Levantamento de reconhecimento de baixa intensidade dos solos da Reserva Extrativista do Alto Juruá, Marechal Thaumaturgo, Acre.

Este trabalho foi executado pela Universidade Federal do Acre (Ufac) em cooperação com a Fundação de Tecnologia do Estado do Acre (Funtac), Embrapa Acre e Universidade Estadual de Campinas (Unicamp). O levantamento de solos, em nível de reconhecimento de baixa intensidade, compreende a Reserva Extrativista do Alio Juruá, localizada entre as coordenadas geográficas de 08 0 45' e 09 0 45' 8, de latitude sul e 72 0 00' e 730 00' W, longitude a oeste. A metodologia utilizada é a mesma que a Embrapa Solos vem utilizando em estudos similares. Realizaram-se análises físicas e químicas no Laboratório de Solos da Embrapa Acre e as análises de ataque sulfúrico no laboratório da Embrapa Solos. No desenvolvimento da prospecção pedológica foram utilizadas imagens TM 345/Landsat - 5, 1992, tratadas no Laboratório de Processamento de Informações Georreferenciadas da Unicamp, na escala de 1:100.000 e 1:200.000. Os mapas finais de solos foram elaborados na escala de 1:250.000, com unidades de mapeamento em associações, dada a limitação da escala. Os principais solos encontrados na área são: Alissolos, Luvissolos, Cambissolos, Chemossolos, Gleissolos e Neossolos. Exduindo a alta fertilidade, os solos da Reserva Extrativista do Alto Juruá apresentam sérias restrições de uso quando se consideram as condições de relevo em que estão inseridos. A área apresenta relevo ondulado a forte ondulado e solos com alto gradiente textural, implicando em alta susceptibilidade à erosão. Observou-se, em algumas áreas de relevo forte ondulado e sobre a ocorrência de Cambissolo e floresta tropical aberta, erosão laminar ligeira. No caso de retirada da floresta natural, este processo erosivo irá se intensificar, causando danos irreversíveis ao solo e, conseqüentemente, ao ambiente.

Tejeduría en lana. Grupo artesanal de Camino Alto.

53 hojas : ilustraciones.

Asesoría para el rescate de producto o técnicas tradicionales y mejoramiento del producto artesanal actual a partir del perfeccionamiento de las técnicas de talla en madera, cestería en werregue y tejido en chaquiras, en los resguardos indígenas Emberá Katio del Alto Río Munguidó, Quibdó - Chocó.

35 hojas : ilustraciones, fotografías.

Diagnóstico de materias primas vegetales para la producción artesanal en el Alto Putumayo, Valle de Sibundoy.

38 hojas : ilustraciones, fotografías.

Asesoría en diseño, asistencia técnica, tecnológica y comercial a las Familias que posean o deseen desarrollar una actividad artesanal y que estén vinculadas al Programa de Desarrollo Alternativo (PDA), en los departamentos de Nariño, Boyacá y Alto Putumayo : Informe ejecutivo final.

24 hojas.

C 227 INST-D 2013. 389 Productos en madera calados y tallados en alto relieve.

8 fotografías a color.

Diagnóstico de materias primas vegetales para la producción artesanal en el Alto Putumato, Valle de Sibundoy.

39 hojas : ilustraciones, fotografías.

Compendio fotográfico del informe de producción Alto Medio y Bajo Putumayo.

92 hojas : ilustraciones, fotografías.

Selected Solo Music for Saxophone by United States Composers: 1975-2005

This dissertation project identifies important works for solo saxophone by United States composers between 1975 and 2005. The quality, variety, expressiveness, and difficulty of the solo saxophone repertoire during these thirty years is remarkable and remedies, to some extent, the fact that the saxophone had been a largely neglected instrument in the realm of classical music. In twentieth-century music, including Jazz, the saxophone developed, nevertheless, a unique and significant voice as is evident in the saxophone repertoire that expands immensely in many instrumental settings, including the orchestra, solo works, and a wide variety of chamber ensembles. Historically, the saxophone in the United States first found its niche in Vaudeville, military bands, and jazz ensembles, while in Europe composers such as Debussy, D'Indy, Schmitt, Ibert, Glazounov, Heiden, and Desenclos recognized the potential of the instrument and wrote for it. The saxophone is well suited to the intimacy and unique timbral explorations of the solo literature, but only by the middle twentieth century did the repertoire allow the instrument to flourish into a virtuosic and expressive voice presented by successive generations of performers – Marcel Mule, Sigurd Rascher, Cecil Leeson, Jean-Marie Londeix, Fred Hemke, Eugene Rousseau, and Donald Sinta. The very high artistic level of theses soloists was inspiring and dozens of new compositions were commissioned. Through the 1960’s American composers such as Paul Creston, Leslie Bassett, Henry Cowell, Alec Wilder, and others produced eminent works for the saxophone, to be followed by an enormous output of quality compositions between 1975 and 2005. The works chosen for performance were selected from thousands of compositions between 1975 and 2005 researched for this project. The three recital dates were: April 6, 2005, in Gildenhorn Recital Hall, December 4, 2005, in Ulrich Recital Hall, and April 15, 2006, in Gildenhorn Recital Hall. Recordings of these recitals may be obtained in person or online from the Michelle Smith Performing Arts Library of the University of Maryland, College Park.

