcing a New Paradigm for Interactome Driven Drug Target Identification in Mycobacterium tuberculosis

A decade since the availability of Mycobacterium tuberculosis (Mtb) genome sequence, no promising drug has seen the light of the day. This not only indicates the challenges in discovering new drugs but also suggests a gap in our current understanding of Mtb biology. We attempt to bridge this gap by carrying out extensive re-annotation and constructing a systems level protein interaction map of Mtb with an objective of finding novel drug target candidates. Towards this, we synergized crowd sourcing and social networking methods through an initiative `Connect to Decode' (C2D) to generate the first and largest manually curated interactome of Mtb termed `3interactome pathway' (IPW), encompassing a total of 1434 proteins connected through 2575 functional relationships. Interactions leading to gene regulation, signal transduction, metabolism, structural complex formation have been catalogued. In the process, we have functionally annotated 87% of the Mtb genome in context of gene products. We further combine IPW with STRING based network to report central proteins, which may be assessed as potential drug targets for development of drugs with least possible side effects. The fact that five of the 17 predicted drug targets are already experimentally validated either genetically or biochemically lends credence to our unique approach.

The Scherzo in Selected Works for Piano

This performance project will cover performing issues in terms of technique in the scherzo. The Dictionary of Musical Terms defines technique as "the system of creating music, the musical slull to show personality by controlling tones that is not an abstract theory but a practical ability in composition or performance." My project focuses on techniques in fast tempos, specifically those found in the scherzo form and in concertos containing a scherzo character. The term scherzo has varied in its meaning and form throughout history. In the Baroque period, a scherzo was a work of light vocal or instrumental character. In the Classical period, scherzo still meant light in style, but it also indicated a quick tempo, often in 2/4 time. The scherzo was usually a single movement in a suite or multi-movement work. Like the minuet form, the scherzo contained a contrasting trio section. The scherzo was also standard in Romantic and post-Romantic symphonies and related genres. Because of the high degree of subjectivity in Romantic music, genres that stressed emotional content over abstract form developed rapidly. Some composers even wrote one-movement pieces entitled scherzo. These pieces became very important because they usually expressed a particular character or mood. The objective of my dissertation project is to research scherzo-like concertos, scherzo as single movements in larger forms, and scherzo as independent works. My first recital will consist of two concertos with a scherzo-like character. These are Mozart's Piano Concerto No. 9 i ?nl Major; K. 271 and Ravel's Piano Concerto in G Major. I will perform these works in December 2002 with a second piano. In addition, I will perform the Ravel with an orchestra in 2003. My second recital will consist of two parts. The fxst half presents multi-movement works with scherzo movements. The pieces are Haydn's Piano Sonata No. 3 in F Majol; Hob. WI/9, Beethoven's Piano Sonata No. 10 in G Major; Op. 14, No. 2. The second half presents independent four scherzi by Chopin. The final program will also include multi-movement works containing scherzo and independent scherzo. These are Prokofiev's Piano Sonata No. 2 in D minor, Op. 14, Grieg Lyric Pieces Op. 54, Schubert Zwei Scherzi D. 593 and Copland Scherzo humoristique; Le Chat et la Souris (The Cat and the Mouse).

