Artykuły w czasopismach na temat „Tonaries”
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KELLY, THOMAS FORREST. "Ornamental melismas in Aquitanian introits". Plainsong and Medieval Music 32, nr 1 (22.03.2023): 1–31. http://dx.doi.org/10.1017/s0961137122000171.
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AbstractMelismas are used to decorate the performance of introits in the early manuscripts of East Francia and of the region of Aquitaine. The former group includes melismas attached to the ends of phrases in manuscripts of the tenth and eleventh centuries. The Aquitanian practice, apart from a few introits that resemble the East Frankish usage, is to add substantial melismas – not the same as those used by the East Franks – to the final soloistic doxology, as a sort of flourish indicating the final reprise. These melismas are sometimes found in tonaries, perhaps for general application to any introit in the mode, and sometimes attached to individual introits. Melismas from Aquitanian tonaries, graduals and tropers are catalogued and described. These melismas are evidently portable, often being used for more than one occasion.
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Merkley, Paul. "Tonaries and melodic families of antiphons". Journal of the Plainsong and Mediaeval Music Society 11 (styczeń 1988): 13–24. http://dx.doi.org/10.1017/s0143491800001136.
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One theory of the origin, development and structure of the chant repertoire is that the thousands of individual pieces in it arose from the adaptation of new texts to a small number of melodies, or melodic ‘themes’. First put forward by Gevaert, this theory, which will be referred to here as the thematic theory, has, in different forms, been the basis of studies of the transmission of antiphons, and is now being applied to the repertories of Old-Roman and Ambrosian chant. The main demonstration of the validity of the theory must take place, of course, in studies of the repertoire itself; we shall be convinced if musical and liturgical evidence supports the idea of adaptation and suggests a chronological development. It is nevertheless important to examine music-historical witnesses ancillary to the chant repertoire, for it is often the case that related documents reveal something unexpected about the main repertoire, or serve as a means of confirming points for which evidence is lacking.
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Papp, Ágnes. "Tonar und differentia: Geschichte, Funktion, Deutungen". Studia Musicologica 56, nr 2-3 (czerwiec 2015): 133–45. http://dx.doi.org/10.1556/6.2015.56.2.2.
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The paper explains the medieval notions of tonary and differentia in theory and practice. Both notions played a prominent role in defining the book type tonary as well as the function of melodic cadences called differentiae. The tonary is important for the examination of early plainchant repertory and for the interpretation of medieval mode theory (Octoéchos). The differentia has already been discussed by Peter Wagner as the most exciting element of antiphonal psalmody. Recent comparative studies of theoretical as well as practical sources of tonaries are highly promising.
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Nowacki, Edward. "THE ANONYMOUS MUSICA IN LEIPZIG, UNIVERSITÄTSBIBLIOTHEK, MS 1492: A NEW EDITION AND TRANSLATION". Early Music History 33 (2014): 143–82. http://dx.doi.org/10.1017/s0261127914000011.
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The article presents a new edition and English translation of the Latin music-theory treatise transmitted anonymously in Leipzig, Universitätsbibliothek, MS 1492, sometimes known as De musica et de transformatione specialiter, or simply the Sowa Anonymous (a reference to Heinrich Sowa's edition published in 1935). An introductory essay justifies the treatise's importance and gives reasons why a new edition is necessary. It also presents a complex case for dating the treatise to the eleventh century based on verbal and conceptual affinities with five other treatises of the era. The edition of the text is done to higher standards of orthographic accuracy than were observed in 1935 and corrects about twenty outright errors in Sowa's edition. It also includes the two embedded tonaries that Sowa omitted. The treatise is a crucial complementary witness to the state of music theory in the eleventh century.
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Parkes, Henry. "BEHIND HARTKER’S ANTIPHONER: NEGLECTED FRAGMENTS OF THE EARLIEST SANKT GALLEN TONARY". Early Music History 37 (październik 2018): 183–246. http://dx.doi.org/10.1017/s0261127918000050.
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Prior to the famous Hartker Antiphoner (Sankt Gallen, Stiftsbibliothek, Cod. 390/391), copied in Sankt Gallen c. 1000, there survives no complete, fully-notated witness to the Romano-Frankish chant repertory for the Office. Scholars have long known about the related tonary, possibly a decade older, in which the Sankt Gallen repertory is to be found ordered by melody. But unrecognised until now are the remains of a second tonary (Stadtarchiv Goslar, Handschriftenfragmente MThMu 1/1), datable to the early tenth century. The combined testimony of these two tonaries, together with other surviving fragments, is taken as the basis for a reassessment of the Office repertory in tenth-century Sankt Gallen. Nineteenth-century scholarship gave Hartker’s Antiphoner an arguably undeserved reputation as an authorised monument of Gregorian Chant. This view seems unsustainable in the light of many apparent editorial interventions, yet it may be precisely what the monks had set out to achieve.
