Crossmodal effects of Guqin and piano music on selective attention: An event-related potential study (vol 466, pg 21, 2009)

Special thanks to Christopher Blair and Mumtaz Baig for their suggestions. This work was supported by National Basic Research Program of China (973 Program, 2007CB411600), National Natural Science Foundation of China (30621092), and Bureau of Science and Technology of Yunnan Province.

Estimativas de parâmentros genéticos visando a seleção para resistência à queima-das-folhas em populações de cenoura do grupo Brasília.

2008

Efeito de sistemas de cultivo com cana-de-açúcar sobre a lixiviação dos herbicidas do grupo das triazinas em região de recarga do Aqüífero Guarani.

Algumas práticas agrícolas como o plantio direto pode afetar a lixiviação. Para estudar os efeitos desta prática, foi instalado um experimento de campo na área do Núcleo de Agronomia da Alta Mogiana, Instituto Agronômico de Campinas/Ribeirão Preto, de onde foram coletadas amostras de solos e água para estudos de herbicidas do grupo das triazinas: atrazina, simazina e ametrina. Foi instalado um experimento em área de cana colhida mecanicamente plantada com amendoim em diferentes sistemas de cultivo (plantio direto e plantio convencional) nas quais a cada 10 cm. foram retiradas amostras de solos até atingir 90 cm. Determinaram-se os seguintes parâmetros em laboratório: a) Densidade do solo, b) Porosidade total c) Microporosidade e d) Macroporosidade. Amostras de água coletada a cada três meses em poços da Prefeitura Municipal de Ribeirão Preto foram analisadas por GC-MS (cromatografia gasosa-espectrometria de massa). Não houve efeito dos sistemas de plantio na macro, micro e porosidade total. Houve apenas diferença significativa na densidade, sendo maior na camada superficial nos solos com plantio direto. Em todas as amostras de poços coletadas não foram detectados resíduos de triazinas, no limite de quantificação de 10 mg/L. Foram também reconstituídos os solos em colunas em laboratório e observou-se o movimento de atrazina e simazina no máximo até 20cm de profundidade. Não foi encontrado nenhum herbicida abaixo dos 20 cm. Para melhor entender os resultados, foi utilizado o simulador CMLS-94 "Chemical Movement in Layered Soils" e observou-se também que praticamente não houve diferença entre os resultados obtidos pelas simulações realizadas para plantios direto e convencional com relação à lixiviação das triazinas e que os valores de simulação indicaram que os produtos alcançam profundidades máximas de um metro, bem mais do que o encontrado nas colunas em laboratório.

Desenvolvimento organizacional rural III: metodologia de intervencao de grupo em associacoes de agricultores de base familiar.

Uma metodologia de intervenção de grupo foi testada de grupo foi testada em 11 organizacoes rurais de base familiar, formada por nove associacoes de agricultores tradicionais, uma associacao de assentamento de reforma agraria e uma central de associacoes, sendo todas situadas em tres municipios do Estado de Goias. A metodologia constitui-se das seguintes etapas de intervencoes: apresentacao da proposta de trabalho, motivacao em nucleacao do grupo; diagnostico da organizacao; planejamento estrategico participativo (PEP), bem como a execução das propostas e acoes estrategicas; desenvolvimento e capacitacao dos agricultores e avaliação final da gestao das organizacoes. Este trabalho discutiu cada uma dessa etapas, e suas principais caracteristicas são: a construcao de objetivos compartilhados e a possibilidade de os membros da organização se desenvolverem como equipe trabalho e de participarem do desenvolvimento local. Dentre os resultados parciais obtidos ate o momento, destacaram-se: a producao e a comercializacao de doces e temperos caseiros; criacao e comercializacsao de frango caipira; implantacao de viveiro de mudas de plantas nativas; desenvolvimento de grupo de jovens rurais; implementacao de lavoura comunitaria, compra coletiva de produtos domesticos e insumos agricolas. Conclui-se que a referida metodologia favorece a dinamica do funcionamento das organizacoes rurais, mas não assegura a manutencao da coesao grupal, em caso de afastamento da equipe do projeto, no inicio de execução das propostas estrategicas, em face das dificuldades advindas do meio ambiente.

