Auswahl der wissenschaftlichen Literatur zum Thema „Steve (1956-....)“

S. (D.) smyrneensis Gory, 1841 is resurrected from synonymy with S. (D.) rauca (Fabricius, 1787). New synonymy is established for the following taxa: S. (D.) smyrneensis Gory, 1841 (= inconspicua Jakovlev, 1893, congrua Jakovlev, 1900, anxia Jakovlev, 1900, captiosa Jakovlev, 1902, delicata Kerremans, 1909, subsulcata Kerremans, 1909, migriensis Obenberger, 1916, nephele Obenberger, 1929, cassia Obenberger, 1929, maronita Obenberger, 1929, salomonis Obenberger, 1952, pseudorauca Obenberger, 1952, agilis Obenberger, 1952, synn. n.), S. (D.) rauca (Fabricius, 1787) (= heliobia Obenberger, 1929, syn. n.), S. (D.) gemmata gemmata (Olivier, 1790) (= raucoides Obenberger, 1920, syn. n.), S. (D.) signata Jakovlev, 1887 (= obsoleta Jakovlev, 1891, satelles Jakovlev, 1898, addenda Jakovlev, 1900, jejuna Jakovlev, 1900, detrita Jakovlev, 1902, destituta Obenberger, 1929, julia Obenberger, 1929, araxicola Obenberger, 1929, buresi Obenberger, 1933, hierosolymitana Obenberger, 1946, jureceki Obenberger, 1946, arsinoe Obenberger, 1952, gyaurdagensis Obenberger, 1955, synn. n.), S. (D.) aeneomicans Kraatz, 1882 (= unidentata Jakovlev, 1891, veselyi Obenberger, 1915, aladaghensis Obenberger, 1920, aeneofulgens Obenberger, 1929, persica Obenberger, 1929, ushinskii Obenberger, 1929, ahriman Obenberger, 1929, amasiae Obenberger, 1929, baicalensis Obenberger, 1929, fabichi Obenberger, 1952, fleischeri Obenberger, 1952, moganensis Obenberger, 1955, hoberlandti Obenberger, 1955, synn. n.), S. (D.) misella Jakovlev, 1900 (= liliputana Obenberger, 1929, callimicra Obenberger, 1929, synn. n.), S. (D.) incerta Jakovlev, 1887 (= dolens Jakovlev, 1893, confusa Kerremans, 1913, joukli Obenberger, 1929, synn. n.), S. (D.) koenigi Jakovlev, 1891 (= integripennis Obenberger, 1929, alma Obenberger, 1952, synn. n.), S. (D.) sulciventris Jakovlev, 1886 (= kraatzi Jakovlev, 1887, alaiensis Jakovlev, 1893, dives Jakovlev, 1902, aucta Jakovlev, 1902, jaxartis Obenberger, 1929, kuliabensis Obenberger, 1952, synn. n.), S. (D.) bucharica Jakovlev, 1900 (= bactriana Jakovlev, 1902, syn. n.), S. (D.) hamata Jakovlev, 1899 (= zarawshanensis Obenberger, 1929, syn. n.), S. (D.) sculpticollis Heyden, 1886 (= alutaceiceps Obenberger, 1929, morgani Obenberger, 1929, synn. n.), S. (D.) simplex Jakovlev, 1893 (= fraterna Jakovlev, 1900, allecta Jakovlev, 1900, samotica Obenberger, 1929, ankarana Obenberger, 1952, synn. n.), S. (D.) micans Jakovlev, 1886 (= binominata Kerremans, 1913, irritatrix Obenberger, 1929, shah Obenberger, 1929, pseudomicans Obenberger, 1929, escalerae Obenberger, 1929, synn. n.), S. (D.) parysatis Obenberger, 1929 (= isfahanensis Obenberger, 1952, proserpina Obenberger, 1952, synn. n.), S. (D.) manifesta Jakovlev, 1900 (= megarauca Obenberger,1952, syn. n.), S. (D.) curta Jakovlev, 1885 (= caspica Jakovlev, 1904, plavilscikovi Obenberger, 1952, synn. n.), S. (D.) antilibanensis Obenberger, 1952 (= nikitaliae Obenberger, 1952, syn. n.), S. (s. str.) arcana Jakovlev, 1908 (= assuricola Obenberger, 1920, baghdadensis Obenberger, 1929, stella Obenberger, 1952, teheranica Obenberger, 1952, assuricola heliochaera Obenberger, 1929, synn. n.), S. (s. str.) antiqua (Illiger, 1803) (= serena Jakovlev, 1900, earo Obenberger, 1929, synn. n.), S. (s. str.) hypocrita Mannerheim, 1837 (= glabricollis Obenberger, 1929, levantina Obenberger, 1929, synn. n.), S. (s. str.) varia Jakovlev, 1887 (= samarkanda Obenberger, 1929, syn. n.), S. (s. str.) demissa Marseul, 1865 (= breiti Obenberger, 1920, syn. n.), S. (s. str.) pilipes Jakovlev, 1886 (= anchorifera Obenberger, 1952, syn. n.). S. donata Obenberger, 1929 and S. subtricostata Kraatz, 1882 are transferred from subgen. Deudora to Sphenoptera s. str. and S. confusa Kerremans, 1913, from subgen. Sphenoptera s. str. to Deudora. Lectotypes are designated for 112 nominal species and subspecies and 5 infrasubspecific taxa. Neotype is designated for S. armena (Steven, 1829).