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Grier, James. "Adémar de Chabannes (989–1034) and Musical Literacy". Journal of the American Musicological Society 66, nr 3 (2013): 605–38. http://dx.doi.org/10.1525/jams.2013.66.3.605.
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Abstract In the second half of 1027, Adémar de Chabannes contributed the musical notation to the production of an elaborate liturgical manuscript (currently Paris, Bibliothèque nationale de France, MS latin 1121) at the scriptorium of Saint Martial in Limoges. While doing so, he introduced the innovative technique of placing the neumes in strict alignment along the vertical axis of writing in accordance with their relative pitch. The accurate heighting of the neumes revolutionized the teaching of music at Saint Martial, and eventually throughout Aquitaine. Instead of relying on the rote communication of melodies from more experienced singers, younger musicians could turn to the visual transmission of chant through the medium of notation, now made more transparent by the use of accurate heighting. This article investigates the musical and intellectual context in which Adémar introduced the innovation of accurate heighting to the scriptorium at Saint Martial, the role of tonaries (now equipped with precise intervallic information) in musical pedagogy, and the impact of these devices on musical practices at Saint Martial through the eleventh century.
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Küster, Konrad. ""... alle Claves durchgangen"". Die Musikforschung 60, nr 4 (22.09.2021): 333–48. http://dx.doi.org/10.52412/mf.2007.h4.550.
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Im zweiten Teil der Sammlung "Neues Musikalisches Seelenparadis" (1662) für Singstimme und Tasteninstrument arbeitet Flor mit 24 verschiedenen Tonarten (ohne cis, gis und es/dis, aber mit dem Dorischen, Lydischen und Phrygischen). Damit handelt es sich um einen der ältesten Vertreter einer vollchromatischen Konzeption; die Lücken lassen nicht erkennen, dass die fehlenden Tonarten für Flor unerreichbar gewesen wären. Dieses Tonartenspektrum wird von Flor in mehreren Tonart-Durchgängen systematisch ausgeleuchtet. Rist folgt diesem Gedanken in seinen Dichtungen, obgleich deren Abfolge sich weitestgehend nach dem Aufbau des Neuen Testaments richtet. Dies verändert den Blick auf die "Liedschöpfungen" Rists, denen ein sehr viel höherer Anteil gezielt musikalischer Potentiale beigemessen werden muss.
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Siedentopf, Henning. "Tonartliche Verwandtschaften im Klavierwerk J. S. Bachs". Bach-Jahrbuch 60 (15.03.2018): 70–74. http://dx.doi.org/10.13141/bjb.v19741982.
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Dass Werke, die in der gleichen Tonart geschrieben wurden, häufig auch in ihren melodischen Strukturen eine Ähnlichkeit aufweisen, kann als ein etabliertes Ergebnis der Bach-Forschung angesehen werden. Doch wenn Bach in seinen zyklischen Clavierwerken Sätze oder Satzgruppen, die verschiedene Tonarten repräsentieren, verbindet oder kontrastiert, stellt sich die Frage nach weitergehenden Beziehungen und Affinitäten zwischen divergierenden Tonarten. Tatsächlich zeigen Sätze, deren Tonika eine kleine Terz voneinander entfernt sind (z. B. C-Dur und A-Dur), häufig überraschende Ähnlichkeiten, auch wenn sie eine ganz andere kompositorische Ausarbeitung aufweisen. Die kleine Terz - bei Bach auch ein beliebtes Transpositionsintervall - offenbart sich als Mittel der musikalischen Dialektik. Der doppelte Kontrast (bei C-Dur und A-Dur: Bildung der parallelen Molltonart und Umwandlung dieser in Dur) erzeugt die verborgene Affinität. (Übertragung des englischen Resümees am Ende des Bandes)
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Voss, Egon. ""Man denkt natürlich zuerst an Bachsche Praeludien"". Die Musikforschung 66, nr 2 (22.09.2021): 120–27. http://dx.doi.org/10.52412/mf.2013.h2.110.
