Summer sea surface temperatures calculated from radiolaria at ODP Site 177-1089 in the subantarctic Atlantic

A submillennial resolution, radiolarian-based record of summer sea surface temperature (SST) documents the last five glacial to interglacial transitions at the subtropical front, southern Atlantic Ocean. Rapid fluctuations occur both during glacial and interglacial intervals, and sudden cooling episodes at glacial terminations are recurrent. Surface hydrography and global ice volume proxies from the same core suggest that summer SST increases prior to terminations lead global ice-volume decreases by 4.7 ± 3.7 ka (in the eccentricity band), 6.9 ± 2.5 ka (obliquity), and 2.7 ± 0.9 ka (precession). A comparison between SST and benthic delta13C suggests a decoupling in the response of northern subantarctic surface, intermediate, and deep water masses to cold events in the North Atlantic. The matching features between our SST record and the one from core MD97-2120 (southwest Pacific) suggests that the super-regional expression of climatic events is substantially affected by a single climatic agent: the Subtropical Front, amplifier and vehicle for the transfer of climatic change. The direct correlation between warmer DeltaTsite at Vostok and warmer SST at ODP Site 1089 suggests that warmer oceanic/atmospheric conditions imply a more southward placed frontal system, weaker gradients, and therefore stronger Agulhas input to the Atlantic Ocean.

A utilização de serviços odontológicos entre crianças e fatores associados em Sobral, Ceará, Brasil

NORO, L. R. A. et al. A utilização de serviços odontológicos entre crianças e fatores associados em Sobral, Ceará, Brasil. Cad. Saúde Pública, v. 24, n. 7, p. 1509-1516. 2008. ISSN 0102-311X.

Music Learning Networks: Supporting the Music Learning of Adolescents

Thesis (Ph.D.)--University of Washington, 2016-08

Review of the flood risk management system in Germany after the major flood in 2013

Widespread flooding in June 2013 caused damage costs of €6 to 8 billion in Germany, and awoke many memories of the floods in August 2002, which resulted in total damage of €11.6 billion and hence was the most expensive natural hazard event in Germany up to now. The event of 2002 does, however, also mark a reorientation toward an integrated flood risk management system in Germany. Therefore, the flood of 2013 offered the opportunity to review how the measures that politics, administration, and civil society have implemented since 2002 helped to cope with the flood and what still needs to be done to achieve effective and more integrated flood risk management. The review highlights considerable improvements on many levels, in particular (1) an increased consideration of flood hazards in spatial planning and urban development, (2) comprehensive property-level mitigation and preparedness measures, (3) more effective flood warnings and improved coordination of disaster response, and (4) a more targeted maintenance of flood defense systems. In 2013, this led to more effective flood management and to a reduction of damage. Nevertheless, important aspects remain unclear and need to be clarified. This particularly holds for balanced and coordinated strategies for reducing and overcoming the impacts of flooding in large catchments, cross-border and interdisciplinary cooperation, the role of the general public in the different phases of flood risk management, as well as a transparent risk transfer system. Recurring flood events reveal that flood risk management is a continuous task. Hence, risk drivers, such as climate change, land-use changes, economic developments, or demographic change and the resultant risks must be investigated at regular intervals, and risk reduction strategies and processes must be reassessed as well as adapted and implemented in a dialogue with all stakeholders.

Saraswati Sings: The Slide-Guitar in India

Thesis (Ph.D.)--University of Washington, 2016-08

A utilização de serviços odontológicos entre crianças e fatores associados em Sobral, Ceará, Brasil

NORO, L. R. A. et al. A utilização de serviços odontológicos entre crianças e fatores associados em Sobral, Ceará, Brasil. Cad. Saúde Pública, v. 24, n. 7, p. 1509-1516. 2008. ISSN 0102-311X.