A review of genus-group names for darkling beetles in the family Tenebrionidae (Insecta: Coleoptera) is presented. A catalogue of 4122 nomenclaturally available genus-group names, representing 2307 valid genera (33 of which are extinct) and 761 valid subgenera, is given. For each name the author, date, page number, gender, type species, type fixation, current status, and first synonymy (when the name is a synonym) are provided. Genus-group names in this family are also recorded in a classification framework, along with data on the distribution of valid genera and subgenera within major biogeographical realms. A list of 535 unavailable genus-group names (e.g., incorrect subsequent spellings) is included. Notes on the date of publication of references cited herein are given, when known. The following genera and subgenera are made available for the first time: Anemiadena Bouchard & Bousquet, subgen. nov. (in Cheirodes Gené, 1839), Armigena Bouchard & Bousquet, subgen. nov. (in Nesogena Mäklin, 1863), Debeauxiella Bouchard & Bousquet, subgen. nov. (in Hyperops Eschscholtz, 1831), Hyperopsis Bouchard & Bousquet, subgen. nov. (in Hyperops Eschscholtz, 1831), Linio Bouchard & Bousquet, subgen. nov. (in Nilio Latreille, 1802), Matthewsotys Bouchard & Bousquet, gen. nov., Neosolenopistoma Bouchard & Bousquet, subgen. nov. (in Eurynotus W. Kirby, 1819), Paragena Bouchard & Bousquet, subgen. nov. (in Nesogena Mäklin, 1863), Paulianaria Bouchard & Bousquet, gen. nov., Phyllechus Bouchard & Bousquet, gen. nov., Prorhytinota Bouchard & Bousquet, subgen. nov. (in Rhytinota Eschscholtz, 1831), Pseudorozonia Bouchard & Bousquet, subgen. nov. (in Rozonia Fairmaire, 1888), Pseudothinobatis Bouchard & Bousquet, gen. nov., Rhytinopsis Bouchard & Bousquet, subgen. nov. (in Thalpophilodes Strand, 1942), Rhytistena Bouchard & Bousquet, subgen. nov. (in Rhytinota Eschscholtz, 1831), Spinosdara Bouchard & Bousquet, subgen. nov. (in Osdara Walker, 1858), Spongesmia Bouchard & Bousquet, subgen. nov. (in Adesmia Fischer, 1822), and Zambesmia Bouchard & Bousquet, subgen. nov. (in Adesmia Fischer, 1822). The names Adeps Gistel, 1857 and Adepsion Strand, 1917 syn. nov. [= Tetraphyllus Laporte & Brullé, 1831], Asyrmatus Canzoneri, 1959 syn. nov. [= Pystelops Gozis, 1910], Euzadenos Koch, 1956 syn. nov. [= Selenepistoma Dejean, 1834], Gondwanodilamus Kaszab, 1969 syn. nov. [= Conibius J.L. LeConte, 1851], Gyrinodes Fauvel, 1897 syn. nov. [= Nesotes Allard, 1876], Helopondrus Reitter, 1922 syn. nov. [= Horistelops Gozis, 1910], Hybonotus Dejean, 1834 syn. nov. [= Damatris Laporte, 1840], Iphthimera Reitter, 1916 syn. nov. [= Metriopus Solier, 1835], Lagriomima Pic, 1950 syn. nov. [= Neogria Borchmann, 1911], Orphelops Gozis, 1910 syn. nov. [= Nalassus Mulsant, 1854], Phymatium Billberg, 1820 syn. nov. [= Cryptochile Latreille, 1828], Prosoblapsia Skopin & Kaszab, 1978 syn. nov. [= Genoblaps Bauer, 1921], and Pseudopimelia Gebler, 1859 syn. nov. [= Lasiostola Dejean, 1834] are established as new synonyms (valid names in square brackets). Anachayus Bouchard & Bousquet, nom. nov. is proposed as a replacement name for Chatanayus Ardoin, 1957, Genateropa Bouchard & Bousquet, nom. nov. as a replacement name for Apterogena Ardoin, 1962, Hemipristula Bouchard & Bousquet, nom. nov. as a replacement name for Hemipristis Kolbe, 1903, Kochotella Bouchard & Bousquet, nom. nov. as a replacement name for Millotella Koch, 1962, Medvedevoblaps Bouchard & Bousquet, nom. nov. as a replacement name for Protoblaps G.S. Medvedev, 1998, and Subpterocoma Bouchard & Bousquet, nom. nov. is proposed as a replacement name for Pseudopimelia Motschulsky, 1860. Neoeutrapela Bousquet & Bouchard, 2013 is downgraded to a subgenus (stat. nov.) of Impressosora Pic, 1952. Anchomma J.L. LeConte, 1858 is placed in Stenosini: Dichillina (previously in Pimeliinae: Anepsiini); Entypodera Gerstaecker, 1871, Impressosora Pic, 1952 and Xanthalia Fairmaire, 1894 are placed in Lagriinae: Lagriini: Statirina (previously in Lagriinae: Lagriini: Lagriina); Loxostethus Triplehorn, 1962 is placed in Diaperinae: Diaperini: Diaperina (previously in Diaperinae: Diaperini: Adelinina); Periphanodes Gebien, 1943 is placed in Stenochiinae: Cnodalonini (previously in Tenebrioninae: Helopini); Zadenos Laporte, 1840 is downgraded to a subgenus (stat. nov.) of the older name Selenepistoma Dejean, 1834. The type species [placed in square brackets] of the following available genus-group names are designated for the first time: Allostrongylium Kolbe, 1896 [Allostrongylium silvestre Kolbe, 1896], Auristira Borchmann, 1916 [Auristira octocostata Borchmann, 1916], Blapidocampsia Pic, 1919 [Campsia pallidipes Pic, 1918], Cerostena Solier, 1836 [Cerostena deplanata Solier, 1836], Coracostira Fairmaire, 1899 [Coracostira armipes Fairmaire, 1899], Dischidus Kolbe, 1886 [Helops sinuatus Fabricius, 1801], Eccoptostoma Gebien, 1913 [Taraxides ruficrus Fairmaire, 1894], Ellaemus Pascoe, 1866 [Emcephalus submaculatus Brême, 1842], Epeurycaulus Kolbe, 1902 [Epeurycaulus aldabricus Kolbe, 1902], Euschatia Solier, 1851 [Euschatia proxima Solier, 1851], Heliocaes Bedel, 1906 [Blaps emarginata Fabricius, 1792], Hemipristis Kolbe, 1903 [Hemipristis ukamia Kolbe, 1903], Iphthimera Reitter, 1916 [Stenocara ruficornis Solier, 1835], Isopedus Stein, 1877 [Helops tenebrioides Germar, 1813], Malacova Fairmaire, 1898 [Malacova bicolor Fairmaire, 1898], Modicodisema Pic, 1917 [Disema subopaca Pic, 1912], Peltadesmia Kuntzen, 1916 [Metriopus platynotus Gerstaecker, 1854], Phymatium Billberg, 1820 [Pimelia maculata Fabricius, 1781], Podoces Péringuey, 1886 [Podoces granosula Péringuey, 1886], Pseuduroplatopsis Pic, 1913 [Borchmannia javana Pic, 1913], Pteraulus Solier, 1848 [Pteraulus sulcatipennis Solier, 1848], Sciaca Solier, 1835 [Hylithus disctinctus Solier, 1835], Sterces Champion, 1891 [Sterces violaceipennis Champion, 1891] and Teremenes Carter, 1914 [Tenebrio longipennis Hope, 1843]. Evidence suggests that some type species were misidentified. In these instances, information on the misidentification is provided and, in the following cases, the taxonomic species actually involved is fixed as the type species [placed in square brackets] following requirements in Article 70.3 of the International Code of Zoological Nomenclature: Accanthopus Dejean, 1821 [Tenebrio velikensis Piller & Mitterpacher, 1783], Becvaramarygmus Masumoto, 1999 [Dietysus nodicornis Gravely, 1915], Heterophaga Dejean, 1834 [Opatrum laevigatum Fabricius, 1781], Laena Dejean, 1821, [Scaurus viennensis Sturm, 1807], Margus Dejean, 1834 [Colydium castaneum Herbst, 1797], Pachycera Eschscholtz, 1831 [Tenebrio buprestoides Fabricius, 1781], Saragus Erichson, 1842 [Celibe costata Solier, 1848], Stene Stephens, 1829 [Colydium castaneum Herbst, 1797], Stenosis Herbst, 1799 [Tagenia intermedia Solier, 1838] and Tentyriopsis Gebien, 1928 [Tentyriopsis pertyi Gebien, 1940]. The following First Reviser actions are proposed to fix the precedence of names or nomenclatural acts (rejected name or act in square brackets): Stenosis ciliaris Gebien, 1920 as the type species for Afronosis G.S. Medvedev, 1995 [Stenosis leontjevi G.S. Medvedev, 1995], Alienoplonyx Bremer, 2019 [Alienolonyx], Amblypteraca Mas-Peinado, Buckley, Ruiz & García-París, 2018 [Amplypteraca], Caenocrypticoides Kaszab, 1969 [Caenocripticoides], Deriles Motschulsky, 1872 [Derilis], Eccoptostira Borchmann, 1936 [Ecoptostira], †Eodromus Haupt, 1950 [†Edromus], Eutelus Solier, 1843 [Lutelus], Euthriptera Reitter, 1893 [Enthriptera], Meglyphus Motschulsky, 1872 [Megliphus], Microtelopsis Koch, 1940 [Extetranosis Koch, 1940, Hypermicrotelopsis Koch, 1940], Neandrosus Pic, 1921 [Neoandrosus], Nodosogylium Pic, 1951 [Nodosogilium], Notiolesthus Motschulsky, 1872 [Notiolosthus], Pseudeucyrtus Pic, 1916 [Pseudocyrtus], Pseudotrichoplatyscelis Kaszab, 1960 [Pseudotrichoplatynoscelis and Pseudotrichoplatycelis], Rhydimorpha Koch, 1943 [Rhytimorpha], Rhophobas Motschulsky, 1872 [Rophobas], Rhyssochiton Gray, 1831 [Ryssocheton and Ryssochiton], Sphaerotidius Kaszab, 1941 [Spaerotidius], Stira Agassiz, 1846 (Mollusca) [Stira Agassiz, 1846 (Coleoptera)], Sulpiusoma Ferrer, 2006 [Sulpiosoma] and Taenobates Motschulsky, 1872 [Taeniobates]. Supporting evidence is provided for the conservation of usage of Cyphaleus Westwood, 1841 nomen protectum over Chrysobalus Boisduval, 1835 nomen oblitum.