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Die Verknüpfung von Chopins "Préludes" mit Johann Sebastian Bach und vor allem dessen "Wohltemperiertem Klavier" scheint eine Entdeckung (oder Erfindung) des 20. Jahrhunderts zu sein. Zwar legt die Tatsache, dass es sich um eine Folge von 24 Kompositionen handelt und diesen eine bestimmte Anordnung der Tonarten zugrunde liegt, diesen Gedanken nahe, doch der Schein trügt. Während Bach mit seiner chromatisch ansteigenden Tonartenfolge beweisen wollte, dass man alle zwölf Halbtöne der Oktave als tonale Grundlage eines Musiksücks verwenden kann, ging es Chopin, für den das Bach'sche Anliegen längst zur Selbstverständlichkeit geworden war, um Tonarten-Verwandtschaft. Hierfür lassen sich verschiedene Vorbilder finden. Es bleibt zudem offen, ob die "Préludes" als Zyklus gespielt und verstanden werden sollten. Möglich ist, dass sie für den Hörer als einzelne Stücke gedacht waren, als Ganzes aber dem Leser vorbehalten.
bms online (Cornelia Schöntube)
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Bitzan, Wendelin. "Durch alle Tonarten: Omnitonale Präludienzyklen für Klavier". Archiv für Musikwissenschaft 73, nr 3 (2016): 185–219. http://dx.doi.org/10.25162/afmw-2016-0011.
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Wada, Mineko, i Sarah Canham. "RESILIENCE IN JAPANESE OLDER IMMIGRANTS AND ROLES OF COMMUNITY SUPPORT DURING THE COVID-19 PANDEMIC". Innovation in Aging 7, Supplement_1 (1.12.2023): 902. http://dx.doi.org/10.1093/geroni/igad104.2901.
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Abstract The objective of this community-based study was to explore how Japanese older immigrants cultivated resilience in overcoming challenges during the COVID-19 pandemic and how Tonari Gumi, a community service agency, supported the process. As Japanese people make up a small proportion of the population in Canada, there are limited resources to meet their distinct needs. Thus, Japanese older adults were particularly affected by disrupted support and service systems when COVID-19 public health orders were implemented. In this qualitative study, seven community-dwelling Japanese older immigrants and five staff from Tonari Gumi participated in semi-structured interviews. The interviews were analyzed thematically using a conceptual lens of resilience, which refers to the ability to survive and thrive in the face of adverse life experiences. Our analysis yielded three themes: Challenges and concerns; Staying active: physically, mentally, and socially; and Creating needs-based services and programs to survive, connect, and enjoy. The initial challenge experienced by Japanese older immigrants was “a feeling of emptiness,” followed by hardships associated with digital literacy, English literacy, fear of COVID, and concerns about the future. In response to the challenges, Japanese older immigrants stayed active by rebuilding and sustaining regular exercise habits, nurturing and sustaining positive mindsets, and sustaining and expanding social connections. Tonari Gumi developed and delivered a variety of new services and programs to meet the needs of survival, social connection, and fun. We will discuss key actions that older individuals and service providers took on to facilitate resilience and implications for research, policy, and practice.
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López, Eugénio. "La Ceguera para los Valores". Colloquia, Academic Journal of Culture and Thought 9 (16.12.2022): 50. http://dx.doi.org/10.31207/colloquia.v9i0.134.
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Toda la persona humana tiene como vocación participar correctamente en el mundo de los valores. Sin embargo, de diferentes formas, muchas de las veces podemos tonarnos ‘ciegos’ hacia los valores, condicionando así la realización de nuestra vocación. Así, en este artículo pretendo analizar los distintos tipos de ceguera para los valores, como también como debemos comportarnos a fin de evitarla, o de adquirir la ‘visión’ para ellos. Para esto, me serviré sobre todo del pensamiento de Dietrich von Hildebrand, relacionándolo con otros autores, como Max Scheler y Nicolai Hartmann.
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Droszella, Uwe. "Tasteninstrumente der Schütz-Zeit unter Berücksichtigung der Schlosskapellen-Orgeln und der Kombinationsinstrumente". Schütz-Jahrbuch 22 (24.08.2017): 49–70. http://dx.doi.org/10.13141/sjb.v2000888.
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Gezeigt wird die konzeptionelle Vielfalt des Orgel- und Instrumentenbaus zu Beginn des 17. Jahrhunderts im Umfeld von Michael Praetorius und Heinrich Schütz an den Höfen in Dresden, Wolfenbüttel, Bückeburg, Lemgo und Kassel. Neben der Darstellung der konzeptionellen Differenzierung (Orgeln, Positive, Regale, Saiteninstrumente, Claviorgana, organo da legno; Mitteltönigkeit und Erweiterung auf zehn Tonarten) werden erhaltene und restaurierte Instrumente vergleichbarer Bauweise beschrieben und zum Teil durch Fotografien veranschaulicht. Im Mittelpunkt steht die einzige materiell erhaltene Orgel der ehemaligen Kapelle des Residenzschlosses zu Wolfenbüttel von Gottfried Fritzsche, die unter der Leitung des Autors 1992-95 restauriert wurde. (Autor, Quelle: Bibliographie des Musikschrifttums online))
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Mathelitsch, Leopold, i Ivo Verovnik. "Arpeggio fest in Frauenhand". Physik in unserer Zeit 54, nr 6 (listopad 2023): 302–4. http://dx.doi.org/10.1002/piuz.202301688.
