Nest stolen: the first observation of nest predation by an invasive exotic marmoset (Callithrix penicillata) in an agricultural mosaic

Invasive exotic species can negatively impact local biodiversity. We present here a report of a nest predation of an endemic bird species, variable oriole (Icterus pyrrhopterus) by the introduced black-tufted marmoset (Callithrix penicillata)in an agricultural landscape highly disturbed by human activities. Two nestlings were predated, by adults of the introduced marmoset during two alternate days. Antipredator behavior and vocal mimicry were observed in variable oriole, while copulation was observed in black-tufted marmoset during the predation. The use of mobbing against predators by I. pyrrhopterus was observed and it is described here by the first time. The potential impact of the introduced marmosets to local biodiversity is discussed.

GRBAS and Cape-V Scales: High Reliability and Consensus When Applied at Different Times

Objectives. To evaluate whether the overall dysphonia grade, roughness, breathiness, asthenia, and strain (GRBAS) scale, and the Consensus Auditory Perceptual Evaluation-Voice (CAPE-V) scale show the same reliability and consensus when applied to the same vocal sample at different times. Study Design. Observational cross-sectional study. Methods. Sixty subjects had their voices recorded according to the tasks proposed in the CAPE-V scale. Vowels /a/ and /i/ were sustained between 3 and 5 seconds. Reproduction of six sentences and spontaneous speech from the request "Tell me about your voice" were analyzed. For the analysis of the GRBAS scale, the sustained vowel and reading tasks of the sentences was used. Auditory-perceptual voice analyses were conducted by three expert speech therapists with more than 5 years of experience and familiar with both the scales. Results. A strong correlation was observed in the intrajudge consensus analysis, both for the GRBAS scale as well as for CAPE-V, with intraclass coefficient values ranging from 0.923 to 0.985. A high degree of correlation between the general GRBAS and CAPE-V grades (coefficient = 0.842) was observed, with similarities in the grades of dysphonia distribution in both scales. The evaluators indicated a mild difficulty in applying the GRBAS scale and low to mild difficulty in applying the CAPE-V scale. The three evaluators agreed when indicating the GRBAS scale as the fastest and the CAPE-V scale as the most sensitive, especially for detecting small changes in voice. Conclusions. The two scales are reliable and are indicated for use in analyzing voice quality.

Coralistas amadores: auto-imagem, dificuldades e sintomas na voz cantada

Purpose: to evaluate vocal self-perception, difficulties and presence of negative symptoms after singing of amateur choir singers of different vocal classifications, age and experience. Method: one hundred and twenty five singers answered a questionnaire containing identification data, information about self-perception of the singing voice, difficulties with singing and negative symptoms after singing. Results: the comparison considering vocal classification evidenced greater difficulties with high notes for altos and basses, greater difficulty regarding the transition to high notes for basses and greater vocal fatigue for altos. Comparing the singers by age, both adults and young adults referred more breathiness than the elderly. The adults referred better vocal intensity than the young adults. The young adults referred better timbre than adults. Regarding the experience, the less experienced singers reported self-perception of hoarseness and presence of hoarseness after singing in greater number than the experienced singers. Conclusion: the difficulties with singing are connected to the vocal classification and do not depend on age or experience. Vocal symptoms are related to the vocal classification and to the experience with singing. Negative self-perception is also related the vocal classification and to the experience with singing, and positive self-perception was more reported by experienced singers.

Débito cardíaco e fração de ejeção fetal por meio do spatio-temporal image correlation (STIC): comparação entre fetos masculinos e femininos

OBJETIVO: Comparar do débito cardíaco (DC) e a fração de ejeção (FE) do coração de fetos masculinos e femininos obtidos por meio da ultrassonografia tridimensional, utilizando o spatio-temporal image correlation (STIC). MÉTODOS: Realizou-se um estudo de corte transversal com 216 fetos normais, entre 20 a 34 semanas de gestação, sendo 108 masculinos e 108 femininos. Os volumes ventriculares no final da sístole e diástole foram obtidos por meio do STIC, sendo as avaliações volumétricas realizadas pelo virtual organ computer-aided analysis (VOCAL) com rotação de 30º. Para o cálculo do DC utilizou-se a fórmula: DC= volume sistólico/frequência cardíaca fetal, enquanto que para a FE utilizou-se a fórmula: FE= volume sistólico/volume diastólico final. O DC (combinado, feminino e masculino) e a FE (masculina e feminina) foram comparadas utilizando-se o teste t não pareado e ANCOVA. Foram criados gráficos de dispersão com os percentis 5, 50 e 95. RESULTADOS: A média do DC combinado, DC direito, DC esquerdo, FE direita e FE esquerda, para feminino e masculino, foram 240,07 mL/min; 122,67 mL/min; 123,40 mL/min; 72,84%; 67,22%; 270,56 mL/min; 139,22 mL/min; 131,34 mL/min; 70,73% e 64,76%, respectivamente; sem diferença estatística (P> 0,05). CONCLUSÕES: O DC e a FE fetal obtidos por meio da ultrassonografia tridimensional (STIC) não apresentaram diferença significativa em relação ao gênero.

