Modelagem e simulação da decomposição térmica do óleo mineral isolante aplicadas à classificação de defeitos em transformadores de potência

A análise de gases dissolvidos tem sido aplicada há décadas como a principal técnica de manutenção preditiva para diagnosticar defeitos incipientes em transformadores de potência, tendo em vista que a decomposição do óleo mineral isolante produz gases que permanecem dissolvidos na fase líquida. Entretanto, apesar da importância desta técnica, os métodos de diagnóstico mais conhecidos são baseados em constatações de modelos termodinâmicos e composicionais simplificados para a decomposição térmica do óleo mineral isolante, em conjunto com dados empíricos. Os resultados de simulação obtidos a partir desses modelos não reproduzem satisfatoriamente os dados empíricos. Este trabalho propõe um modelo termodinâmico flexível aprimorado para mimetizar o efeito da cinética de formação de sólidos como restrição ao equilíbrio e seleciona, entre quatro modelos composicionais, aquele que apresenta o melhor desempenho na simulação da decomposição térmica do óleo mineral isolante. Os resultados de simulação obtidos a partir do modelo proposto apresentaram uma melhor adequação a dados empíricos do que aqueles obtidos a partir dos modelos clássicos. O modelo propostofoi, ainda, aplicado ao desenvolvimento de um método de diagnóstico com base fenomenológica.Os desempenhos desta nova proposta fenomenológica e de métodos clássicos de diagnóstico por análise de gases dissolvidos foram comparados e discutidos; o método proposto alcançou desempenho superior a vários métodos usualmente empregados nessa área do conhecimento. E, ainda, um procedimento geral para a aplicação do novo método de diagnóstico é descrito

Os livros didáticos de Geografia no período da ditadura civil-militar brasileira (1964-1985): quando o ensino serviu, em primeiro lugar, para forjar a ideia de país grande, país potência e em constante desenvolvimento

O principal objetivo da pesquisa foi averiguar o quanto o ensino da disciplina de Geografia, por meio dos manuais escolares, contribuiu para forjar a ideia de país grande e em constante desenvolvimento no período da ditadura civil-militar brasileira (1964-1985). Para isso, tornou-se necessário analisar a influência do mercado editorial, os processos educacionais do período, as legislações, os materiais adquiridos pelo(s) governo(s) e distribuídos entre as escolas e, consequentemente, analisar as ideologias que os governos militares pretenderam passar por meio das obras didáticas. Para viabilizar esse estudo, discutimos a importância da pesquisa em livros didáticos e desenvolvemos uma breve análise do uso dos manuais escolares em períodos anteriores e posteriores ao golpe, com a finalidade de investigar mudanças e permanências nos discursos ideológicos

Proposta de um otimizador para rastreamento do ponto de máxima potência de um conjunto de painéis solares conectados em um sistema híbrido de energia.

Este trabalho apresenta o projeto e os algoritmos de controle, de um sistema de geração de energia híbrido. Este sistema é formado por conversores de potência conectados em Back-to-Back associados a um arranjo solar fotovoltaico, que por sua vez é conectado no lado CC dos conversores. Em relação ao sistema de geração fotovoltaico, a contribuição consiste no desenvolvimento de cinco algoritmos para determinar o ponto de máxima potência (MPP) do arranjo fotovoltaico. O primeiro algoritmo consiste em uma versão modificada do algoritmo de Perturbar e Observar (PeO); o segundo algoritmo proposto é baseado no método do gradiente (MG); e o terceiro é baseado na otimização do MG (MGO). Porém, são desenvolvidos algoritmos híbridos que combinam rede neural com o método PeO, e rede neural com o algoritmo MGO. O sistema foi desenvolvido e simulado utilizando o Matlab/Simulink, e os resultados de simulação são apresentados com objetivo da avaliar o comportamento do sistema e a resposta dos diferentes algoritmos. Esta resposta foi avaliada para condições transitórias e de regime permanente, considerando diferentes requisitos de consumo na carga, irradiância e temperatura.

