Treatment efficiency of effluent prawn culture by wetland with floating aquatic macrophytes arranged in series

Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq)

Using Three Dimensional Motion Capture Technology to Describe and Assess Piano Technique: A Case Study

The purpose of the study was to examine any differences that exist in the quality of motions employed by pianists when they are sight-reading versus performing repertoire. A secondary question of interest was whether or not an improvement in the efficiency of motion could be observed between two sight-reading trials of the same musical excerpt. While data analysis for the full study is ongoing, the following results from a case study are illustrative.

Bach-Busoni Chaconne: A Piano Transcription Analysis

In 1893 Ferruccio Busoni transcribed, for the piano, the famous Bach Chaconne for violin solo from the Partita No.2 in D minor. Numerous transcriptions of this piece for different various instruments exist; however Busoni's transcription stands above all others. The purpose of this study was to analyze what the famous, twentieth-century pianist did when he transcribed Bach's Chaconne. What information exists on the topic comes primarily from pianists who dared to learn this exceptionally difficult, beautiful composition. Busoni's accomplishments lie in the new concept, a conceptual transcription, which has two roots: understanding how, historically, we are connected to the music, and how once genres have a special meaning in the twentieth-century. Every generation of musicians brings their own specific point of view and interpretation. Busoni lived on the border of the two centuries and, in his transcription, reveled in several issues overlooked by the previous generation. With his keen understanding of the piece, Busoni highlighted many different genres present in the music, thus allowing recognition of the last movement of the Partita No. 2 in D minor as a Requiem for Bach's wife. By underscoring the genres, Busoni used them as strata. The idea of strata comes from the aesthetics of “play,” and from a different approach to the quality of sound on piano originally intended for a high string instrument. Busoni's arrangement of the texture added both orchestral quality and stereophonic perception. The strata add to a certain reading of Bach's original. Busoni promoted a dramatic approach opening the possibility of reading the chaconne as a multi-layered form. Through Busoni', we see the possibility not only of a tripartite, variation form, but also a composition, with the elements of a concerto, and a sonata. Who could imagine, that a composition written by a young composer at the fin de siecle, intended for practical use by pianists, would subtly influence so many contemporaries and generations, that they will find his findings and music inspiring. Adviser: Dr. Mark K. Clinton

Music at the Fair! The Trans- Mississippi and International Exposition. An Interactive Website

“Music at the Fair!” gives the daily musical programs for The Trans-Mississippi and International Exposition, held in Omaha, Nebraska, June 1 through October 31, 1898. The Trans-Mississippi and International Exposition brought an unprecedented array of local, national, and international musical acts to Omaha, NE in 1898. This served to designate Omaha, "the gateway to the west" as a musical hub, as well as to incite musical excitement in the region. Some of the more popular acts featured were the Theodore Thomas Orchestra, the U.S. Marine Band, and the Apollo Club of Chicago. Many more groups and their musical programs can be found within the pages of this site. The “Music at the Fair!” website was created by Grace Carey, and last revised on May 19, 2006.It is the result of a two- year research grant funded by an Undergraduate Creative Activities and Research Experiences (UCARE) grant through the University of Nebraska at Lincoln. It is an extension of an ongoing project on music at the TME by Music Professor Peter Lefferts. The primary sources of information for the site are the following newspapers from June – November 1898: The Omaha Daily Bee, the Omaha Evening Bee, and the Omaha World Herald, and the the official programs of the fair located in the archives at the Omaha Public Library. I would like to thank the helpful staff at the Nebraska State Historical Society and the downtown branch of the Omaha Public Library. Site Creator: Grace Carey Project Advisor: Peter Lefferts, Professor of Music History at the University of Nebraska, Lincoln The linked “Document” is a flat PDF version of the interactive website. To download the fully interactive html version, click on the “Related file” to download the zipped folder. When unzipped, click on the file named “index” to enter the website.