Ce travail de thèse propose une interprétation philosophique de l’improvisation musicale, particulièrement celle du jazz, à travers la Dialectique négative telle qu’elle fut conçue par Theodor W. Adorno. L’hypothèse principale développée dans ce travail consisté à montrer qu’il est possible de penser l’improvisation de manière philosophique à travers un philosophe qui a touché, mais n’a pas développé le sujet. Nous voulons démontrer qu’il est possible de continuer à penser à partir d’Adorno en s’engageant dans sa demande peu clair d’ouverture pour des objets situés en dehors du corpus qu’il a lui-même traité. Notre engagement dans la Dialectique négative se réalise notamment à travers sa capacité de pousser les objets aux extrêmes, pointant simultanément vers leur désintégration et leur caractère d’utopie. Comme nous allons tenter de le montrer tout au long de ce travail, l’idée de se pencher sur l’improvisation découle d’une prise en compte du temps social qui émerge au sortir de la Seconde Guerre mondiale et des brèves intuitions qu’Adorno avait alors eues concernant la réémergence de cette pratique. La thèse comporte trois parties plus un avant-propos. La première partie se divise en deux chapitres. Le premier est une exposition de notre interprétation de la Dialectique négative insistant notamment sur sa double ouverture : aux objets et à son incomplétude. Le chapitre suivant propose une description de quelques aspects de l’improvisation à partir d’un travail conceptuel autour de notions adorniennes telles que l’informel, la logique de la désintégration, le modèle et la constellation. La deuxième partie se subdivise en trois chapitres dans lesquels nous discuterons de la problématique de l’improvisation au regard de trois notions clefs de la pensée d’Adorno : la forme, le temps et la liberté. Pour chaque chapitre, l’idée sera de discuter des apports et des limites de la pensée adornienne pour penser l’improvisation. Finalement, pour la dernière partie de la thèse, nous proposons une lecture de l’histoire du jazz sur la forme d’une philosophie de l’histoire d’inspiration adornienne. Nous tenterons de montrer que l’improvisation peut être considérée comme le moteur donnant l’impulsion à un processus de développement immanent du jazz qui démarre avec un moment moderniste et radical en 1945 avec Charlie Parker, et s’arrête sur de multiples impasses autour de 1975. L ́approche philosophique adornienne nous aidera à montrer que ce processus n’était pas simplement un changement successif de figures musicales, mais qu’il s’est constitué comme une constellation de ces figures musicales. Tout au long de ce travail, en plus du corpus adornien, nous discutons le corpus philosophique et musicologique spécifique du jazz et de l’improvisation, ainsi que des écrits des musiciens, notamment ceux de Steve Coleman et de Steve Lacy
This thesis proposes a philosophical interpretation of musical improvisation, particularly jazz improvisation, through the Negative Dialectic as it was conceived by Theodor W. Adorno. The main hypothesis developed in this work is that it is possible to think philosophically about improvisation through a philosopher who touched on the subject but did not develop it. We want to show that one way to continue to think from Adorno is to engage with his demand for openness to objects outside the corpus he treated himself. Our engagement with the Negative Dialectic is notably through its capacity to push objects to extremes, pointing at the same time towards their disintegration and towards their utopian character. As we will try to show throughout this work, the idea of looking at improvisation stems from an awareness of the social time that emerged at the end of the Second World War and the brief intuitions that Adorno had at the time concerning the re-emergence of this practice.The thesis consists of three parts in addition to a foreword. The first part is divided into two chapters. The first chapter consists of an exposition of our interpretation of the Negative Dialectic, insisting on its double opening: both to objects and to incompleteness. The next chapter proposes a description of some aspects of improvisation based on an exploration of Adornian notions such as the informal, the logic of disintegration, the model and the constellation. The second part is subdivided into three chapters in which we discuss the problematic of improvisation with regard to three key notions in Adorno's thought: time, form and freedom. For each chapter, the objective will be to discuss both the contributions and limitations of Adorno's thought concerning each of the notions for thinking about improvisation. Finally, for the last part of the thesis, we propose a reading of the history of jazz in the form of an Adorno inspired philosophy of history. We will try to show that improvisation can be considered as the motor that gives impetus to a process of immanent development of jazz that starts with a modernist and radical moment in 1945 with Charlie Parker, and stops at multiple dead ends around 1975. The Adornian philosophical approach helps us to show that this process was not simply a successive change of musical figures but was constituted as a constellation of these figures. Throughout this work, in addition to the Adornian corpus, we discuss the specific philosophical and musicological corpus of jazz and improvisation, as well as the writings of musicians, notably Steve Coleman and Steve Lacy