Avaliação da indução de lesões no DNA por lasers terapêuticos de baixa potência

Na medicina regenerativa há uma crescente utilização de lasers de baixa intensidade em protocolos terapêuticos para tratamento de doenças em tecidos moles e no tecido ósseo. Lasers emitem feixes de luz com características específicas, nas quais o comprimento de onda, a frequência, potência e modo de missão são propriedades determinantes para as respostas fotofísica, fotoquímica e fotobiológica. Entretanto, sugere-se que lasers de baixa potência induzem a produção de radicais livres, que podem reagir com biomoléculas importantes, como o DNA. Essas reações podem causar lesões e induzir mecanismos de reparo do DNA para preservar a integridade do código genético e homeostase celular. Portanto, o objetivo deste trabalho foi avaliar lesões no DNA de células do sangue periférico de ratos Wistar e a expressão dos genes ERCC1 e ERCC2 em tecidos biológicos expostos a lasers de baixa intensidade em comprimentos de onda, fluências, potências e modos de emissão utilizados em protocolos terapêuticos. Para tal, amostras de sangue periférico foram expostas ao laser vermelho (660 nm) e infravermelho (808 nm) em diferentes fluências, potências e modos de emissão, e a indução de lesões no DNA foi avaliada através do ensaio cometa. Em outros experimentos, lesões no DNA foram analisadas através do ensaio cometa modificado, utilizando as enzimas de reparo: formamidopirimidina DNA glicosilase (FPG) e endonuclease III. Pele e músculo de ratos Wistar foram expostos aos lasers e amostras desses tecidos foram retiradas para extração de RNA, síntese de cDNA e avaliação da expressão dos genes por PCR quantitativo em tempo real. Os dados obtidos neste estudo sugeriram que a exposição aos lasers induz lesões no DNA dependendo da fluência, potência e modo de emissão, e que essas lesões são alvos da FPG e endonuclease III. A expressão relativa do RNAm de ERCC1 e de ERCC2 foi alterada nos tecidos expostos dependendo do comprimento de onda e fluência utilizada. Os resultados obtidos neste estudo sugerem que danos oxidativos no DNA poderiam ser considerados para segurança do paciente e eficácia terapêutica, bem como alterações na expressão dos genes de reparo do DNA participariam dos efeitos de bioestimulação que justificam as aplicações terapêutica de lasers de baixa potência.

Estimativa de fontes externas uniformes de nêutrons em regiões combustíveis para uma distribuição prescrita de potência

Projetos de reatores nucleares foram classificados em quatro gerações (Gen) pelo Departamento de Energia dos Estados Unidos da América (DOE), quando o DOE introduziu o conceito de reatores de geração IV (Gen IV). Reatores Gen IV são um conjunto de projetos de reator nuclear, em sua maioria teóricos, atualmente sendo pesquisados. Entre os projetos Gen IV, incluem-se os projetos dos ADS (Accelerator Driven Systems), que são sistemas subcríticos estabilizados por fontes externas estacionárias de nêutrons. Estas fontes externas de nêutrons são normalmente geradas a partir da colisão de prótons com alta energia contra os núcleos de metais pesados presentes no núcleo do reator, fenômeno que é conhecido na literatura como spallation, e os prótons são acelerados num acelerador de partículas que é alimentado com parte da energia gerada pelo reator. A criticalidade de um sistema mantido por reações de fissão em cadeia depende do balanço entre a produção de nêutrons por fissão e a remoção por fuga pelos contornos e absorção de nêutrons. Um sistema está subcrítico quando a remoção por fuga e absorção ultrapassa a produção por fissão e, portanto, tende ao desligamento. Entretanto, qualquer sistema subcrítico pode ser estabilizado pela inclusão de fontes estacionárias de nêutrons em seu interior. O objetivo central deste trabalho é determinar as intensidades dessas fontes uniformes e isotrópicas de nêutrons, que se deve inserir em todas as regiões combustíveis do sistema, para que o mesmo estabilize-se gerando uma distribuição prescrita de potência elétrica. Diante do exposto, foi desenvolvido neste trabalho um aplicativo computacional em linguagem Java que estima as intensidades dessas fontes estacionárias de nêutrons, que devem ser inseridas em cada região combustível para que estabilizem o sistema subcrítico com uma dada distribuição de potência definida pelo usuário. Para atingir este objetivo, o modelo matemático adotado foi a equação unidimensional de transporte de nêutrons monoenergéticos na formulação de ordenadas discretas (SN) e o convencional método de malha fina diamond difference (DD) foi utilizado para resolver numericamente os problemas SN físicos e adjuntos. Resultados numéricos para dois problemas-modelos típicos são apresentados para ilustrar a acurácia e eficiência da metodologia proposta.