Salivary proteomics and peptidomics of type 1 diabetes Mellitus

A Diabetes Mellitus (DM) compreende um conjunto de desordens metabólicas comuns caracterizadas por hiperglicemia, que afeta diferentes órgãos do organismo. Ao longo do tempo, ocorrem danos microvasculares no glomérulo renal, retina e nervos periféricos, bem como doença macrovascular nas artérias. A composição da saliva também é afetada pela DM, com consequências na homeostasia oral. No entanto, o proteoma e o peptidoma salivar têm sido pouco explorados na DM tipo 1 e nas suas complicações crónicas. Tendo em conta o crescente interesse na saliva como fluido diagnóstico, o objetivo principal deste trabalho foi avaliar os eventos proteolíticos subjacentes à DM tipo 1 e às suas complicações microvasculares, bem como, caracterizar as alterações induzidas pela DM tipo 1 no proteoma e peptidoma salivar. A DM tipo 1 e particularmente as complicações microvasculares associadas modulam o perfil proteolítico dos fluidos biológicos, com diferenças significativas de atividade observadas na urina e saliva, atribuídas principalmente ao complexo Metaloproteinase da Matriz (MMP)-9/lipocalina associada à gelatinase de neutrófilos, aminopeptidase N, azurocidina e calicreína 1. O aumento da atividade proteolítica observado na saliva total dos diabéticos resultou no aumento da percentagem de péptidos, principalmente de um número acrescido de fragmentos de colagénio do tipo I, refletindo possivelmente um estado inflamatório crónico dos tecidos orais e periodontais. O peptidoma também corrobora uma maior suscetibilidade das proteínas salivares, especificamente, das proteínas ricas em prolina básicas (bPRP) 1, bPRP2 e proteínas ricas em prolina ácidas (aPRP) à proteólise, evidenciando a geração de fragmentos de proteínas associadas à ligação a bactérias. A análise do proteoma salivar baseada em iTRAQ mostrou uma sobre-expressão de L-plastina, fator do adenocarcinoma do pâncreas e das proteínas S100-A8 e S100-A9, enfatizando a importância do sistema imune inato na patogénese da DM tipo 1 e das complicações microvasculares associadas. A análise integrada de todas as proteínas expressas diferencialmente entre os pacientes diabéticos com ou sem complicações microvasculares e indivíduos saudáveis foi realizada com o STRING, onde se observam três conjuntos funcionalmente ligados, um compreende a interação entre o colagénio tipo I, colagénio tipo II e MMP-9, um segundo conjunto envolve a MMP-2 e o colagénio de tipo I e um terceiro conjunto composto por proteínas salivares e inflamatórias. Estes conjuntos estão associados com as vias Kegg de interação recetor-matriz extracelular, de adesão focal e migração transendotelial dos leucócitos. Por outro lado, a análise do proteoma e peptidoma salivar destacou potenciais biomarcadores para o diagnóstico e prognóstico da DM tipo 1 e das suas complicações.

New Brazilian species of Endecous Saussure, 1878: Phallic sclerites, calling song and tegmen morphometry (Orthoptera: Grylloidea: Phalangopsinae)

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

Les caractères musicaux au sein d'une démarche artistique dramatique : exploration des indices acoustiques jouant un rôle dans l'évocation des états affectifs en musique.

Cette thèse de doctorat en composition comprend deux projets de nature différente et complémentaire : (1) un projet de recherche théorique sur la communication des caractères musicaux; (2) un projet artistique s'articulant autour de la composition de trois pièces : L'homme à deux têtes - opéra de chambre, Un instant dans l'esprit de Lovecraft - pour clarinette solo, orchestre à cordes et percussions, et Balade ornithologique - pour orchestre à vents. La conception de la musique comme un moyen de communication est à l'origine de cette recherche théorique qui est motivée par un désir de compréhension des stratégies d'expressions des émotions en musique, à partir du point de vue du compositeur. Cette thèse aborde les modèles de communication, le concept de personnage virtuel et la théorie de la contagion des humeurs. Par la suite, nous détaillerons les indices acoustiques menant à la perception des caractères musicaux. Toutes ces notions sont illustrées et explorées par la composition de miniature ayant un caractère bien ciblé. Finalement, nous proposons un système d'analyse musical des caractères et des émotions qui est appliqué à l'analyse de sections des pièces composées au cours de ce projet de doctorat. Ce dernier chapitre met en lumière les stratégies utilisées pour créer un discours dramatique tout en exposant l'évocation de différents caractères musicaux.

Elegy for strings : op. 58 /

Mode of access: Internet.