Influência de alterações posturais, acompanhadas por fotogrametria computadorizada, na produção da voz

INTRODUÇÃO: Há considerável evidência da importância de uma postura adequada para um bom desempenho vocal. As alterações posturais podem influenciar diretamente a projeção da voz. OBJETIVO: Identificar a influência das diferentes posturas corporais na produção da voz. MATERIAIS E MÉTODOS: Foram realizadas as análises de 25 amostras vocais de um indivíduo que emitiu a vogal sustentada /a/ em três diferentes posturas corporais: a) ortostática natural; b) anteriorização da cabeça associada com extensão da coluna cervical; c) aumento da cifose torácica associada com anteriorização de cabeça. O indivíduo foi fotografado simultaneamente ao processo de gravação da voz. Para certificar-se de que o indivíduo estava sempre na mesma posição, as posturas foram acompanhadas por fotogrametria computadorizada pelo programa Corel Draw 10®. RESULTADOS: Os resultados da fotogrametria foram analisados pelo teste de Levene que não mostrou diferenças significativas em oito dos nove ângulos estudados. A voz foi avaliada por análise acústica e avaliação subjetiva perceptivo-auditiva. A acústica foi analisada pelos testes Anova e Tukey, que mostraram diferença na variável jitter - relacionada à qualidade vocal - entre as posturas A e B. A comparação das posturas A e B e A e C pela análise perceptivo-auditiva da voz mostrou mudanças no tom, piora na qualidade e na ressonância vocal. CONSIDERAÇÕES FINAIS: As mudanças encontradas na voz provam que a melhor produção do som é na postura ereta. O fisioterapeuta é o profissional indicado para a orientação postural e correção das más posturas.

Correlações entre ruído ambiental em sala de aula e voz do professor

OBJETIVO: Identificar se existe correlação entre ruído ambiental no interior da sala de aula, intensidade da voz e presença de alteração vocal em professores. MÉTODOS: Foi realizada medição do ruído ambiental em dez salas de escolas municipais de ensino fundamental. A intensidade das vozes das professoras foi medida durante atividade de ensino. Amostras de vogal prolongada [é] e contagem de 1 a 20 emitidas pelas professoras foram analisadas utilizando escala GRBASI. Os resultados obtidos foram correlacionados. RESULTADOS: A média de ruído ambiental sem a presença das crianças em sala de aula variou de 40 a 51 dB(A) e com a presença das crianças de 45 a 65 dB(A). Entre as professoras, houve 70% de ocorrência de vozes alteradas no grau geral (G) e 90% com tensão na voz (S), variando entre graus discreto e moderado. Constatou-se variação entre 52 dB(A) e 68 dB(A) na intensidade da voz das professoras, atingindo 7,48 dB(A) acima do nível do ruído ambiental. Houve correlação entre a intensidade vocal das professoras e ruído ambiental na presença das crianças durante a aula. CONCLUSÃO: Os níveis de ruído ambiental em sala de aula são altos e se correlacionam com o aumento da intensidade das vozes das professoras. Embora com alta ocorrência de vozes alteradas, não é possível correlacioná-las com o nível de ruído ambiental.

Las aptitudes y los hábitos musicales de los adolescentes de la Comunidad Valenciana

[ES] Una vez expuestos los objetivos de la investigación definimos el término aptitud musical en toda su amplitud, nos acercamos a las características del adolescente para conocer el funcionamiento de su oído y adentrarnos en la legislación educativo musical de la Comunidad Valenciana. Realizamos un trabajo de campo con casi 2000 alumnos de 2º, 3º y 4º de Educación Secundaria de 15 centros educativos y les aplicamos dos pruebas: el test de aptitudes musicales de Seashore y el cuestionario de hábitos musicales de P.L. Nebreda. Una vez analizados los resultados observamos que la edad y el nivel educativo ejercen una influencia positiva en la discriminación de las aptitudes musicales, como también el hábito de escuchar música clásica y la práctica instrumental y vocal.