Bayesian estimation of simultaneous musical notes based on frequency domain modelling

This paper proposes a Bayesian method for polyphonic music description. The method first divides an input audio signal into a series of sections called snapshots, and then estimates parameters such as fundamental frequencies and amplitudes of the notes contained in each snapshot. The parameter estimation process is based on a frequency domain modelling and Gibbs sampling. Experimental results obtained from audio signals of test note patterns are encouraging; the accuracy is better than 80% for the estimation of fundamental frequencies in terms of semitones and instrument names when the number of simultaneous notes is two.

Syntax-Based Analytic Reading of Musical Scores

As part of a larger research project in musical structure, a program has been written which "reads" scores encoded in an input language isomorphic to music notation. The program is believed to be the first of its kind. From a small number of parsing rules the program derives complex configurations, each of which is associated with a set of reference points in a numerical representation of a time-continuum. The logical structure of the program is such that all and only the defined classes of events are represented in the output. Because the basis of the program is syntactic (in the sense that parsing operations are performed on formal structures in the input string), many extensions and refinements can be made without excessive difficulty. The program can be applied to any music which can be represented in the input language. At present, however, it constitutes the first stage in the development of a set of analytic tools for the study of so-called atonal music, the revolutionary and little understood music which has exerted a decisive influence upon contemporary practice of the art. The program and the approach to automatic data-structuring may be of interest to linguists and scholars in other fields concerned with basic studies of complex structures produced by human beings.

A Parallel Processing Model of Musical Structures

Euterpe is a real-time computer system for the modeling of musical structures. It provides a formalism wherein familiar concepts of musical analysis may be readily expressed. This is verified by its application to the analysis of a wide variety of conventional forms of music: Gregorian chant, Mediaeval polyphony, Back counterpoint, and sonata form. It may be of further assistance in the real-time experiments in various techniques of thematic development. Finally, the system is endowed with sound-synthesis apparatus with which the user may prepare tapes for musical performances.

The musical enculturation of Irish traditional musicians: An ethnographic study of learning processes

The enculturation of Irish traditional musicians involves informal, non-formal, and sometimes formal learning processes in a number of different settings, including traditional music sessions, workshops, festivals, and classes. Irish traditional musicians also learn directly from family, peers, and mentors and by using various forms of technology. Each experience contributes to the enculturation process in meaningful and complementary ways. The ethnographic research discussed in this dissertation suggests that within Irish traditional music culture, enculturation occurs most effectively when learners experience a multitude of learning practices. A variety of experiences insures that novices receive multiple opportunities for engagement and learning. If a learner finds one learning practice ineffective, there are other avenues of enculturation. This thesis explores the musical enculturation of Irish traditional musicians. It focuses on the process of becoming a musician by drawing on methodologies and theories from ethnomusicology, education, and Irish traditional music studies. Data was gathered through multiple ethnographic methodologies. Fieldwork based on participant-observation was carried out in a variety of learning contexts, including traditional music sessions, festivals, workshops, and weekly classes. Additionally, interviews with twenty accomplished Irish traditional musicians provide diverse narratives and firsthand insight into musical development and enculturation. These and other methodologies are discussed in Chapter 1. The three main chapters of the thesis explore various common learning experiences. Chapter 2 explores how Irish traditional musicians learn during social and musical interactions between peers, mentors, and family members, and focuses on live music-making which occurs in private homes, sessions, and concerts. These informal and non-formal learning experiences primarily take place outside of organizations and institutions. The interview data suggests these learning experiences are perhaps the most pervasive and influential in terms of musical enculturation. Chapter 3 discusses learning experience in more organized settings, such as traditional music classes, workshops, summer schools, and festivals. The role of organizations such as Comhaltas Ceoltóirí Éireann and pipers’ clubs are discussed from the point of view of the learner. Many of the learning experiences explored in this chapter are informal, non-formal, and sometimes formal in nature, depending on the philosophy of the organization, institution, and individual teacher. The interview data and field observations indicate that learning in these contexts is common and plays a significant role in enculturation, particularly for traditional musicians who were born during and after the 1970s. Chapter 4 explores the ways Irish traditional musicians use technology, including written sources, phonography, videography, websites, and emerging technologies, during the enculturation process. Each type of technology presents different educational implications, and traditional musicians use these technologies in diverse ways and some more than others. For this, and other reasons, technology plays a complex role during the process of musical enculturation. Drawing on themes which emerge during Chapter 2, 3, and 4, the final chapter of this dissertation explores overarching patterns of enculturation within Irish traditional music culture. This ethnographic work suggests that longevity of participation and engagement in multiple learning and performance opportunities foster the enculturation of Irish traditional musicians. Through numerous and prolonged participation in music-making, novices become accustomed to and learn musical, social, and cultural behaviours. The final chapter also explores interconnections between learning experiences and also proposes directions for future research.