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ZusammenfassungDie Harfe ist ein uraltes Instrument, das bereits in altägyptischen Darstellungen abgebildet ist. Sie ist Kulturgut vieler Völker. Traditionelle Harfen sind allerdings in einer Tonart gestimmt. Für einen Tonartwechsel muss umgestimmt werden. Das galt auch für die chromatischen Doppel‐ und Tripelharfen der Barock‐ und Rokokozeit. Erst Sébastien Érards Patente von 1810 ermöglichten die Konstruktion moderner Konzertharfen, die über sieben Pedale in allen Tonarten spielbar sind. Die typische Form der Harfe ist durch die physikalischen Eigenschaften der Saiten vorgegeben. Im Wesentlichen basiert sie aus einem Zusammenspiel zwischen der linear geformten unteren Aufhängeleiste und einer abschnittsweise exponentiellen Form des oberen Halses.
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Loos, Helmut. "Die Tonarten der klassischen Vokalpolyphonie im Konflikt der deutschen Musikwissenschaft". Archiv für Musikwissenschaft 77, nr 3 (2020): 239. http://dx.doi.org/10.25162/afmw-2020-0011.
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Jain, Devender K., i David G. Patriquin. "Characterization of a substance produced by Azospirillum which causes branching of wheat root hairs". Canadian Journal of Microbiology 31, nr 3 (1.03.1985): 206–10. http://dx.doi.org/10.1139/m85-039.
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Previous studies have shown that Azospirillum or its culture filtrates induce root hairs in wheat seedlings to branch; this phenomenon is influenced by the bacterial genome at the strain level and by the plant genome at the cultivar level. Strain Sp245 caused most branching of root hairs; between wheat cultivars frequency of branching increased in the following order: cv. Tobari, cv. Tonari, cv. BH1146, cv. Lagoa. Similarly, plant growth response to inoculation with Azospirillum, measured in mature plants, increased in the same order, suggesting that both phenomena (root hair branching and plant growth response) have a similar basis. In this study, the "branching substance" present in Azospirillum culture filtrate was found to be thermostable at 100 °C, removed by dialysis, present in the acidic nonpolar fraction of the cell-free extract, and co-chromatographed with authentic indole acetic acid on thin-layer chromatograms. Purified indole acetic acid caused branching of root hairs similar to that caused by the Azospirillum culture filtrates. Susceptibility of wheat cultivars to indole acetic acid induced branching increased in the order: cv. Tobari, cv. Tonari, cv. BH1146, cv. Lagoa. Of five strains examined, strain Sp245 produced the most indole acetic acid in culture in the presence of tryptophan. The presence of indole acetic acid was confirmed by gas chromatography – mass spectrometry.
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Crombie, Zoe. "Spectacular Mundane in the Films of Studio Ghibli". Journal of Anime and Manga Studies 2 (29.11.2021): 1–26. http://dx.doi.org/10.21900/j.jams.v2.507.
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This article examines how Studio Ghibli constructs the mundane activities shown in their films as spectacular. Looking at the history of the ways in which domestic and routine events are depicted in Japanese animation, I will use various methodologies, beginning with formalism and phenomenology before moving on to feminism and Marxism to critically analyse several Ghibli films as case studies – My Neighbors The Yamadas (1999, Hōhokekyo Tonari no Yamada kun), Only Yesterday (1991, Omoide Poro Poro), and Howl’s Moving Castle (2004, Hauru no Ugoku Shiro). Using these methodologies, the films are placed into a broader cinematic context, and the filmic legacy of their treatment of the mundane is explored.
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Matsumoto, Michimasa, i Kaori Madarame. "Evacuation from Tsunami and Social Capital in Numanouchi Ward, Iwaki City". Journal of Disaster Research 13, nr 6 (1.11.2018): 1113–24. http://dx.doi.org/10.20965/jdr.2018.p1113.