Metodos de avaliação do florescimento precoce e identificação de fontes de tolerância ao calor em cultivares de alface do grupo varietal.

2013

Avaliação dos níveis de metais pesados em solos e sedimentos do Grupo Barreiras sob depósito de resíduos sólidos urbanos - caso de Canabrava - Salvador - Bahia.

O Lixão de Canabrava situado a 10 km do centro de Salvador, Estado da Bahia - Brasil recebeu por mais de 30 anos os resíduos da cidade. Cerca de 8.000.000 m3 de lixo foram depositados em uma área de 66 hectares compreendida entre a Planta A (15 anos de deposição) e Planta B (30 anos de deposição), sem que houvesse uma metodologia, planejamento e monitoramento adequados. A decomposição e transformação da matéria orgânica desses materiais geraram um líquido escuro, de cheiro forte, conhecido como chorume, rico em matéria orgânica, contendo metais pesados e outros elementos químicos. O estudo realizado em 7 perfis, situados no interior da Planta A (SCB1), na encosta da Planta A (SCB2, SCB3 e SCB4), na Planta B (CCL) e dois perfis, em tese, sem presença de lixo (SCB5 e CCB) indicou que o chorume produzido na área tem provocado diversas mudança físicas e químicas nos solos e sedimentos oriundos do Grupo Barreiras. Tais modificações foram observadas através das características naturais desses solos, que indicou elevação do pH, aumento de cátions básicos e alta percentagem de saturação por bases, além disso, com as extrações parciais e totais realizadas nas amostras, pôde-se evidenciar concentrações bastante elevadas de metais pesados na maioria dos solos, principalmente arsênio, cromo, ferro e manganês. Esses metais oriundos da decomposição dos resíduos e dos solos e sedimentos transformados pelo chorume estão sendo lixiviados para o lençol freático, rios e lagos próximos, já que os solos em questão apresentam textura arenosa e baixa capacidade de troca catiônica. Avalia-se também que esse estudo possa servir para identificar graus de contaminação em solos e como procedimento para monitoramento de aterros sanitários.

The ‘Faust’ or ’Lucifer’ Sonata? On Liszt’s idea of programme music as exemplifi ed by his Piano Sonata in B minor

The musicological tradition places Liszt’s Sonata in B minor within the sphere of compositions inspired by the Faustian myth. Its musical material, its structure and its narrative exhibit certain similarities to the ‘Faust’ Symphony. Yet there has appeared a diff erent and, one may say, a rival interpretation of Sonata in B minor. What is more, it is well-documented from both a musical and a historical point of view. It has been presented by Hungarian pianist and musicologist Tibor Szász. He proposes the thesis that the Sonata in B minor has been in fact inspired by Milton’s Paradise Lost, with its three protagonists: Adam, Satan and Christ. He fi nds their illustrations and even some key elements of the plot in the Sonata’s narrative. But yet Milton’s Paradise Lost and Goethe’s Faust are both stories of the Fall and Salvation, of the cosmic struggle between good and evil. The triads of their protagonists – Adam and Eve, Satan, and Christ; Faust, Mephisto and Gretchen – are homological. Thus both interpretations of the Sonata, the Goethean and the Miltonian, or, in other words, the Faustian and the Luciferian, are parallel and complementary rather than rival. It is also highly probable that both have had their impact on the genesis of the Sonata in B minor.

Tejeduría en lana. Grupo artesanal de Camino Alto.

53 hojas : ilustraciones.

Asesoría en empaque para los productos del grupo duitamense de macramé.

[96] hojas : ilustraciones, fotografías.

GABRIEL URBAIN FAURÉ, THE UNSUNG MODERNIST: A PERFORMANCE SURVEY OF SELECTED LATE WORKS WRITTEN AFTER 1892 FOR PIANO SOLO, AND PIANO IN COLLABORATION WITH VIOLIN, VIOLONCELLO, AND VOICE