Muzyka i muzyczność prozy japońskiej okresu Heian (794-1192)

Wydział Neofilologii: Katedra Orientalistyki

Are we all castrati? Venanzio Rauzzini: ‘The father of a new style in English singing’

Though the castrato has been absent from the operatic stage since the nineteenth century, this voice is often described as the mysterious link in understanding the vocal techniques attributed to bel canto. The mystery lies in the fact that the voice of the operatic castrato cannot be heard by modern ears; and yet its legacy can be seen in the vocal tuition of several successful opera singers at the turn of the nineteenth century. What is unusual about this period is that some of the most successful singers of the day, including Nancy Storace, John Braham and Elizabeth Billington were British and shared the same vocal teacher. The castrato Venanzio Rauzzini (1746-1810) began his career as a primo uomo on the continent and while he established himself in various areas of musical activity, his main contribution and legacy was as a vocal teacher. During his residency in Britain from 1774 until his death, he trained several leading British professional singers who were the stars of opera in London and on the continent. They each demonstrated a use of techniques associated with the castrato vocal aesthetic and popularised a new vocal style, which can be traced to Rauzzini. Through this thesis, I will draw attention to the importance of Rauzzini’s impact on vocal teaching practice in Britain and his wider influence on the development of vocal style. I will demonstrate that Rauzzini should be considered part of the vocal teaching canon to which Pier Francesco Tosi (c.1653-1732), Nicola Porpora (1686-1768) and Manual García II (1805-1906), three other foreign vocal teachers, who were resident in Britain, already belong. By examining exactly what the expected vocal aesthetics were for all singers, castrato, non-castrated male and female during the period in which Rauzzini was active, I will demystify the castrato technique and provide a more tangible understanding of what this encompassed, demonstrating that many of these techniques were learned, performed and popularised by other voice types such as the female soprano and the male tenor.

EXCESSO DE PESO DE ADULTOS RESIDENTES EM UM AGLOMERADO URBANO SUBNORMAL

Objetivo: Avaliar a prevalência de excesso de peso e possíveis fatores de risco em adultos residentes em um aglomerado urbano subnormal. Métodos: Estudo observacional do tipo transversal, baseado em uma amostra de 582 adultos, na faixa etária de 20 a 59 anos, residentes no aglomerado urbano subnormal dos Coelhos (Recife). Definiu-se excesso de peso pelo índice de massa corporal (IMC) maior ou igual a 25kg/m2. Foram avaliadas possíveis associações com idade, sexo, raça/cor e fatores socioeconômicos (escolaridade e condição de trabalho). O efeito sobre a ocorrência de excesso de peso foi estimado pelo cálculo do Odds Ratio (OR), mediante o ajuste de modelos de regressão logística simples. A precisão e significância estatística desses ORs foram avaliadas através de intervalos de 95% de confiança e do teste de Wald. Adotou-se nível de significância de 5%. Resultados: A prevalência de excesso de peso foi de 62,5% (n=364), sendo maior nas mulheres (66,1%; n=251) do que nos homens (56,0%; n=113), com um aumento progressivo até a faixa etária de 40 a 49 anos, passando a declinar a partir de então. Nessa faixa, houve um risco de excesso de peso de 2,6 vezes. Além da idade, pertencer ao sexo feminino e não trabalhar também representaram condições de risco. Conclusão: A elevada prevalência do excesso de peso na população adulta residente no aglomerado urbano subnormal dos Coelhos se mostrou associada ao sexo, faixa etária e condição de trabalho, constituindo-se, assim, como possíveis fatores de risco do problema.