Aldo Rossi, autobiografia scientifica: scrittura come progetto. Indagine critica tra scrittura e progetto di architettura

«In altri termini mi sfuggiva e ancora oggi mi sfugge gran parte del significato dell’evoluzione del tempo; come se il tempo fosse una materia che osservo dall’esterno. Questa mancanza di evoluzione è fonte di alcune mie sventure ma anche mi appartiene con gioia.» Aldo Rossi, Autobiografia scientifica. The temporal dimension underpinning the draft of Autobiografia scientifica by Aldo Rossi may be referred to what Lucien Lévy-Bruhl, the well-known French anthropologist, defines as “primitive mentality” and “prelogical” conscience : the book of life has lost its page numbers, even punctuation. For Lévy-Bruhl, but certainly for Rossi, life or its summing up becomes a continuous account of ellipses, gaps, repetitions that may be read from left to right or viceversa, from head to foot or viceversa without distinction. Rossi’s autobiographical writing seems to accept and support the confusion with which memories have been collected, recording them after the order memory gives them in the mental distillation or simply according to the chronological order in which they have happened. For Rossi, the confusion reflects the melting of memory elements into a composite image which is the result of a fusion. He is aware that the same sap pervades all memories he is going to put in order: each of them has got a common denominator. Differences have diminished, almost faded; the quick glance is prevalent over the distinction of each episode. Rossi’s writing is beyond the categories dependent on time: past and present, before and now. For Rossi, the only repetition – the repetition the text will make possible for an indefinite number of times – gives peculiarity to the event. As Gilles Deleuze knows, “things” may only last as “singleness”: more frequent the repetition is, more singular is the memory phenomenon that recurs, because only what is singular magnifies itself and happens endlessly forever. Rossi understands that “to raise the first time to nth forever”, repetition becomes glorification . It may be an autobiography that, celebrating the originality, enhances the memory event in the repetition; in fact it greatly differs from the biographical reproduction, in which each repetition is but a weaker echo, a duller copy, provided with a smaller an smaller power in comparison with the original. Paradoxically, for Deleuze the repetition asserts the originality and singularity of what is repeated. Rossi seems to share the thought expressed by Kierkegaard in the essay Repetition: «The hope is a graceful maiden slipping through your fingers; the memory of an elderly woman, indeed pretty, but never satisfactory if necessary; the repetition is a loved friend you are never tired of, as it is only the new to make you bored. The old never bores you and its presence makes you happy [...] life is but a repetition [...] here is the beauty of life» . Rossi knows well that repetition hints at the lasting stability of cosmic time. Kierkegaard goes on: «The world exists, and it exists as a repetition» . Rossi devotes himself, on purpose and in all conscience, to collect, to inventory and «to review life», his own life, according to a recovery not from the past but of the past: a search work, the «recherche du temps perdu», as Proust entitled his masterpiece on memory. If you want the past time to be not wasted, you must give it presence. «Memoria e specifico come caratteristiche per riconoscere se stesso e ciò che è estraneo mi sembravano le più chiare condizioni e spiegazioni della realtà. Non esiste uno specifico senza memoria, e una memoria che non provenga da un momento specifico; e solo questa unione permette la conoscenza della propria individualità e del contrario (self e non-self)» . Rossi wants to understand himself, his own character; it is really his own character that requires to be understood, to increase its own introspective ability and intelligence. «Può sembrare strano che Planck e Dante associno la loro ricerca scientifica e autobiografica con la morte; una morte che è in qualche modo continuazione di energia. In realtà, in ogni artista o tecnico, il principio della continuazione dell’energia si mescola con la ricerca della felicità e della morte» . The eschatological incipit of Rossi’s autobiography refers to Freud’s thought in the exact circularity of Dante’s framework and in as much exact circularity of the statement of the principle of the conservation of energy: in fact it was Freud to connect repetition to death. For Freud, the desire of repetition is an instinct rooted in biology. The primary aim of such an instinct would be to restore a previous condition, so that the repeated history represents a part of the past (even if concealed) and, relieving the removal, reduces anguish and tension. So, Freud ask himself, what is the most remote state to which the instinct, through the repetition, wants to go back? It is a pre-vital condition, inorganic of the pure entropy, a not-to-be condition in which doesn’t exist any tension; in other words, Death. Rossi, with the theme of death, introduces the theme of circularity which further on refers to the sense of continuity in transformation or, in the opposite way, the transformation in continuity. «[...] la