Gabriel Urbain Fauré lived during one of the most exciting times in music history. Spanning a life of 79 years (1845-1924), he lived through the height of Romanticism and the experimental avant-garde techniques of the early 20th century. In Fauré's music, one can find traces of Chopin, Liszt, Mendelssohn, Debussy and Poulenc. One can even argue that Fauré presages Skryabin and Shostakovich. The late works of Gabriel Fauré, chiefly those composed after 1892, testify to the argument that Fauré holds an important position in the shift from tonal to atonal composition and should be counted among such transitional composers as Gustav Mahler, Claude Debussy, Erik Satie, Richard Strauss, and Ferruccio Busoni. Fauré's unique way of fashioning harmonic impetus of almost purely linear means, resulting in a synthesis of harmonic and melodic devices, led me to craft the term mélodoharmonique. This term refers to a contrapuntally motivated technique of composition, particularly in a secondary layer of musical texture, in which a component of harmonic progression (i.e. arpeggiation, broken chord, etc.) is fused with linear motivic or thematic development. This dissertation seeks to bring to public attention through exploration in lecture and recital format, certain works of Gabriel Fauré, written after 1892. The repertoire will be selected from works for solo piano and piano in collaboration with violin, violoncello, and voice, which support the notion of Fauré as a modernist deserving larger recognition for his influence in the transition to atonal music. The recital repertoire includes the following--Song Cycles: La bonne chanson, opus 61; La chanson d'Ève, opus 95; Le jardin clos, opus 106; Mirages, opus 113; L'horizon chimérique, opus 118; Piano Works: Prelude in G minor opus 103, No. 3; Prelude in E minor opus 103, No. 9; Eleventh Nocturne, opus 104, No.1; Thirteenth Nocturne, opus 119; Chamber Works: Second Violin Sonata, opus 108; First Violoncello Sonata, opus 109; Second Violoncello Sonata, opus 117.

THE EFFECT OF A PROGRAM OF PORTABLE ELECTRONIC PIANO KEYBOARD EXPERIENCE ON THE ACQUISITION OF SIGHT-SINGING SKILL IN THE NOVICE HIGH SCHOOL CHORUS

The problem was to determine whether a method of aural and visual vocal training that included a program of portable electronic piano keyboard experience would be more effective in teaching sight-singing skills to novice high school chorus students than a method that included only aural and visual vocal training. A sub-problem was to determine whether novice chorus students enjoyed playing electronic keyboards in chorus as a reinforcement experience in sight-singing training. Students were randomly assigned to two treatment groups, tested with the Musical Aptitude Profile, Tonal Imagery, part A, and then trained separately. The experimental group sang repetitions of melodic patterns and utilized techniques associated with the Kodály Method while simultaneously playing keyboard. The comparison group received a similar treatment without using keyboards. The students were pre- and post-tested in sight-singing using the Vocal Sight-Reading Inventory. Results of the Analysis of Covariance using MAP scores as the covariate revealed no significant difference (p<.05) between post-test scores of the two groups. Improvement was noted in 96% of students from pre-test to post-test regardless of grouping. The repeated measures ANOVA revealed a significant relationship (p<.006) between aptitude group and post-test score. High aptitude students in both groups were found to benefit more from the training than low aptitude students. High aptitude keyboard group students achieved an average gain score that was 8.67 points higher than the comparison group. Of the total experimental group, 92% enjoyed playing keyboards in chorus. It is recommended that future research be undertaken to study the use of keyboards with advanced high school choruses and with uncertain singers in the high school chorus. Research is also needed to develop graded, valid, and reliable sight-singing tests for use in high school chorus. Techniques of the Kodály Method should be further investigated for use in high school sight-singing training.

COMPOSITIONS FEATURING THE PIANO IN FANTASY FORM: 1820-1920

The Fantasy form offered a composer the freedom to create a work without concerns for fitting into the current stylistic and traditional structures. The flowering of the form seems to be concentrated from 1820-1920 since the composer started to use it as a way to convey a personal idea or to portray a special spirit. This dissertation is comprised of three recitals with fantasies in different genres and styles. Through performing these diverse fantasies, I have been inspired to connect with the imagery and spirit of the compositions in order to capture the unique sentiments of each piece. Also, in order to keep the audience absorbed in the music that is without structure, I have focused on expanding my technical abilities to vary color, sonority, and phrasing. Program one (April 26,2004) includes Fantasie, Op. 17 and Piano Concerto, Op. 54 (assisted by Ya-Hsin Wu) by R. Schumann. Program two (December 10, 2004) includes Three Fantastic Dances, Op. 5 by D. Shostakovitch, Fantasy "Sonataecossaise ", Op. 28 by F. Mendelssohn, Sonata No.2 "Sonata-Fantasy", Op. 19 by A. Scriabin and Fantasie for Piano and Violin, D 934 by F. Schubert with violinist, TaoChang Yu. The last program (November 1, 2005) includes Fantasia baetica by E. de Falla, Morceaux de Fantaisie, Op. 3 by S. Rachrnaninoff, Fantaisie, Op. 49, Impromptu No. 4 '%h.ntasy-hpromptu", Op. 66 and Polonaise-Fantaisie, Op. 61 by F. Chopin.

