Cultivo do milho: interpretação de resultados de análise de solo.

2002

Interpretação de resultados de análise de solo.

2003

Execução e interpretação da prova tuberculínica pareada em suínos, com tuberculina aviária e bovina.

2002

Associação das técnicas multivariada e geoestatística na estimativa e interpretação de mapas de produção.

O objetivo deste trabalho foi estudar, mediante a geoestatística e análise multivariada, a variabilidade espacial da produção de milho e feijào e investigar metodologia que permita a estimativa da produção, através da redução de variáveis envolvidas, cultivadas em Latossolo vermelho-escuro, textura argilosa, durante cinco anos consecutivos (1992 - 1996), sob três sistemas de preparo (arado, grade e plantio direto) na Embrapa Arroz e Feijão, em Santo Antonio de Goiás, GO. O método dos componentes principais reduziu consideravelmente a dimensão do problema, facilitando a interpretação. Entretanto, os modelos de regressão linear múltipla baseados nos componentes principais como variáveis regressoras, apresentaram estimativa da produção mais distantes dos valores obtidos quando do uso do modelo baseado nas variáveis originais.

Estabilidade de agregados em água: análise crítica e padronização.

2010

Filmy dla muzyki. Egar Varèse i Bill Viola

Anno Mungen focuses on “films made for music” and on the rare phenomenon of ‘music depicted by picture’ (S. Kracauer). The narration about historical metamorphoses of varied forms of coexistence between music and picture is accompanied by a reflection on the laws of audiovisual perception. The main examples are discussed, these concentrating on the artistic ideas of Walt Disney’s animated film Fantasia and – first of all – on Edgard Varèse’s bold ideal of spatial music, attained post mortem in Bill Viola’s Déserts (1994). After a detailed analysis of Viola’s film the author admits that the movie pictures deduced from music are able to render the latter its own substantial visual power.

El sistema educativo español y la cuestión religiosa: una reflexión crítica a la luz de los principios constitucionales

De acuerdo a la normativa de TFEs el repositorio no puede dar acceso a este trabajo. Para consultarlo póngase en contacto con el tutor del trabajo. Puede acceder al resumen del mismo pinchando en el pdf adjunto

El primer momento de la Historia en la Crítica de la razón dialéctica de Sartre -lucha e inteligibilidad de la lucha de clase-

San-José

La crítica de la razón dialéctica: de la necesidad a la necesidad, circularmente

Mexico

REQUIRED VIOLA REPERTOIRE FOR THE PRIMROSE COMPETITION AND THE TERTIS COMPETITION

William Primrose (1903-1982) and Lionel Tertis (1876-1975) made the viola a grand instrument for public performances of solo and chamber music throughout their long and active lives characterized by a common passion for the viola. I, too, have been deeply inspired by their passion for the viola. I chose, therefore, for my doctoral performance project to feature works for viola from the required repertoire of the William Primrose and Lionel Tertis competitions of 2001 and 2003, respectively. For purposes of the performances, I divided selections from the combined repertoire for the William Primrose and Lionel Tertis competitions into three recitals. The first recital included Sonata, Opus 120, No.2 in E-flat Major (1894) by Johannes Brahms; Sonata, Opus 147 (1975) by Dmitri Shostakovich; and Sonata (1919) by Rebecca Clarke. These pieces represent standard components of the general repertoire for both the Primrose and Tertis competitions. The second recital was comprised of two works dedicated by their composers to Primrose: Lachrymae, Opus 48 (1950) by Benjamin Britten; and Concerto (1945) by Bela Bartok. The third recital included three pieces dedicated by their composers to Tertis: Sonata (1922) by Arnold Bax; Sonata in C Minor (1905) by York Bowen; and Sonata (1952) by Arthur Bliss. The goal of my preparation for these recitals was to emphasize a variety of techniques and, also, the unique timbre of the viola. For example, the works I selected emphasized high-position technique, which was not much used before the nineteenth century, and featured the lowest string (the C-string), which provides a beautifully somber and austere sonority characteristic of the viola. For these reasons, the selected works provided not only attractive and interesting pieces to study and perform but were also of educational merit.

EARLY TWENTIETH CENTURY VIOLA MUSIC FROM ENGLAND AND GERMANY: FROM POST-ROMANTICISM TO MODERNISM

In the early twentieth century, the viola began to gain status as a solo instrument with the appearance in England of the virtuosic violist Lionel Tertis. Because of a lack of music for viola at that time, such English composers as York Bowen, Arnold Bax, Ralph Vaughan Williams, Arthur Bliss and William Walton began to write viola music for Tertis. Meanwhile, in Germany, the well-known composer and virtuosic violinist and violist Paul Hindemith wrote and premiered several viola sonatas and concertos. Viola music became even more developed later with William Primrose, the legendary Scottish violist, and all the works written in the early twentieth century have remained significant in the viola literature. Although this new viola music appeared in both countries during same period, it developed along different lines in each country. Because they were under the influence of earlier periods and traditions, the English composers who associated with Tertis wrote their music in a Romantic style, with expanded harmony, various colors of sound and timbre, and lyrical melodies. Hindemith, as a composer himself, employed a more Modernist style, using atonality and angular melodies, which represented German trends at that time. I have given three recitals, of which the first two were divided between selected English music and German music. Although I originally intended to focus solely on music by Hindemith and music written for Terts, I decided that in order to give a more complete view of the national trends of those two countries, I included Rebecca Clarke's Sonata, Lachrymae by Benjamin Britten (dedicated to William Primrose), and Max Reger's Suite for Viola. Rebecca Clarke was herself a fine violist, and her sonata's Romantic style is also representative of the English trends of viola music. Lachrymae was written with a different concept and shows more modernity than had ever before occurred in England, though it still differs from the modernity of other countries. Max Reger's Suite is in a truly Romantic style, yet it is old fashioned in ways that differ not only from Wagner or Strauss, but also from English music of the period. In my last recital I wished to pay homage to Tertis, with a program consisting entirely of music written for him. For the finale, Arthur Bliss's Viola Sonata was especially chosen because it provides interesting similarities and contrasts with earlier English music in the Romantic style.