Spectroscopic, Structural, and Conformational Properties of (Z)-4,4, 4-Trifluoro-3-(2-hydroxyethylamino)-1-(2-hydroxypheny1)-2-buten-1-one, C12H12F3NO3: A Trifluoromethyl-Substituted beta-Aminoenone

The ( Z)-4,4,4-trifluoro-3-(2-hydroxyethylamino)-1-(2-hydroxyphenyl)-2-buten-1-one (C12H12F3NO3) compound was thoroughly studied by IR, Raman, UV-visible, and C-13 and F-19 NMR spectroscopies. The solid-state molecular structure was determined by X-ray diffraction methods. It crystallizes in the P2(1)/c space group with a = 12.1420(4) angstrom, b = 7.8210(3) angstrom, c := 13.8970(5) angstrom, beta = 116.162(2)degrees, and Z = 4 molecules per unit cell. The molecule shows a nearly planar molecular skeleton, favored by intramolecular OH center dot center dot center dot 0 and NH center dot center dot center dot 0 bonds, which are arranged in the lattice as an OH center dot center dot center dot 0 bonded polymer coiled around crystallographic 2-fold screw-axes. The three postulated tautomers were evaluated using quantum chemical calculations. The lowest energy tautomer (I) calculated with density functional theory methods agrees with the observed crystal structure. The structural and conformational properties are discussed considering the effect of the intra- and intermolecular hydrogen bond interactions.

The Prelude from Suite for solo Piano Le Tombeau de Couperin by Maurice Ravel: compositional and interpretive considerations

This article, part of a doctoral research conducted at the Department of Music of the ECA/USP/FAPESP aims to elucidate compositional and technical procedures in the Prelude from the suite Le Tombeau de Couperin (1914-1917) by french composer Maurice Ravel. Such procedures are traced back to French barroque composer Francois Couperin (1668-1733) harpsichord pieces, and are translated by Ravel to the modern piano. Thus, by studying the works for harpsichord by Couperin it was possible to see a kind of fusion of two languages and two instrumental techniques apart in time. This fusion of languages poses several interpretive questions.

Characterization of Staphylococcus aureus isolates in milk and the milking environment from small-scale dairy farms of Sao Paulo, Brazil, using pulsed-field gel electrophoresis

This research aimed to evaluate the occurrence of Staphylococcus aureus isolates in milk and in the milking environment of 10 small-scale farms (<400 L/d) located in the regions of Franca and Ribeirao Preto, state of Sao Paulo, Brazil. Two-hundred twenty samples of milk were collected from individual cows, along with 120 samples from bulk tank milk, 389 samples from milking equipment and utensils (teat cups, buckets, and sieves), and 120 samples from milkers' hands. Fifty-six Staph. aureus strains were isolated from 849 analyzed samples (6.6%): 12 (5.5%) from milk samples of individual cows, 26 (21.7%) from samples of bulk tank milk, 14 (3.6%) from samples collected from equipment and utensils, and 4 (3.3%) from samples from milkers' hands. Pulsed-field gel electrophoresis typing of the 56 Staph. aureus isolates by SmaI restriction enzyme resulted in 31 profiles (pulsotypes) arranged in 12 major clusters. Results of this study indicate a low incidence, but wide distribution of Staph. aureus strains isolated from raw milk collected from individual cows and surfaces of milkers' hands and milking equipment in the small-scale dairy farms evaluated. However, the high percentage of bulk milk samples found with Staph. aureus is of public health concern because raw, unprocessed milk is regularly consumed by the Brazilian population.

A quantitative approach to evolution of music and philosophy

The development of new statistical and computational methods is increasingly making it possible to bridge the gap between hard sciences and humanities. In this study, we propose an approach based on a quantitative evaluation of attributes of objects in fields of humanities, from which concepts such as dialectics and opposition are formally defined mathematically. As case studies, we analyzed the temporal evolution of classical music and philosophy by obtaining data for 8 features characterizing the corresponding fields for 7 well-known composers and philosophers, which were treated with multivariate statistics and pattern recognition methods. A bootstrap method was applied to avoid statistical bias caused by the small sample data set, with which hundreds of artificial composers and philosophers were generated, influenced by the 7 names originally chosen. Upon defining indices for opposition, skewness and counter-dialectics, we confirmed the intuitive analysis of historians in that classical music evolved according to a master apprentice tradition, while in philosophy changes were driven by opposition. Though these case studies were meant only to show the possibility of treating phenomena in humanities quantitatively, including a quantitative measure of concepts such as dialectics and opposition, the results are encouraging for further application of the approach presented here to many other areas, since it is entirely generic.