The Development of Piano Variations in the Romantic Era

The purpose of this study is to illustrate the development of piano variations as a genre during the Romantic era. In order to facilitate this examination of piano variations techniques, a brief look at the types of variation procedures used by composers of previous eras will assist in understanding developments that later occurred in the Romantic period. Throughout the Baroque era, composers preferred the fured-bass, fixed-melody, and harmonic forms of variation. The crowning achievement of Baroque keyboard music, Bach's Goldberg Variations (1725), contains examples of the "constantharmonic" method in its collection of 30 variations, each of which maintains both the bass and harmonic structure of the themes. While most composers of the classical period favored the "melodic-outline" form of variation, Haydn developed hybrid variation procedure that exhibits recurrence of material rather than repetition, alternating variation (ABABA), rondo variation (ABACA), and ternary variation (ABA). Haydn, Mozart and early Beethoven variations also exhibit simpler textures than do their Baroque predecessors. The nineteenth century produced numerous compositions that display variation techniques, some based on such older, classical models as melodic-outline variation and hybrid variation, others in the style of the character variation or fiee variation. At the beginning of the nineteenth century, Beethoven and Schubert used such classical variation techmques as melodic-outline variations and hybrid variations. Beethoven's late sonatas displayed such new means of expression as variation, fugue, and dramatic recitatives. The third movement of the Sonata in E major, Op. 109 (1820) has a theme and six variations of the melodic-outline type. Johannes Brahms was particularly fond of composing variations for piano. Among the best known examples of formal-outline variations are those found in the Variations and Fugue on a Theme of Handel, Op. 24 (1861). Character variations, in which styles are characterized by the retention and variability of particular elements, also flourished during the Romantic period. Cesar Franck's Variations Symphoniques (1885) are, perhaps, among the most important examples of free variations. This composition is a one-movement work consisting of three sections, Introduction, Variations, and Finale (all movements played "attaca"). This work combines two independent classical formal structures, the concerto and the variation.

The Scherzo in Selected Works for Piano

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

SELECTED NINETEENTH CENTURY VARIATIONS FOR PIANO

The beauty and artistry of the variation form were fully developed and represented in the nineteenth century. The treasures of nineteenth century piano variations are a significant part of the total piano repertoire. The main goal of this dissertation is to show how various composers of the nineteenth century used the variation form to project their imagination and coloring of a simple melody. They used many different techniques to vary melodies and create their own music. Beethoven's Piano Sonata No. 12 in A-flat Major Op. 26 breaks with the conventional sonata design by using variation form instead of sonata-allegro form for the first movement, and having no movement in sonata-allegro form. Chopin's Variations Brillantes on "Je Vends des scapulaires" Op. 12 and Henri Herz's Variations on 'Non piu mesta" from "La Cenerentola" shows how they applied their art to composing variations on opera themes. Mendelssohn's Variations Serieuses Op. 54 was a reaction against the salon music in the 19" century. Schubert applies the variation form to his Impromptus in B-flat D. 935 No. 3. Schurnann's Symphonic Etudes represents a perfect example of the arts of variation, using counterpoint, and special coloring; and Faure's Theme and Variations Op. 73 represents one of the most outstanding nineteenth-century works in variation form. As a traditionalist in the nineteenth century, Brahms favored the variations over other classic forms. I have performed three of his most important sets of variations: including Variations on a theme by Schumann Op. 9, Variations on a Theme by Handel Op. 24, and Variations for two pianos on a Theme by Haydn Op. 56b. The variations listed above were divided into three recitals. These variations represent a very important part of the piano music of the nineteenth century. By discovering, preparing, and performing these wonderful works, I have grown, both as a pianist and as a musician.