Gestural communication of music structure during solo classical piano performance

The production and perception of music is a multimodal activity involving auditory, visual and conceptual processing, integrating these with prior knowledge and environmental experience. Musicians utilise expressive physical nuances to highlight salient features of the score. The question arises within the literature as to whether performers’ non-technical, non-sound-producing movements may be communicatively meaningful and convey important structural information to audience members and co-performers. In the light of previous performance research (Vines et al., 2006, Wanderley, 2002, Davidson, 1993), and considering findings within co-speech gestural research and auditory and audio-visual neuroscience, this thesis examines the nature of those movements not directly necessary for the production of sound, and their particular influence on audience perception. Within the current research 3D performance analysis is conducted using the Vicon 12- camera system and Nexus data-processing software. Performance gestures are identified as repeated patterns of motion relating to music structure, which not only express phrasing and structural hierarchy but are consistently and accurately interpreted as such by a perceiving audience. Gestural characteristics are analysed across performers and performance style using two Chopin preludes selected for their diverse yet comparable structures (Opus 28:7 and 6). Effects on perceptual judgements of presentation modes (visual-only, auditory-only, audiovisual, full- and point-light) and viewing conditions are explored. This thesis argues that while performance style is highly idiosyncratic, piano performers reliably generate structural gestures through repeated patterns of upper-body movement. The shapes and locations of phrasing motions are identified particular to the sample of performers investigated. Findings demonstrate that despite the personalised nature of the gestures, performers use increased velocity of movements to emphasise musical structure and that observers accurately and consistently locate phrasing junctures where these patterns and variation in motion magnitude, shape and velocity occur. By viewing performance motions in polar (spherical) rather than cartesian coordinate space it is possible to get mathematically closer to the movement generated by each of the nine performers, revealing distinct patterns of motion relating to phrasing structures, regardless of intended performance style. These patterns are highly individualised both to each performer and performed piece. Instantaneous velocity analysis indicates a right-directed bias of performance motion variation at salient structural features within individual performances. Perceptual analyses demonstrate that audience members are able to accurately and effectively detect phrasing structure from performance motion alone. This ability persists even for degraded point-light performances, where all extraneous environmental information has been removed. The relative contributions of audio, visual and audiovisual judgements demonstrate that the visual component of a performance does positively impact on the over- all accuracy of phrasing judgements, indicating that receivers are most effective in their recognition of structural segmentations when they can both see and hear a performance. Observers appear to make use of a rapid online judgement heuristics, adjusting response processes quickly to adapt and perform accurately across multiple modes of presentation and performance style. In line with existent theories within the literature, it is proposed that this processing ability may be related to cognitive and perceptual interpretation of syntax within gestural communication during social interaction and speech. Findings of this research may have future impact on performance pedagogy, computational analysis and performance research, as well as potentially influencing future investigations of the cognitive aspects of musical and gestural understanding.

Les contraintes sociales agissant sur la critique musicale journalistique à Montréal en contexte de compétition marchande

Exploration empirique et théorique des diverses contraintes sociales agissant sur la pratique de la critique musicale dans les médias montréalais en contexte de compétition marchande. Pour ce faire, une enquête sociologique qualitative fut menée auprès d’un échantillon de dix animateurs et journalistes musicaux de Montréal. L’auteur développe une théorie selon laquelle critiquer esthétiquement consiste à trier et à choisir en fonction du goût au moyen d’un concept appelé « dynamique EGC », soit le processus par lequel les expériences esthétiques sont filtrées par le goût, qui commande une réponse actée sous forme de critique d’art. Sa recherche s’intéresse d’abord aux impératifs (obstacles) du métier d’animateur et de journaliste musical et montre que c’est la compétition marchande qui prédomine dans un tel travail parce qu’elle surplombe tout le reste. Le mémoire s’attarde ensuite à étudier les déterminismes sociaux poussant certains individus à vouloir pratiquer ce métier. Il est montré que les déterminismes particuliers incitant à la pratique du métier d’animateur musical ne sont pas les mêmes que ceux incitant à la pratique du journalisme musical. Les animateurs sont des « conservateurs esthétiques » qui aiment constamment partager implicitement leur passion, tandis que les journalistes sont des « progressistes esthétiques » préférant donner leur avis explicitement lorsque nécessaire, mais pas nécessairement tout le temps. Dans tous les cas, animateurs et journalistes musicaux sont à comprendre comme des « militants esthétiques », des gens qui tentent de convaincre en même temps qu’ils tentent d’acquérir de la notoriété critique.