descrizione e il rilievo delle forme antiche permettevano una continuità altrimenti irripetibile, permettevano anche una trasformazione, una volta che la vita fosse fermata in forme precise» . Rossi’s attitude seems to hint at the reflection on time and – in a broad sense – at the thought on life and things expressed by T.S. Eliot in Four Quartets: «Time present and time past / Are both perhaps present in time future, / And time future is contained in time past. / I all time is eternally present / All time is unredeemable. / What might have been is an abstraction / Remaining perpetual possibility / Only in a word of speculation. / What might have been and what has been / Point to one end, which is always present. [...]» . Aldo Rossi’s autobiographical story coincides with the description of “things” and the description of himself through the things in the exact parallel with craft or art. He seems to get all things made by man to coincide with the personal or artistic story, with the consequent immediate necessity of formulating a new interpretation: the flow of things has never met a total stop; all that exists nowadays is but a repetition or a variant of something existing some time ago and so on, without any interruption until the early dawnings of human life. Nevertheless, Rossi must operate specific subdivisions inside the continuous connection in time – of his time – even if limited by a present beginning and end of his own existence. This artist, as an “historian” of himself and his own life – as an auto-biographer – enjoys the privilege to be able to decide if and how to operate the cutting in a certain point rather than in another one, without being compelled to justify his choice. In this sense, his story is a matter very ductile and flexible: a good story-teller can choose any moment to start a certain sequence of events. Yet, Rossi is aware that, beyond the mere narration, there is the problem to identify in history - his own personal story – those flakings where a clean cut enables the separation of events of different nature. In order to do it, he has to make not only an inventory of his own “things”, but also to appeal to authority of the Divina Commedia started by Dante when he was 30. «A trent’anni si deve compiere o iniziare qualcosa di definitivo e fare i conti con la propria formazione» . For Rossi, the poet performs his authority not only in the text, but also in his will of setting out on a mystical journey and handing it down through an exact descriptive will. Rossi turns not only to the authority of poetry, but also evokes the authority of science with Max Plank and his Scientific Autobiography, published, in Italian translation, by Einaudi, 1956. Concerning Planck, Rossi resumes an element seemingly secondary in hit account where the German physicist «[...] risale alle scoperte della fisica moderna ritrovando l’impressione che gli fece l’enunciazione del principio di conservazione dell’energia; [...]» . It is again the act of describing that links Rossi to Planck, it is the description of a circularity, the one of conservation of energy, which endorses Rossi’s autobiographical speech looking for both happiness and death. Rossi seems to agree perfectly to the thought of Planck at the opening of his own autobiography: «The decision to devote myself to science was a direct consequence of a discovery which was never ceased to arouse my enthusiasm since my early youth: the laws of human thought coincide with the ones governing the sequences of the impressions we receive from the world surrounding us, so that the mere logic can enable us to penetrate into the latter one’s mechanism. It is essential that the outer world is something independent of man, something absolute. The search of the laws dealing with this absolute seems to me the highest scientific aim in life» . For Rossi the survey of his own life represents a way to change the events into experiences, to concentrate the emotion and group them in meaningful plots: «It seems, as one becomes older. / That the past has another pattern, and ceases to be a mere sequence [...]» Eliot wrote in Four Quartet, which are a meditation on time, old age and memory . And he goes on: «We had the experience but missed the meaning, / And approach to the meaning restores the experience / In a different form, beyond any meaning [...]» . Rossi restores in his autobiography – but not only in it – the most ancient sense of memory, aware that for at least 15 centuries the Latin word memoria was used to show the activity of bringing back images to mind: the psychology of memory, which starts with Aristotele (De Anima), used to consider such a faculty totally essential to mind. Keith Basso writes: «The thought materializes in the form of “images”» . Rossi knows well – as Aristotele said – that if you do not have a collection of mental images to remember – imagination – there is no thought at all. According to this psychological tradition, what today we conventionally call “memory” is but a way of imagining created by time. Rossi, entering consciously this stream of thought, passing through the Renaissance ars memoriae to reach us gives a great importance to the word and assumes it as a real place, much more than a recollection, even more than a production and an emotional elaboration of images.