ELGAR AND MART&: THE CELLO WORKS AND MUSICAL CHARACTERISTICS OF TWO REMARKABLE, SELF-TAUGHT, NATIONALISTIC COMPOSERS

The British Edward Elgar and Czech Bohuslav MartinB were two of the most prominent Nationalistic composers of their respective countries during the late nineteenth and early twentieth centuries. Their musical patriotism incorporates the unique paths of their lives as socially isolated and self-taught composers as expressed their outstanding Nationalistic compositions produced through the period of history encompassing the two World Wars.In the first chapter of this dissertation, a brief biography of Elgar is presented and the essential aspects of his formative years influencing him to become a self-taught musician are discussed. The second chapter demonstrates Elgar's musical characteristics through the study of a selection of his masterpieces. In the third chapter, a brief biography of Martinti is presented along with a history of his musical development, characterized by his social isolation during four different periods of his life-his residences in PoliCka, Prague, Paris, and then in the United States. The fourth chapter considers MartinB's musical characteristics as revealed through the study of a selection of his greatest works. In support of this doctoral project, I performed two recitals of cello works by Elgar and Martini3 at the University of Maryland, College Park. The first recital, accompanied by Susan Slingland and Hiroko Yamazaki, included three of Martini3's works, Sonata No. 2 for Cello and Piano (1941); Variations on a Theme of Rossini for Cello and Piano (1 942); and Sonata No. 3 for Cello and Piano (1952). The second recital, accompanied by Wonyoung Chang and Naoko Takao, presented Martini3's Sonata No. 1 for Cello and Piano (1939) and Elgar's Concerto for Cello and Orchestra Op. 85 in E minor (1 919).

Sikh Sabad Kirtan as a Musical Construction of Memory

The performance of devotional music in India has been an active, sonic conduit where spiritual identities are shaped and forged, and both history and mythology lived out and remembered daily. For the followers of Sikhism, congregational hymn singing has been the vehicle through which text, melody and ritual act as repositories of memory, elevating memory to a place where historical and social events can be reenacted and memorialized on levels of spiritual significance. This dissertation investigates the musical process of Shabad Kirtan, Sikh hymn singing, in a Sikh musical service as a powerful vehicle to forge a sense of identification between individual and the group. As an intimate part of Sikh life from birth to death, the repertoire of Shabad Kirtan draws from a rich mosaic of classical and folk genres as well as performance styles, acting as a musical and cognitive archive. Through a detailed analysis of the Asa Di Var service, Shabad Kirtan is explored as a phenomenological experience where time, place and occasion interact as a meaningful unit through which the congregation creates and recreates themselves, invoking deep memories and emotional experiences. Supported by explanatory tables, diagrams and musical transcriptions, the sonic movements of the service show how the Divine Word as Shabad is not only embodied through the Guru Granth Sahib, but also encountered through the human enactment of the service, aurally, viscerally and phenomenologically.

Exploring Musical Diversity in the Collaborative Repertoire from 1880 through 1963

It is essential in musical performance not only to convey the unique language of the composers but also to approach each composition from the perspective of its style. During the 20th century, diverse musical idioms co-existed, sometimes mixing or fusing, yet retaining recognizable characteristics and thereby remaining distinctive. This dissertation explores myriad examples from Late Romanticism/Post- Romanticism, Naturalism, Neo-Classicism, Nationalism and Impressionism composed during this unusually rich period. In order to explore a broad range of collaborative repertoire and to deepen my knowledge of the styles and performance practices relating to these pieces, I studied and performed the repertoire with pianist Eunae Baik–Kim, clarinetist Jihoon Chang, and singers Joshua Brown and Young Joo Lee. The first program featured Post-Romantic, Neo-Classic and Impressionist two-piano works composed by Debussy, Rachmaninoff, and Stravinsky. Each of the three composers used their own distinctive harmonies, rhythms, melodic inventions, pedaling and figurations. In all of the works, both piano parts were densely interwoven, having equal importance. Lied and operatic aria was the focus of the second recital. Brahms’ Vier Ernste Gesänge Op. 121, Ravel’s Don Quichotte a Dulcineé and Italian, French and German operatic arias were the examples of Post-Romanticism and Nationalism. The representative composers were Verdi, Massenet, Korngold, Leoncavallo, Ravel and Wagner. Despite the fact that all of the repertoire was written in traditional musical forms, the composers’ unique voices mark each work as belonging to a particular genre. The third recital focused on Post-Romantic and Impressionistic music written for clarinet and piano: the Première Rhapsodie by Debussy, the Sonata by Poulenc and Brahms’ Sonata in F minor Op. 120, No. 1. These works, although profoundly different in style, share elements of simplicity, clarity and elegance as well as technical virtuosity, articulation and profound musical depth. The three recitals which comprise this dissertation project were performed at the University of Maryland Gildenhorn Recital Hall on February 27, 2010, October 25, 2010, and January 31, 2011. The recitals were recorded on compact disc and are archived within the Digital Repository at the University of Maryland (DRUM).