SAXOPHONE SONATAS 1980-2010

The purpose of this dissertation project identifies contemporary solo saxophone literature, specifically sonatas between the years 1980 and 2010. The overwhelming majority of repertoire written during these thirty years consisted primarily of either multi-movement or through-composed character pieces. By limiting the selected repertoire to sonatas one can still investigate the breadth of the literature that has helped validate the saxophone in the realm of classical music in a format that has seemingly fallen out of favor with composers. The saxophone had developed a unique voice by the middle of the twentieth century in both Europe and in the United States. European composers such as Claude Debussy, Florent Schmidt, Jacques Ibert, Darius Milhaud, Alexander Glazounov, Erwin Schulhoff and Bernard Heiden recognized the potential and beauty of the instrument, while the saxophone had found quite a different niche in vaudeville, jazz, and military bands in the United States. If not for the dynamic performances by concert saxophonist such as Marcel Mule, Sigurd Rascher, Jean-Marie Londeix, Daniel Deffayet, Cecil Lesson, Larry Teal, Eugene Rousseau, Fredrick Hemke and Donald Sinta, the timbral possibilities and technical virtuosity of the saxophone would not have been discovered. The awe inspiring performances by these soloists led to the commissioning of a multitude of works by composers looking to expand the sonic possibilities of this relatively new instrument. Through the 1970's American composers such as Leslie Bassett, Paul Creston, Henry Brant, Robert Muczynski, and Karel Husa were writing significant works for the saxophone, while European composers such as IngolfDahl, Edison Denisov, Alfred Desenclos, Henri Tomasi and Marius Constant were each making their own contributions, all leading to a significant quantity of repertoire that met the quality demands set by the performers. The compositions chosen for this dissertation project were selected after numerous performance, pragmatic, programming and pedagogical considerations were taken into account. The three recitals occurred on: March 7, 2010, December 10, 2010 and May 1, 2011 in either the Gildenhorn Recital Hall or Lecture Hall 2100.

African-American Composers for the Concert Saxophone: A Look at Three Prolific Composers

African-American composers within the field of classical music have made very profound contributions to the literature. In the field of chamber music, Scott Joplin, William Grant Still, Adolphus Hailstork and other composers illustrious composers have created an established and well-documented body of repertoire for many orchestral wind instruments. The saxophone repertoire, however, has not been developed as fully due to its limited tradition as an orchestral instrument and its prominence in the tradition of jazz and popular music. African-American composers in particular appear to be significantly under-represented within the standard concert saxophone literature. My personal experiences with saxophone repertoire in academic settings, solo recitals, conferences and in surveys of standard repertoire from nationally-recognized saxophone teachers support this assertion. There are many African-American composers who have made substantial contributions to the body of repertoire for the concert saxophone. This dissertation examines the works of three prolific African-American composers for the concert saxophone; Dr. Yusef A. Lateef, Andrew N. White III, and Dr. David N. Baker. All have composed more than five separate works featuring the concert saxophone. This project comprises three recitals, each dedicated to one of the three composers selected for this dissertation. Each recital presented will present their compositions featuring the saxophone as a soloist with various types of accompaniment. The project also includes newly-created piano reductions of Dr. David Baker's works for saxophone and orchestra made collaboratively with Baker and arranger John Leszczynski.

El sector de la Palta en Perú : un negocio de alto potencial

La expansión de la demanda internacional de alimentos traccionada por el crecimiento de la población mundial, los nuevos hábitos de consumo y las nuevas políticas públicas de nutrición a nivel mundial, han generado un contexto positivo para el crecimiento del consumo mundial de frutas y hortalizas en general, y de la palta en particular. La palta ha sido catalogada como producto de lujo, por los beneficios que proporciona a la salud. Es así, que en respuesta a esta demanda externa, en Perú se ha venido incrementando el área cultivada con palta, experimentado un fuerte crecimiento en producción y participación en las exportaciones mundiales. El objetivo de este trabajo es conocer la situación del sector de la palta peruana. A partir de la identificación de los factores responsables de su performance actual. Se utilizó la metodología del índice de Bela Balassa e índice de Grubell y Lloyd para su análisis en el comercio internacional frente a sus principales competidores (México y Chile), y la metodología del Diamante de Porter para analizar su competitividad. La producción nacional en los últimos diez años ha logrado un aumento en más del 100 por ciento, y ha permitido ocupar actualmente el segundo lugar en las exportaciones después de México y el sexto lugar en la producción mundial. Este crecimiento esta sostenido desde el punto de vista de producir palta de la mejor calidad para el mercado externo, rendimientos por encima de los principales productores del mundo, bajos costos de producción, buenos precios de venta, entre otros. Todo esto, se ha logrado gracias a la combinación de ventajas comparativas que presenta el sector para la producción de palta y de las ventajas competitivas que se desarrollaron a través de las inversiones realizadas por el estado y las empresas privadas. La acción de estas dos ventajas, ha permitido un crecimiento sustentable, como surge del presente trabajo

Aumento de las temperaturas mínimas inverno - primaverales en el Alto Valle del Río Negro en los últimos 90 años

p.127-131

Las temperaturas mínimas en la zona del Alto Valle de Río Negro en el período 1960 - 87

p.159-162