Supramolecular functional assemblies with photo or chemical addressability

Supramolecular self-assembly represents a key technology for the spontaneous construction of nanoarchitectures and for the fabrication of materials with enhanced physical and chemical properties. In addition, a significant asset of supramolecular self-assemblies rests on their reversible formation, thanks to the kinetic lability of their non-covalent interactions. This dynamic nature can be exploited for the development of “self-healing” and “smart” materials towards the tuning of their functional properties upon various external factors. One particular intriguing objective in the field is to reach a high level of control over the shape and size of the supramolecular architectures, in order to produce well-defined functional nanostructures by rational design. In this direction, many investigations have been pursued toward the construction of self-assembled objects from numerous low-molecular weight scaffolds, for instance by exploiting multiple directional hydrogen-bonding interactions. In particular, nucleobases have been used as supramolecular synthons as a result of their efficiency to code for non-covalent interaction motifs. Among nucleobases, guanine represents the most versatile one, because of its different H-bond donor and acceptor sites which display self-complementary patterns of interactions. Interestingly, and depending on the environmental conditions, guanosine derivatives can form various types of structures. Most of the supramolecular architectures reported in this Thesis from guanosine derivatives require the presence of a cation which stabilizes, via dipole-ion interactions, the macrocyclic G-quartet that can, in turn, stack in columnar G-quadruplex arrangements. In addition, in absence of cations, guanosine can polymerize via hydrogen bonding to give a variety of supramolecular networks including linear ribbons. This complex supramolecular behavior confers to the guanine-guanine interactions their upper interest among all the homonucleobases studied. They have been subjected to intense investigations in various areas ranging from structural biology and medicinal chemistry – guanine-rich sequences are abundant in telomeric ends of chromosomes and promoter regions of DNA, and are capable of forming G-quartet based structures– to material science and nanotechnology. This Thesis, organized into five Chapters, describes mainly some recent advances in the form and function provided by self-assembly of guanine based systems. More generally, Chapter 4 will focus on the construction of supramolecular self-assemblies whose self-assembling process and self-assembled architectures can be controlled by light as external stimulus. Chapter 1 will describe some of the many recent studies of G-quartets in the general area of nanoscience. Natural G- quadruplexes can be useful motifs to build new structures and biomaterials such as self-assembled nanomachines, biosensors, therapeutic aptamer and catalysts. In Chapters 2-4 it is pointed out the core concept held in this PhD Thesis, i.e. the supramolecular organization of lipophilic guanosine derivatives with photo or chemical addressability. Chapter 2 will mainly focus on the use of cation-templated guanosine derivatives as a potential scaffold for designing functional materials with tailored physical properties, showing a new way to control the bottom-up realization of well-defined nanoarchitectures. In section 2.6.7, the self-assembly properties of compound 28a may be considered an example of open-shell moieties ordered by a supramolecular guanosine architecture showing a new (magnetic) property. Chapter 3 will report on ribbon-like structures, supramolecular architectures formed by guanosine derivatives that may be of interest for the fabrication of molecular nanowires within the framework of future molecular electronic applications. In section 3.4 we investigate the supramolecular polymerizations of derivatives dG 1 and G 30 by light scattering technique and TEM experiments. The obtained data reveal the presence of several levels of organization due to the hierarchical self-assembly of the guanosine units in ribbons that in turn aggregate in fibrillar or lamellar soft structures. The elucidation of these structures furnishes an explanation to the physical behaviour of guanosine units which display organogelator properties. Chapter 4 will describe photoresponsive self-assembling systems. Numerous research examples have demonstrated that the use of photochromic molecules in supramolecular self-assemblies is the most reasonable method to noninvasively manipulate their degree of aggregation and supramolecular architectures. In section 4.4 we report on the photocontrolled self-assembly of modified guanosine nucleobase E-42: by the introduction of a photoactive moiety at C8 it is possible to operate a photocontrol over the self-assembly of the molecule, where the existence of G-quartets can be alternately switched on and off. In section 4.5 we focus on the use of cyclodextrins as photoresponsive host-guest assemblies: αCD–azobenzene conjugates 47-48 (section 4.5.3) are synthesized in order to obtain a photoresponsive system exhibiting a fine photocontrollable degree of aggregation and self-assembled architecture. Finally, Chapter 5 contains the experimental protocols used for the research described in Chapters 2-4.