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This study focuses the early work of Steve Reich (1936) investigating its relation with the aesthetic principles of what has been called minimalism of the 1960s, taking into consideration historical aspects and creative procedures along with their theoretical discourses. The pieces composed by Reich between 1965 and 1976 are representative of the composer's trajectory because they display, on one side, radical procedures that resulted from experiments with tape recorders – Come out (1966), Piano phase (1967), Pendulum music (1968) –, and on the other extreme pieces for large ensembles and distinct instruments – Music for mallet instruments, voices and organ (1973) and Music for 18 musicians (1976) – which move away from the aesthetics of “music as a gradual process” as exposed by the composer himself on the homonymous text (1968). In this musical trajectory, historically associated to minimalism, the changes in the composicional methods and procedures employed by Reich raise questions that allow one to question the direct connection between the North-American composer and the minimalist aesthetic. In order to do so, the first chapter takes a historical approach aiming to identify a minimalist paradigm derived from the literature, taking into account the intersection between music theory and art criticism, which is the context in which the term “minimalism” first appeared. The second chapter, analytical in nature, confronts the principles of such paradigm with Reich's pieces from the selected period, seeking to observe to what extent Reich's music connects to or moves away from minimalism, also considering the appearance of “post-minimalism”. Having analysed the relation between Reich's early work and the minimalist aesthetic, the third chapter proposes a theoretical reading of such frame taking into consideration the concurrency and/or coexistence of the great narratives of modernity and post-modernity in the 1960s. This concurrency is materialized in Reich's early work, in the same way that some authors consider minimalism as a turning point in the discourse of the arts in the twentieth century. Following this methodology that departs from a micro perspective – a determined period in the work of a specific composer – to get into a macro perspective – the problem of the great narratives in the twentieth century – one concludes that Reich, in moving away from minimalist principles, also moves away from an idea of modernism, presenting features that can be related to post-modernism.
Este trabalho enfoca a produção inicial de Steve Reich (1936) e investiga sua relação com os pressupostos estéticos do que se entende por minimalismo dos anos 1960, considerando aspectos históricos e procedimentos criativos juntamente aos seus discursos teóricos. As peças de Reich compostas entre 1965 e 1976 são representativas da trajetória do compositor, pois apresentam em um pólo procedimentos mais radicais, oriundos dos experimentos com gravadores de fita – Come out (1966), Piano phase (1967), Pendulum music (1968) –, e em outro pólo peças para grandes grupos e instrumentos diversos – Music for mallet instruments, voices and organ (1973) e Music for 18 musicians (1976) – que se distanciam da estética da “música enquanto processo gradual” tal como exposta pelo próprio compositor em texto homônimo (1968). Nessa trajetória musical, historicamente associada ao minimalismo, as mudanças nos métodos e nos procedimentos composicionais empregados por Reich suscitam questões que permitem problematizar essa relação direta entre o compositor estadunidense e a estética minimalista. Para tanto, o primeiro capítulo assume um caráter histórico e é destinado à identificação de um paradigma minimalista a partir da literatura, levando em conta a interseção entre teoria musical e crítica de arte, já que foi no contexto das artes plásticas que o termo “minimalismo” se originou. Tendo definido um paradigma minimalista de referência, o segundo capítulo, de natureza analítica, confronta os pressupostos desse paradigma com peças de Reich referentes ao período selecionado, procurando observar em que medida Reich se conecta ou se afasta do minimalismo, considerando também a possibilidade de surgimento do que se denominou “pós-minimalismo”. Diante da análise da obra inicial de Steve Reich e sua relação com o minimalismo, o terceiro capítulo propõe uma leitura teórica levando em consideração a concorrência e/ou coexistência das grandes narrativas da modernidade e da pós-modernidade nos anos 1960. Esse embate está materializado na trajetória inicial de Reich, do mesmo modo como alguns autores consideram o minimalismo um ponto de virada no discurso das artes do século XX. Seguindo essa metodologia que parte de uma perspectiva micro – um período delimitado na obra de um compositor específico – para uma perspectiva macro – o problema das grandes narrativas no século XX – conclui-se que Reich, ao se afastar do minimalismo, afastase também de uma ideia de modernismo apresentando elementos que podem ser associados ao pós-modernismo.