Conformational preferences for some 3-(4 '-substituted phenylsulfonyl)-1-methyl-2-piperidones through spectroscopic and theoretical studies

The analysis of the infrared (IR) carbonyl band of some 3-(4'-substituted phenylsulfonyl)-1-methyl-2-piperidones 1-5 bearing as substituents: OMe 1, Me 2, H 3, Cl 4 and NO2 5, supported by B3LY13/6-31G(d,p) calculations along with NBO analysis (for 1, 3 and 5) and X-ray diffraction (for 5), indicated the existence of three stable conformations i.e. quasi-axial (q-ax), syn-clinal (s-cl) and quasi-equatorial (q-eq). In the gas phase, the q-ax conformer is calculated as the most stable (ca. 88%) and the least polar, the s-cl conformer is less stable (ca. 12%) but more polar, and the q-eq conformer is the least stable (ca. 1%) and the most polar of the three conformers evaluated. The sum of the most important orbital interactions from NBO analysis and the trend of the electrostatic interactions accounts for the relative populations as well as for the v(CO) frequencies of the q-ax. s-cl and q-eq conformers calculated in the gas phase. The unique IR v(CO) band in CCl4 may be ascribed to the most stable q-ax conformer. The more intense (60%) high frequency doublet component in CHCl3 may be assigned to the summing up of the least stable q-eq and the less stable s-cl conformers, as their frequencies are almost coincident. The occurrence of only a single v(CO) band in both CH2Cl2 and CH3CN supports the fact that the v(CO) band of the two more polar conformers appear as a single band. Additional support to this rationalization is given by the single point PCM method, which showed a progressive increase of the q-eq + s-cl/q-ax population ratio going from the gas phase to CCl4, to CHCl3, to CH2Cl2 and to CN3CN. X-ray single crystal analysis of 5 indicates that this compound displays a quasi-axial geometry with respect to the [O=C-CH-S] moiety, and that the 2-piperidone ring assumes a slightly distorted half-chair conformation. In the crystal packing, molecules of 5 are arranged into supramolecular layers linked through C-H center dot center dot center dot O interactions along with it pi center dot center dot center dot pi interactions between adjacent benzene rings. (C) 2012 Elsevier B.V. All rights reserved.

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.

Strati, piano, rizoma. John Cage e la filosofia di Gilles Deleuze e Félix Guattari

In base ad una recensione esaustiva dei riferimenti alla musica e al sonoro nella produzione filosofica di Gilles Deleuze e Félix Guattari, la presente ricerca s’incentra sulla posizione che il pensiero musicale di John Cage occupa in alcuni testi deleuziani. Il primo capitolo tratta del periodo creativo di Cage fra il 1939 e il 1952, focalizzandosi su due aspetti principali: la struttura micro-macrocosmica che contraddistingue i suoi primi lavori, e i quattro elementi che in questo momento sintetizzano per Cage la composizione musicale. Questi ultimi sono considerati in riferimento alla teoria della doppia articolazione che Deleuze e Guattari riprendono da Hjelmslev; entrambi gli aspetti rimandano al sistema degli strati e della stratificazione esposta su Mille piani. Il secondo capitolo analizza la musica dei decenni centrali della produzione cagiana alla luce del luogo in Mille piani dove Cage è messo in rapporto al concetto di “piano fisso sonoro”. Un’attenzione particolare è posta al modo in cui Cage concepisce il rapporto fra durata e materiali sonori, e al grado variabile in cui sono presenti il caso e l’indeterminazione. Le composizioni del periodo in questione sono inoltre viste in riferimento al concetto deleuzo-guattariano di cartografia, e nelle loro implicazioni per il tempo musicale. L’ultimo quindicennio della produzione di Cage è considerata attraverso il concetto di rizoma inteso come teoria delle molteplicità. In primo luogo è esaminata la partitura di Sylvano Bussotti che figura all’inizio di Mille piani; in seguito, i lavori testuali e musicali di Cage sono considerati secondo le procedure compositive cagiane del mesostico, delle parentesi di tempo che concorrono a formare una struttura variabile, e dell’armonia anarchica dell’ultimo Cage.

Trasformazioni del piano, curve e moti

Caratterizzazione delle trasformazioni e riferimento di Frenet-Serret