Studio di ausili tecnologici compensativi di supporto all'iter di apprendimento matematico secondario e universitario degli studenti con dislessia

Data coming out from various researches carried out over the last years in Italy on the problem of school dispersion in secondary school show that difficulty in studying mathematics is one of the most frequent reasons of discomfort reported by students. Nevertheless, it is definitely unrealistic to think we can do without such knowledge in today society: mathematics is largely taught in secondary school and it is not confined within technical-scientific courses only. It is reasonable to say that, although students may choose academic courses that are, apparently, far away from mathematics, all students will have to come to terms, sooner or later in their life, with this subject. Among the reasons of discomfort given by the study of mathematics, some mention the very nature of this subject and in particular the complex symbolic language through which it is expressed. In fact, mathematics is a multimodal system composed by oral and written verbal texts, symbol expressions, such as formulae and equations, figures and graphs. For this, the study of mathematics represents a real challenge to those who suffer from dyslexia: this is a constitutional condition limiting people performances in relation to the activities of reading and writing and, in particular, to the study of mathematical contents. Here the difficulties in working with verbal and symbolic codes entail, in turn, difficulties in the comprehension of texts from which to deduce operations that, once combined together, would lead to the problem final solution. Information technologies may support this learning disorder effectively. However, these tools have some implementation limits, restricting their use in the study of scientific subjects. Vocal synthesis word processors are currently used to compensate difficulties in reading within the area of classical studies, but they are not used within the area of mathematics. This is because the vocal synthesis (or we should say the screen reader supporting it) is not able to interpret all that is not textual, such as symbols, images and graphs. The DISMATH software, which is the subject of this project, would allow dyslexic users to read technical-scientific documents with the help of a vocal synthesis, to understand the spatial structure of formulae and matrixes, to write documents with a technical-scientific content in a format that is compatible with main scientific editors. The system uses LaTex, a text mathematic language, as mediation system. It is set up as LaTex editor, whose graphic interface, in line with main commercial products, offers some additional specific functions with the capability to support the needs of users who are not able to manage verbal and symbolic codes on their own. LaTex is translated in real time into a standard symbolic language and it is read by vocal synthesis in natural language, in order to increase, through the bimodal representation, the ability to process information. The understanding of the mathematic formula through its reading is made possible by the deconstruction of the formula itself and its “tree” representation, so allowing to identify the logical elements composing it. Users, even without knowing LaTex language, are able to write whatever scientific document they need: in fact the symbolic elements are recalled by proper menus and automatically translated by the software managing the correct syntax. The final aim of the project, therefore, is to implement an editor enabling dyslexic people (but not only them) to manage mathematic formulae effectively, through the integration of different software tools, so allowing a better teacher/learner interaction too.

Johannes Driessler - Leben und Werk

Die vorliegende Arbeit über den Komponisten Johannes Driessler besteht aus einer Biographie, Werkanalysen und einem Werkverzeichnis inklusive Verlagsangaben. Johannes Driessler - geboren am 26. Januar 1921 in Friedrichsthal, gestorben am 4. Mai 1998 in Detmold - entfaltet, neben seiner pädagogischen Tätigkeit als Kompositionslehrer an der Nordwestdeutschen Musikakademie in Detmold, zwischen 1946 und 1971 ein reiches kompositorisches Schaffen. Sein Werk umfaßt geistliche und weltliche Chormusik - A-cappella-Werke, Kantaten, Oratorien, Opern, eine Messe - Liedkompositionen, Kammermusik, Klavier- und Orgelmusik, Orchesterwerke und Symphonien. Johannes Driesslers Werk ist in der geistlichen Musik verwurzelt, er entwickelt eine eigene Tonsprache: Die Gestaltung von Werken aus einer Grundidee, der Bogen, der Ostinato, das Kontrapunktische im Kanon, in der Fuge, in der Passacaglia und eine ungebundene Harmonik sind Elemente seines intellektuellen Kompositionsstils. Johannes Driesslers ureigenes Feld liegt im Vokalbereich. Hier gibt es hervorragende Werke wie zum Beispiel das erste Oratorium Dein Reich komme. Die zyklischen geistlichen Werke durch das Kirchenjahr sind wichtige Bausteine in den Gattungen Orgelmusik und Evangelienspruch im 20. Jahrhundert. Die frühe Kammermusik und die Opern des Komponisten sollten neu entdeckt werden. Auch die didaktisch wertvolle Musik in den Lehrwerken für Schüler und Studierende hat Bestand.