Steve Reich est un compositeur d'apparence simple. Derrière cette évidence de la forme et des éléments qui la composent se cache la complexité: l'ambiguïté est érigée en système. Ainsi, le processus qui est, a priori, implacable, inexorable, réserve toujours une part de surprises. Par le déphasage graduel, on perd quelque peu pied. Les motifs résultants montrent la virtualité de la musique reichienne. Et que dire de cette attraction/répulsion pour l'électronique. Un trait essentiel de la création de Reich à partir de 1976 est la notion de cycles d'accords: ceux-ci exposés dès le début sont supposés revenir dans l'ordre. Bien souvent, les oeuvres issues de ce procédé sont comme des jeux de pistes. Le rapport au texte a évolué chez le compositeur. Dans les premières pièces, le sens est atomisé. Puis il y a une sémantisation qui aboutit à des oeuvres ethiques aprés 1990. Par exemple, Three Tales (2002) est une oeuvre de réflexion sur les dangers de la technologie au XXème siècle. Mais c'est aussi une oeuvre postmoderne et on sait combien cette notion est équivoque
Steve Reich seems to be a simple composer. But behind this obviousness of the form and of the elements wich make it up, hides a true complexity: ambiguity is set up as a system. Thus, the process which is at first relentless and inexorable always reserves a share of surprises. By phasing, one is slighty lost. The resulting patterns show the virtuality of the reichienne music. And what is there to think of Reich's attraction and repulsion as regards electronics. An essential feature of the creation of Reich since 1976 is the concept of chord cycles:: those exposed from the very start are supposed to return in the same order. Very often, the works resulting from this process turn out to be mazes. The connection with the text evolved with the composer. In the first pieces, the meaning is atomised. Then, there is an evolution towards a semantisation which leads to ethical works after 1990. For example, Three Tales (2002) is a work of reflexion on the dangers of technology in the twentieth century. But it is also a post-modern work and one knows how much this concept is questionable

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Conselho Nacional de Pesquisa e Desenvolvimento Científico e Tecnológico - CNPq
Steve Jobs’ speech, that marked the launch of products made by Apple, a technology company, was eagerly anticipated by the market, fans and media. All over the world, many people line up and even set up tents in front of Apple stores on the eve of product launches, and then come out holding their package as a trophy. But what explains Apple’s phenomenon? This study is based on the assumption that Jobs is considered a sort of modern times messiah, making Apple an extension of himself, and aims to understand, within an enunciative-discursive perspective, as developed by Dominique Maingueneau, how the messiah figure is personified in Jobs and unveils a “savior” myth established around him. This investigation is also founded on the hypothesis of sacralization of technology (Noble, 1997), which considers that, by promoting the encounter between the physical and the metaphysical, technology aims at transcendence and appropriates religious ideas. As such, this study is spread across different discursive fields, such as advertising, religion and the media, aiming to understand not only the intertextuality but also the discursive ethos and set design in the conjuncture of the public appearances of Apple’s co-founder. In addition, in order to understand how Steve Jobs’ discourse got acclaimed by the world, using the religious discourse to legitimize his own speech, the notion of constituent discourses is thus mobilized. Considering the evolution in the networks of discourse genres, especially after the emergence of the internet and the widespread dissemination of technology, the study also contemplates the notion of generic valence (Maingueneau, 2015), which allows us to reflect on how discourse genres and consequently the exercise of the discourse have been transforming over time. This reflection is essential, since the analysis of this research focuses on events that happened empirically and were reproduced on YouTube, an online video sharing platform. The results show how the pre-discursive ethos was constructed with an interaction between different genres, the discursive artifices used by the enunciator in the scenography of his presentations to challenge his co-exponents, as well as the links between what Jobs demonstrated and the contents circulating about him, raising expectations of his public appearances
Nas apresentações que marcavam o lançamento oficial dos produtos da Apple, empresa de tecnologia, o pronunciamento de Steve Jobs, cofundador e presidente da companhia, era ansiosamente aguardado por todo o mercado, por fãs e pela mídia. Ao redor do mundo, muitos fazem filas e até montam acampamentos em frente às lojas às vésperas do lançamento de algum produto e depois saem exibindo o pacote como um troféu. Mas o que explica esse fenômeno Apple? Esta pesquisa parte do pressuposto de que Jobs se consagrou como uma espécie de messias dos tempos modernos, tornando a Apple uma extensão de si, e objetiva compreender, na perspectiva enunciativo-discursiva, tal como desenvolvida por Dominique Maingueneau, como a figura de messias se personifica em Jobs e desvela uma mítica de “salvador” instaurada sobre ele. Esta investigação também parte da hipótese da sacralização da tecnologia (NOBLE, 1997), a qual considera que, promovendo o encontro entre o físico e o metafísico, a tecnologia visa à transcendência e se apropria de ideias religiosas. Assim, neste trabalho realiza-se um atravessamento por diferentes campos discursivos como o publicitário, o religioso e o midiático, com vistas a depreender não somente a intertextualidade como o ethos discursivo e a cenografia na conjuntura das aparições públicas do cofundador da Apple. Ademais, para compreender o modo como o discurso de Steve Jobs encenou sua consagração ao mundo, recorrendo ao discurso religioso para legitimar a própria fala, mobiliza-se a noção de discurso constituinte. Considerando a evolução nas redes dos gêneros do discurso, especialmente após o surgimento da internet e da ampla disseminação da tecnologia, a pesquisa também contempla a noção de valência genérica (MAINGUENEAU, 2015), que permite refletir sobre o modo como os gêneros do discurso e, consequentemente, o exercício do discurso vêm se transformando. Essa reflexão é essencial, uma vez que a análise desta pesquisa se concentra em eventos que aconteceram de modo empírico e que foram reproduzidos em um site de compartilhamento de vídeos, o YouTube. Os resultados mostram o modo como o ethos pré-discursivo se construiu por meio da interação entre diferentes gêneros, os artifícios discursivos utilizados pelo enunciador na cenografia de suas apresentações para interpelar seus coenunciadores, bem como o encadeamento que havia entre aquilo que Jobs demonstrava e os conteúdos que circulavam a seu respeito, suscitando expectativas em relação a suas aparições públicas