“FOR THE UNION MAKES US STRONG”: PROTEST MUSIC IN THE 1989−90 PITTSTON STRIKE

Music making was a common practice during the 1989−90 strike against the Pittston Coal Company, an action led by the United Mine Workers of America. The types of music made varied greatly based on the contexts in which musicians and protesters were participating. In this thesis, I discuss how performers and audiences engaged with the music of the Pittston strike, with a focus on how different participatory and presentational contexts included music with similar or the same lyrics to achieve different goals. I argue that the musicians’ understanding of the people around them as potential participants, audiences, or inherent audiences shifted their use of music as they worked to use music strategically and effectively for the strike. The musical methods and considerations of the Pittston strike protesters have had a lasting impact on more recent protest movements.

Report of the Workshop on Growth-increment Chronologies in Marine Fish: climate-ecosystem interactions in the North Atlantic 2 (WKGIC2). 18-22 April 2016 Esporles, Mallorca, Spain

Over the past several decades, thousands of otoliths, bivalve shells, and scales have been collected for the purposes of age determination and remain archived in European and North American fisheries laboratories. Advances in digital imaging and computer software combined with techniques developed by tree-ring scientists provide a means by which to extract additional levels of information in these calcified structures and generate annually resolved (one value per year), multidecadal time-series of population-level growth anomalies. Chemical and isotopic properties may also be extracted to provide additional information regarding the environmental conditions these organisms experienced.Given that they are exactly placed in time, chronologies can be directly compared to instrumental climate records, chronologies from other regions or species, or time-seriesof other biological phenomena. In this way, chronologies may be used to reconstruct historical ranges of environmental variability, identify climatic drivers of growth, establish linkages within and among species, and generate ecosystem-level indicators. Following the first workshop in Hamburg, Germany, in December 2014, the second workshop on Growth increment Chronologies in Marine Fish: climate-ecosystem interactions in the North Atlantic (WKGIC2) met at the Mediterranean Institute for Advanced Studies headquarters in Esporles, Spain, on 18–22 April 2016, chaired by Bryan Black (USA) and Christoph Stransky (Germany).Thirty-six participants from fifteen different countries attended. Objectives were to i) review the applications of chronologies developed from growth-increment widths in the hard parts (otoliths, shells, scales) of marine fish and bivalve species ii) review the fundamentals of crossdating and chronology development, iii) discuss assumptions and limitations of these approaches, iv) measure otolith growth-increment widths in image analysis software, v) learn software to statistically check increment dating accuracy, vi) generate a growth increment chronology and relate it to climate indices, and vii) initiate cooperative projects or training exercises to commence after the workshop.The workshop began with an overview of tree-ring techniques of chronology development, including a hands-on exercise in cross dating. Next, we discussed the applications of fish and bivalve biochronologies and the range of issues that could be addressed. We then reviewed key assumptions and limitations, especially those associated with short-lived species for which there are numerous and extensive otolith archives in European fisheries labs. Next, participants were provided with images of European plaice otoliths from the North Sea and taught to measure increment widths in image analysis software. Upon completion of measurements, techniques of chronology development were discussed and contrasted to those that have been applied for long-lived species. Plaice growth time-series were then related to environmental variability using the KNMI Climate Explorer. Finally, potential future collaborations and funding opportunities were discussed, and there was a clear desire to meet again to compare various statistical techniques for chronology development using a range existing fish, bivalve, and tree growth-increment datasets. Overall, we hope to increase the use of these techniques, and over the long term, develop networks of biochronologies for integrative analyses of ecosystem functioning and relationships to long-term climate variability and fishing pressure.

A arte de fazer música em conjunto

Relatório de Estágio para a obtenção do grau de Mestre em Ensino da Música

Música e ideação suicida na adolescência

Dissertação de Mestrado apresentada ao Instituto Superior de Psicologia Aplicada para obtenção de grau de Mestre na especialidade de Psicologia Clínica.