Per un'indagine comparata della relazione voce-movimento nel performer

The present study investigates the principles that effect the relationship between voice and movement in performance. The topic stresses a contemporary tendency, which emerges from the work of numerous artits and looks into a research field that has not yet been well explored. The research arises from what I observed and experienced during my performance practical work and what I deepened after theorical studies: expression through movement and voice reflects constant principles. The first two chapters of the former study analyze the compared lines of the inquiry, from a theoretical point of view (interior and exterior voice-movement spatial patterns, and temporal patterns) and a practical point of view referring to body, action and relation. The third one is a survey on 'vocal gesture' as devised by Francesca della Monica, a topic that finds here the first academic investigation, built after nine years sudies with the artist on the oral sources of her teaching. The research is based on practical and theorical sources (especially philosophical studies of Giovanni Piana, Carlo Serra, Merleau-Ponty; performing studies of Grotowski, Laban, Dalcroze, Tomatis; ancient greek philosophy and literature; bodywork tecqniques as Kineseology, Body-mind centering, Alexander, Feldenkrais). The purpose of the study is to theorize, sistematyze and expose clear lines of compared investigation awakening the performer's interest on a central issue of his work and drawing the researcher's attention to make further focusing on the matter. Abstract (Italian) La ricerca va incontro a una tendenza che la contemporaneità pone in risalto con l'opera di numerosi artisti, investigando un campo ancora poco visitato a livello critico. Essa teorizza, sistematizza ed espone le costanti riscontrate nella relazione tra voce e movimento. L'indagine deriva dal presupposto, a me suggerito dalla pratica e dallo scambio con maestri e performer, e qui approfondito e restituito a livello teorico, che nella danza e nel canto, nell'espressione attraverso il movimento o attraverso la voce, si riflettono gli stessi principi. La tesi è articolata in tre capitoli: i primi due sviluppano le linee di indagine comparata, prima da un punto di vista filosofico e poi da un punto di vista pratico, il terzo porta alla luce il concetto di gesto-vocale come inteso da Francesca della Monica, di cui questo studio rappresenta il primo contributo scientifico, aprendo una ricerca nuova agli studi di settore. Il primo capitolo, 'Risonanze', sviluppa le premesse filosofiche della questione, introduce il corpo come veicolo di voce e movimento, affronta il tema del movimento della voce nello spazio interno del corpo e nello spazio di relazione. Legge poi il movimento in termini temporali, secondo i concetti di istante, ritmo, forma e flusso. Il secondo capitolo, 'Costanti', espone le costanti concrete della relazione voce-movimento in riferimento allo spazio interno del corpo, all'azione, allo spazio esterno di relazione. Il terzo capitolo, 'Confini', analizza il gesto vocale, come inteso da Francesca della Monica, concetto sintesi dell'intera ricerca poiché integra, nella sua essenza, il movimento fisico e vocale, restituendo e approfondendo lo spettro di riflessioni emerse nei primi due capitoli. Il gesto vocale, nella sua accezione espressiva, così come il lavoro di Francesca della Monica, è ancora estraneo agli studi di settore e trova in questo studio un primo contributo accademico. Le fonti sono quelle dell'insegnamento orale di Francesca della Monica, che ho seguito per nove anni, fino a desumerne una mia personale sistematizzazione, integrata con altri punti di vista critici. Analizzo i diversi livelli di profondità del gesto vocale scandendo il tema secondo la categoria della relazione: relazioni motorie, relazioni materiche, relazioni spaziali, temporali, compositive e sinestesiche. Le fonti della ricerca sono scaturite da due sorgenti, quella sul campo, e quella della teoria, confluite qui in un unico flusso. Le fonti 'in presa diretta' sono state avvalorate e confrontate con le fonti relative agli studi di settore (in particolare per la filosofia Giovanni Piana, Carlo Serra, Merleau-Ponty, per il teatro, il canto e la danza Grotowski, Laban, Dalcroze, Tomatis) e le bodywork techniques (Kinesiologia, Body-mind centering, metodo Alexander, metodo Feldenkrais). Ampio spazio viene dato alla grecità antica, che propone sull'espressione di voce e movimento un pensiero integrato carico di speculazioni che racchiudono in nuce i principi sviluppati. Lo studio tenta di offrire un livello di lettura idoneo a suscitare l'interesse del performer, e a valere come momento di indagine per lo studioso, che possa da queste basi operare approfondimenti sulle connessioni proposte. L'obiettivo è restituire la conoscenza, intuita in virtù della pratica, elaborata ed arricchita grazie alla teoria, su un nodo fondamentale per gli studi teatrali e recente oggetto di attenzione da parte di critici e artisti.