DEGENERATE MUSIC?! MUSICAL CENSORSHIP IN THE THIRD REICH

In 1938, in Düsseldorf, the Nazis put on an exhibit entitled "Entartete Musik” (degenerate music), which included composers on the basis of their “racial origins” (i.e. Jews), or because of the “modernist style” of their music. Performance, publication, broadcast, or sale of music by composers deemed “degenerate” was forbidden by law throughout the Third Reich. Among these composers were some of the most prominent composers of the first half of the twentieth-century. They included Stravinsky, Schoenberg, Webern, Berg, Mahler, Ernst Krenek, George Gershwin, Kurt Weill, Erwin Schulhoff, and others. The music of nineteenth-century composers of Jewish origin, such as Mendelssohn and Meyerbeer, was also officially proscribed. In each of the three recitals for this project, significant works were performed by composers who were included in this exhibition, namely, Mendelssohn, Webern, Berg, Weill, and Hans Gal. In addition, as an example of self-censorship, a work of Karl Amadeus Hartmann was included. Hartmann chose “internal exile” by refusing to allow performance of his works in Germany during the Nazi regime. One notable exception to the above categories was a work by Beethoven that was presented as a bellwether of the relationship between music and politics. The range of styles and genres in these three recitals indicates the degree to which Nazi musical censorship cut a wide swath across Europe’s musical life with devastating consequences for its music and culture.

MUSICAL EXOTICISM EXPLORED IN PIANO WORKS FROM THE EIGHTEENTH CENTURY THROUGH THE EARLY TWENTIETH CENTURY

Musical exoticism is the evocation of a culture different from that of the composer. It occurs anytime a composer tries to conjure up the music of a country not his own. Although there have been studies of exoticism in the piano works of an individual composer, namely Debussy, there has not been a comprehensive study of musical exoticism in the piano literature as a whole. Upon chronological examination of the piano repertoire, general trends exhibiting exoticism become evident. The first general trend is the emergence of the Turkish style (alia turca) in the eighteenth century. Turkish style soon transmuted to the Hungarian-Gypsy style (all 'ongarese or style hongrois). [In Beethoven's Op. 129, it is alia ingharese.] Composers often alternated between the two styles even in the same composition. By the late nineteenth century, style hongrois was firmly entrenched in the musical language of Austro-German composers, as seen in the works of Brahms. In the nineteenth century, composers turned to the Middle East, North Africa and Spain for inspiration. In particular are several compositions emulating Spanish dance music, culminating in the Spanish works of Debussy and Ravel. The gamelans from Indonesia and objects from the Far East of Japan and China, brought by advances in trade and transportation, captivated the imagination of composers at the turn of the twentieth century. Also in the early twentieth century, composers tried emulating dance and jazz music coming from the Americas, such as the cakewalk, minstrelsy, and the blues. One sees the ever widening sphere of exotic inspiration for western music composers: from the Turkish invasions to the traveling Gypsies of Hungary; to the captivating dance rhythms, soulful cante jondo sections, and guitar flourishes of Spain; expanding further to the far reaches of Asia and the jazzy rhythms of the Americas. This performance dissertation consists of three recitals presented at the University of Maryland, and is documented on compact disc recordings which are housed within the University of Maryland Library System. The recordings present the music of Balakirev, Beethoven, Brahms, Chopin, Debussy, Haydn, Hummel, Milhaud, Moszkowski, Mozart, Ravel, and Schubert.