From Integrative Summary: There has been a growing interest in successful entrepreneurs. Research on entrepreneurship has focused on the identification of personality variables that would assist in the prediction of entrepreneurial success. The present study moves away from attempting to predict entrepreneurial success and instead focuses on exploring and describing the personality of a successful entrepreneur. A psychobiographical case study was adopted by the researcher to explore and describe the extent to which Steve Jobs demonstrated the entrepreneurial characteristics identified by Rauch and Frese (2007). A personality trait approach to entrepreneurship was adopted in the study. The study also attempted to explore the socio-cultural and economic context within which Jobs practised his entrepreneurial activities. Jobs was a successful entrepreneur who co-founded Apple and founded NeXT and Pixar, which were all companies that transformed various technological industries. His entrepreneurial orientation allowed him to produce innovative products that transformed society in various sectors which included personal computing, mobile phones, music, retail stores and films (Isaacson, 2011). A qualitative approach was adopted in the study. The data collection and analysis was guided by the three linked sub-processes proposed by Miles and Huberman (2002) which involved data reduction, data display and conclusion drawing and verification. The findings of this study showed that Jobs demonstrated, at varying levels, all the entrepreneurial characteristics identified by Rauch and Frese (2007) which included a need of achievement, risk-taking, innovativeness, autonomy, locus of control and self-efficacy. The researcher however noted that the desire for autonomy, risk-taking, innovativeness and self-efficacy were the most dominant characteristics driving his entrepreneurial orientation. The research thesis adopted the structure of a teaching case which can be used to explore and discuss the personality trait perspective to entrepreneurship in a classroom setting. The findings of the study can be recognised as positively contributing to the growing field of psychobiographical research on exceptional individuals, including entrepreneurs. The study can be considered as a foundation for future studies which will add to the body of knowledge relating to entrepreneurship and personality.

The study consists of a psychobiography of the American entrepreneur and innovative co-founder of Apple Computers, Steven Paul Jobs (1955 – 2011). The psychobiographical research method qualitatively considers the lived life of an individual in an attempt to understand the psychological development in the context of applied psychological theory. A theoretical integration of Adler‘s Individual Psychology and Antonovsky‘s Sense of Coherence was utilized in the present study. This integrative approach facilitated a dynamic and holistic picture of the individual‘s functioning in illuminating not only personality but also the individual‘s social context, choice making capacity, general resistance resources and the individual‘s ‗meaning making‘ capacity in the strive towards health and superiority. Steven Paul Jobs revolutionised personal computing. Ranked as Forbes‘ seventeenth most powerful person and Man of the Year by The Financial Times in 2010, Jobs‘ contribution to modern technology is widely acknowledged and revered. To ensure the accurate description of the lived life of Steven Paul Jobs, extensive data was examined by utilizing Alexander‘s model of identifying salient themes. The study considered the nature and methodology of psychobiography, the theories of Alfred Adler and Aaron Antonovsky and the life of Steven Paul Jobs that resulted in an integrated psychological description of the subject. The findings of this study indicate that Steven Paul Jobs‘ unique context (environment and constitutional attributes) was valuable in light of the theoretical frameworks that the present study is grounded upon as it illustrated an individual‘s self-determination and capacity to exercise choice in response to life challenges. The study highlighted that the individual is not necessarily a passive bystander to his life events but rather is driven by an internal forward striving. Key concepts: Aaron Antonovsky, Alfred Adler, Apple Computers, Individual Psychology, Psychobiography, Sense of Coherence, Steven Paul Jobs.

Thesis ( MMus (Music))--University of Stellenbosch, 2007.
Steven De Groote (1953-1989) was one of the most successful pianists to have emerged from South Africa. His international reputation rests largely on the fact that he won first prize in the Van Cliburn International Piano Competition in 1977, the only South African to date to have achieved this feat. As such he must be recognized as an important figure in the music history of South Africa. Because the performing musician’s product is transitory in nature and therefore his/her legacy is not tangible in all respects, the introduction to the thesis discusses the specific methodological problems arising from this fact in respect of the writing of a biography. The focus in this biography is on De Groote’s numerous achievements and especially on his career as concert pianist. It includes a discussion of his formative years, his subsequent years of study and the influence of competitions, and more specifically the 1977 Van Cliburn competition on his career. Discussion of his pianistic style, De Groote as teacher and his love for chamber music is also included. De Groote’s contribution to the South African musical scene is highlighted, especially his honorary professorship at the University of Stellenbosch during 1986 and 1987, as are his master classes in this capacity and his regular performances in South Africa. His role as a South African musician abroad is also examined. The biography is concluded with a brief discussion of his airplane accident and the influence this had on his career as a pianist and on his playing.

Dissertação (mestrado) - Pontifícia Universidade Católica do Paraná, Curitiba, 2009
Bibliografia: f. 113-116
Amparados nas teses do psicólogo evolucionista Steven Pinker, buscaremos uma melhor compreensão do comportamento humano, fazendo uma revisão no modelo clássico de ciências sociais. Para ele o arquétipo delineador do comportamento humano se encontra ultrap
Supported in the teses of evolucionista psychologist Steven Pinker, we go to search one better understanding of the human behavior, making a revision in the classic model of social sciences. For it archtype limiting of the human behavior if finds exceeded

The compositions of Steve Reich and György Ligeti both contain periodic rhythmic structures. Although periods are not usually easily perceived, the listener may perceive their combinations in a hierarchy of rhythmic structures. This document is an attempt to develop an analytical method that can account for this hierarchy in periodic music. I begin with an overview of the features of Reich's and Ligeti's music that contribute to the property of periodicity. I follow with a discussion of the music and writings of Olivier Messiaen as a precedent for the periodic structures in the music of Reich and Ligeti. I continue by consulting the writings of the Israeli musicologist Simha Arom and describing the usefulness of his ideas and terminology in the development of my method. I explain the working process and terminology of the analytical method, and then I apply it to Reich's Six Pianos and Ligeti's Désordre.