Il repertorio italiano del Ms Gr. Rés. Vm7 676 della Biblioteca Nazionale di Parigi

La tesi esamina il codice musicale Gr. Rés Vm7 676 della Biblioteca Nazionale di Parigi, che rappresenta una fonte di grande interesse per lo studio della musica vocale italiana tra Quattro e Cinquecento. Compilato nel 1502, il codice è stato oggetto di analisi da parte di vari studiosi, che ne hanno preso in esame singoli brani o intere sezioni, allo scopo di attestare procedimenti compositivi particolari (Torrefranca) o caratteri stilistici locali, in particolare relativi alla frottola mantovana e ferrarese (Prizer). Un’accurata ricognizione sul repertorio è stata effettuata da Nanie Bridgman in un saggio degli anni Cinquanta del secolo scorso, ma non è mai stato realizzato uno studio organico sul manoscritto. Pertanto la ricerca si è proposta di riconsiderare l’intero repertorio italiano tramandato dal codice, per proporre un plausibile inquadramento stilistico nella cultura della poesia per musica coeva. La trascrizione dei testi e delle musiche, supportata dal confronto con le fonti manoscritte e a stampa, letterarie e musicali, ha consentito di formulare alcune ipotesi in merito alla circolazione del repertorio tramandato e all’ambiente di produzione del documento. L’inconsueta varietà di forme musicali riscontrate nel codice consente inoltre di assumere questo manoscritto come una delle principali fonti della tradizione musicale che precede immediatamente la ‘sistemazione’ del repertorio frottolistico effettuata da Ottaviano Petrucci, a partire dal 1504, con la pubblicazione dei suoi undici libri di frottole (1501-1514).

Cantate dialogiche e serenate (1706-1710) di Georg Friedrich Händel

La dissertazione è uno studio monografico delle cantate dialogiche e delle serenate a più voci e strumenti composte da Händel in Italia negli anni 1706-1710. Insieme ai drammi per musica e agli oratori coevi, le quattro cantate "Aminta e Fillide" HWV 83, "Clori, Tirsi e Fileno" HWV 96, "Il duello amoroso" HWV 82, "Apollo e Dafne" HWV 122 e le due serenate "Aci, Galatea e Polifemo" HWV 72 e "Olinto pastore arcade alle glorie del Tebro" HWV 143 costituiscono le prime importanti affermazioni di Händel come compositore di musica vocale. Le sei composizioni sono state studiate sotto l’aspetto storico-letterario, drammaturgico-musicale e della committenza, con l’obiettivo di individuare intersecazioni fra questi piani. I testi poetici, di cui si è curata l’edizione, sono stati analizzati da un punto di vista storico e stilistico e collocati nel particolare contesto romano del primo Settecento, in cui la proibizione di ogni spettacolo teatrale determinò, sotto la spinta di una raffinata committenza, un ‘drammatizzazione’ dei generi della cantata e della serenata. L’analisi musicale di ciascuna composizione è stata dunque finalizzata a una lettura ‘drammaturgica’, che ha portato alla individuazione dei dispositivi di ascendenza teatrale nella scelte compositive di Händel. Lo studio si conclude con un selettivo confronto con le cantate e le serenate scritte negli stessi anni a Roma da Alessandro Scarlatti.

Conservare la cultura, creare una storia. Tradizione e genere nella musica di villaggio dei Banyoro e dei Batooro dell’Uganda.

La dissertazione si articola attorno all’idea di tradizione e alla concettualizzazione di genere nella musica di villaggio dei Banyoro e dei Batooro dell’Uganda occidentale. Il lavoro si sviluppa nel complesso in tre parti principali. Nella prima si presentano le trasformazioni storiche intervenute nelle relazioni di genere dal periodo precoloniale al presente e si introduce la musica di villaggio delle popolazioni considerate, ponendola a confronto con la musica di corte e con quella religiosa. La seconda sezione è dedicata allo studio dei repertori vocali e di danza di villaggio, a partire dalla documentazione realizzata con informatori anziani: di queste musiche sono considerate le caratteristiche stilistiche ed è condotta un’analisi che mira a mettere in luce le idee di genere trasmesse attraverso questi repertori. L’ultima parte del lavoro prende in considerazione le trasformazioni intervenute nel panorama musicale ugandese nell’ultimo secolo, a partire dall’influenza di musiche esterne, dall’insegnamento della musica tradizionale nelle scuole e dall’istituzione di festival scolastici e di gruppi folklorici: diverse performance attuali di canti e di danza sotto sottoposte a studio analitico. Nel complesso, si rileva una generale rifunzionalizzazione di musiche e idee di genere che si rifanno al passato, ma hanno valore soprattutto per il recupero della cultura locale nel presente,connotato dal contesto multiculturale dell’Uganda contemporanea e dalle politiche, promosse dal Governo, che favoriscono l’emancipazione femminile.