Thesis (MA)--Stellenbosch University, 2013.
ENGLISH ABSTRACT: This thesis explores the ways in which the censors during the apartheid era responded to the works of three black liberation theorists; namely Frantz Fanon, Amilcar Cabral and Steve Biko. Although other studies of apartheid‐era censorship have been published, this is the first to examine the censors’ reactions to the work of key African liberation writers. Apartheid in South Africa brought with it a stringent system of governance, which included a board of censors who would decide, according their interpretation of the laws of the time, whether a publication was considered to be “desirable” or “not undesirable.” One of the major themes examined in the thesis is the interface and tension between the specific and the transnational. As we shall see, all three liberation theorists put forward Pan‐African ideas of liberation, but often explicated upon the specificities of their particular liberation struggles. In a strange act of mirroring, while upholding the idea of South Africa as “a special case” (exempt from the norms of international human rights law), the apartheid‐era censors were concerned about the spread of Pan‐African theories of liberation. Beginning with Fanon, I speculate on the reason why Black Skin White Masks was not banned in South Africa, though Fanon’s later works to enter the country were banned. I also examine Gillo Pontecorvo’s film The Battle of Algiers, which was influenced by Fanon’s theories, and censorship, arguing that the “likely readers” or “likely viewers” of revolutionary material included not only possible revolutionaries, but also paranoid networks of counterinsurgency. I then move on to examine the apartheid censors’ responses to the works of Amilcar Cabral, outlining the interface and tension between local and continental as described above. The final chapter, which deals with the censors’ responses to Steve “Bantu” Biko’s I Write What I Like as well as Donald Wood’s Biko, the film Cry Freedom and other Biko related texts and memorabilia, has some surprises about the supposedly “liberal” censors’ responses to what they deemed to be “undesirable” and “not undesirable” literature.
AFRIKAANSE OPSOMMING: Hierdie tesis verken die manier waarop die sensuurraad tydens die apartheidera gereageer het op die werk van drie swart bevrydingsteoretici, by name Frantz Fanon, Amilcar Cabral en Steve Biko. Hoewel daar wel ander studies oor apartheidera‐sensuur die gepubliseer is, is hierdie die eerste studie wat die sensuurraad se reaksie op die werk van sleutel‐Afrikabevrydingskrywers verken. Apartheid het ‘n streng beheerstelsel in Suid‐Afrika tot gevolg gehad wat ‘n sensuurraad ingesluit het wat volgens sy interpretasie van die toenmalige wette kon besluit of ‘n publikasie “wenslik” of “nie‐wenslik” was. Een van die hooftemas wat in hierdie tesis ondersoek word is die interaksie en spanning tussen die spesifieke en die transnasionale. Soos sal blyk, het al drie bevrydingsteoretici Pan‐Afrikanistiese idees van bevryding ondersteun, maar dikwels die besondere van hul spesifieke bevrydingstryd uiteengesit. Die apartheidera‐sensors se kommer oor die verspreiding van die Pan‐ Afrikanistiese bevrydingsteorië, terwyl hulle die idee van Suid‐Afrika as “’n spesiale geval” (vrygestel van die norme van internasionale menseregtewetgewing) voorgehou het, was ‘n ironiese spieëlbeeld hiervan. Ek begin by Fanon en bespiegel oor die redes waarom Black Skin White Masks nooit in Suid‐Afrika verbied was nie hoewel Fanon se latere werk wat die land binnegekom het, wel verbied was. Ek ondersoek ook Gillo Pontecorvo se film The Battle of Algiers wat deur Fanon se teorië beïnvloed is, en argumenteer dat die “waarskynlike lesers” en “waarskynlike kykers” van revolusionêre materiaal nie slegs moontlike revolusionêre ingesluit het nie, maar ook paranoïede netwerke van teeninsurgensie. Ek gaan voort deur die reaksie van die apartheidera‐sensors op die werke van Amilcar Cabral te ondersoek en die interaksie en spanning tussen die plaaslike en die kontinentale, soos hierbo beskryf, uit te lig. Die slothoofstuk, wat handel oor die sensuurraad se reaksie op Steve “Bantu” Biko se I Write What I Like, asook Donald Woods se Biko, die film Cry Freedom en ander Biko‐verwante tekste en memorabilia, bevat verrassings omtrent die sogenaamde “liberale” sensors se reaksies op wat hulle as “wenslike” en “nie‐wenslike” literatuur beskou het.

The Belgian choreographer Anne Teresa de Keersmaeker has numerous times used the music by Steve Reich as a source for her choreographies. In her dance pieces she has transmitted the compositional principles of Reich's music into movement. She is not simply visualising or translating different musical parameters into motion, rather she is re-creating compositional principals in a different medium. De Keersmaeker used less complex pieces by Reich at the beginning of her career, for example, in her choreography Fase, Four Movements to the Music of Steve Reich (1982), she uses the following compositions by Steve Reich: Piano Phase (1967), Come Out (1966), Violin Phase (1967), Clapping Music (1972). Later she creates more complex choreography like Drumming (1998) to Drumming (1970-1971) and Rain (2001) to Music for 18 Musician (1974-76). De Keersmaeker, like Reich is influenced by the radical transformations which took place in the arts in the 1960s. Traditional strategies of composition were questioned which resulted in new approaches such as, for example, minimalism. Here the endless repetition of small cells and phrases creates an emotional potential through intensity, which replaces the representation through gesture and tone painting, but nevertheless affects us at the interface between the visual and the acoustic. The examples chosen from Drumming shall demonstrate which physical equivalents for the compositional principles of the music are found by de Keersmaeker, how are principles like phase shifting, pattern layering, and accumulation re-created in movement and made visually transparent? How close is the choreography to the music and when does the choreographer decide to allow smaller or larger discrepancies between music and movement? How does the interdependence between music and movement influence the intensities emerging through repetition?

Abstract As important as the quintet was, there were few attempts at recording it on the hoof: frustratingly little exists of the group away from its studio sessions for Prestige and Columbia. One early fragment which has survived is its appearance on the Steve Allen TV show for NBC (17 November 1955), although it exists in audio only (Rare Unissued Broadcasts [1]). The group play fairly brief versions of’Max Is Making Wax’, a bop tune dating back to Charlie Parker days, and ‘It Never Entered My Mind’. Allen tries to engage Davis in a little repartee, but is shocked by the sound of his voice: ‘Got a cold?’. ‘No,’ responds Miles, ‘I had an operation on my throat.’ A month earlier, Davis had indeed undergone surgery, to remove polyps on his larynx. He had never had an elegant speaking voice – it already sounds throaty on the Prestige session where he castigates Monk – and the operation had been meant to alleviate some of the problem. But he had been required not to speak beyond the bare minimum for a period after the operation, and had, at some point, raised his voice in some measure of anger: it may have been at a rehearsal, or in some heated conversation with some industry figure, nobody seems quite sure.

Our attention is attracted by the lost phalerae from the illicit excavations of 1934–1936 in the area of cossack village Dakhovskaya in the Trans-Kuban region, known after the brief description by B. V. Lunin, judging by which, one of them, with the image of a lion’s head en face, may be compared with a pair of phalerae from the Fedulov hoard, and the other – a phalera with the head of a gorgon – with the piece from the hoard found near cossack village Akhtanizovskaya. Much more information is provided by the phalera “with the image of an eagle and a serpent”. The photograph and dimensions of this phalera were published in 1937 in a short popular article by B. V. Lunin, which remained out of sight of the modern scholars. This pha lera has an oval shape and, it is quite obvious that this is a prometopidion – the forehead deco ration of a horse. On this frontlet in relief, there is shown en face an image of an eagle, with its wings lowered and its head turned to the right, in a fight with a snake. The prometopidion from Dakhovskaya belongs to the type of oval frontlets, which are known from rather rare finds from the Kuban and Don regions, dating back to the 3rd–2nd centuries BC. In terms of shape and size, the closest parallel among the finds from the North Pontic area is an object from the Fedulov hoard – this piece, depicting a scene of Gigantomachy, is smaller in size, and also has rivets located in a similar way on the front side, and on the back – the remains of wide bronze transverse loops. If the oval prometopidia known to us were most often decorated with the image of Nike and scenes of Gigantomachy, then the frontlet from Dakhovskaya represents a still unknown motif for this category of horse bridle phalerae – an eagle in a combat with a snake. In Greek art, this motif plot has been known since the Archaic period, when, in particular, it was used to decorate the shield emblems, although in the Archaic and early Classical Greek art, the eagle was usually depicted flying with a snake in its claws. Also, with widely spread wings, eagles are represented in scenes of a fight with a snake on the reliefs of the late Classical – early Hellenistic period from Attica and Asia Minor. Scenes with images of the combat of an eagle with a snake became widespread in the late Hellenistic period, especially in Asia Minor after 200 BC. On the other hand, such images are completely unusual for the Bosporan steles. It would seem that the fact that the eagle’s wings on the frontlet from Dakhovskaya were lowered, was due to the oval-vertical form of the prometopidion itself, however, it is worth noting that we find images of eagles with their wings lowered down exactly on the grave stele from Asia Minor and Thessaly. The author comes to the conclusion that the prometopidion from Dakhovskaya should be attributed to the early group of phalerae, also represented by finds from the Fedulov hoard and Uspenskaya, and dated within the last quarter of the 3rd – first quarter of the 2nd century BC. The spread of the motif of the combat between the eagle and the snake in the decoration of grave stele from Asia Minor of the Hellenistic period and the absence of such images in the time in question in the Cimmerian Bosporus are indirect arguments in favor of the possible origin of the early phalerae of the horse harness found in the Kuban and Don regions from Asia Minor.

Nesta edição da revista, a presente seção conta com cinco resenhas de livros (também chamadas de book reviews). E há uma novidade: as duas primeiras resenhas foram escritas pelos próprios autores dos livros. As outras três resenhas ficaram a cargo dos editores do número 53. Outra novidade é que todas elas estão também disponíveis em língua inglesa (elas começam na página 7). Lembramos que as resenhas são escritas de forma abreviada e concisa, de modo a resumir o conteúdo dos livros (em assuntos relacionados com as diversas ciências que envolvem acústica, vibrações e áudio) e trazer informações acerca dos autores (para contextualizar ainda mais as obras). Para este número trazemos as resenhas dos seguintes livros: Sound-Politics in São Paulo Autor: Leonardo Cardoso | Oxford Press, 2019 Dinâmica Aplicada Autor: Roberto A. Tenenbaum | Editora Manole, 2016 (4 ed.) Acústica nos Edifícios Autor: Jorge Patrício | Publindústria, 2018 (7 ed.) Understanding Acoustics: An Experimentalist’s View of Sound and Vibration Autor: Steven L. Garret | Springer, 2020 Spatial Hearing: The Psychophysics of Human Sound Localization Autor: Jens Blauert | MIT Press, 1996 (Rev. Ed.). Leonardo Cardoso, professor na Texas A&M University, apresenta seu livro sobre política sonora em São Paulo. Roberto Tenenbaum, professor da UFSM, apresenta a quarta edição de sua obra importante na compreensão de Acústica e Vibrações. Em seguida, é apresentado um dos livros de Jorge Patrício, referência portuguesa em Acústica de Edificações. O quarto livro é o “Entendendo a acústica”, de autoria de Steven Garret. Por último, o livro clássico do prof. alemão Jens Blauert, “Áudio espacial”, é apresentado. Esperamos que a leitura das resenhas ofereça as primeiras compreensões/impressões sobre as obras e desperte vontade de conhecê-las por inteiro: uma excelente maneira de ampliar o conhecimento e de se manter atualizado.