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This study investigates the relationship among peacetime human relations, that is, formation of networks, social capital accumulated as a result of human relations, and group evacuation (in units of neighborhood groups, Tonari-gumi) in Numanouchi ward. Located in Iwaki City, in Fukushima Prefecture, Japan, Numanouchi ward was partially destroyed by the Great East Japan Earthquake. The study found that there are differences in the formation of networks, social capital, and group evacuation between the Numanouchi and Suwahara areas. The study also found that there is a (slight) difference in the processes followed in group evacuation and the factors influencing the choice of processes in both areas.
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Bekeris, Tonaras. "Naujas moterų šlapimo nelaikymo gydymo metodas". Lietuvos chirurgija 3, nr 4 (1.01.2005): 0. http://dx.doi.org/10.15388/lietchirur.2005.4.2298.
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Tonaras BekerisVšĮ Šiaulių ligoninės Urologijos skyrius,Kudirkos g. 99, LT-76304 ŠiauliaiEl paštas: urolog@su.lt Įvadas / tikslas Straipsnyje analizuojami pirmieji moterų šlapimo nelaikymo krūvio metu gydymo rezultatai polipropileno juostele, vedant transobturaciniu metodu. Ligoniai ir metodai Gydyta 14 moterų. Pacienčių amžius – 62–78 metai. Juostelė vedama nuo vienos užtvarinės angos į kitą, vidurinę dalį – po šlaplės vidurine dalimi. Juostelė, pakeldama šlaplę, atitaiso užpakalinį uretrovezikalinį kampą, grąžina šlapimo pūslės kaklelį į normalią padėtį. Šio metodo naujumas tas, kad juostelė guli horizontaliai ir švelniau prilaiko šlaplę. Rezultatai Operacijos trukmė – 25–40 min. Pooperaciniu laikotarpiu vienai ligonei buvo gaktinio nervo neuralgija. Šis skausmas išnyko po 5 dienų. Dviem ligonėm maksimali šlapimo srovė buvo mažesnė kaip 15 ml/s. Tai galėjo lemti mažesnis nei 200 ml šlapimo kiekis pūslėje. Išvados Šlapimo nelaikymo gydymas transobturaciniu metodu, naudojant polipropileno juostelę – naujas ir gana paprastas metodas. Šis metodas fiziologiškesnis už anksčiau siūlytuosius. Galimybė operuojant sužaloti šlapimo pūslę, žarnas, kraujagysles yra maža. Reikšminiai žodžiai: šlapimo nelaikymas, spaustukas, polipropileno juostelė A new method of stress female urinary incontinence treatment Tonaras BekerisDepartment of Urology, Šiauliai City Hospital,Kudirkos str. 99, LT-76304 Šiauliai, LithuaniaE-mail: urolog@su.lt Background / Objective UraTape transobturator tape is the practical realization of a new concept in minimally invasive procedures to treat stress urinary incontinence. The novel aspects of its design are a horizontal orientation, a mechanism of support rather than suspension, and a path through the perineum rather than the pelvis. The aim of the study was to summarize the first experience in the treatment of female stress urinary incontinence by using a transobturator sling (uratape). Patients and methods Fourteen fresh women aged between 62 and 78 years were operated on. Five of these women had had gynecological operations before. The transobturator sling was used during the operation. The patients were followed for one and three months. Results Duration of the operation was 25–40 min. One patient suffered postoperatively from n. pudendus inflamatory reaction pain, but after five days the symptom disapeared. Conclusion This method is effective in treating female stress urinary incontinence. Keywords: urinary incontinence, polypropylene sling, clip
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Bossuyt, Ignace, i Stefan Schulze. "Die Tonarten in Lassos "Busspsalmen" mit einem Vergleich von Alexander Utendals und Jacob Reiners "Busspsalmen"". Tijdschrift van de Vereniging voor Nederlandse Muziekgeschiedenis 36 (1986): 191. http://dx.doi.org/10.2307/938623.
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Schöning, Kateryna. "Tradition und Innovation in der Modusanwendung in der Instrumentalmusik des 16. Jahrhunderts". Die Musikforschung 67, nr 2 (22.09.2021): 134–53. http://dx.doi.org/10.52412/mf.2014.h2.72.
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Die freien instrumentalen Formen haben bis um 1600 tendenziell auf dem alten 8-tönigen Modussystem gefußt. Um 1600 wechselt das altüberlieferte, im Grunde 8-tönige Tonartensystem in den freien Formen unmittelbar zu einem ebenso limitierten und praktisch nur auf wenige Tonarten fokussierten Tonartensystem des 17. Jahrhunderts. Dies findet früher statt als das neue Tonartensystem theoretisch erschlossen wird. Die modale Kadenzhierarchie ist mit Ausnahme der Finalis oft nicht mehr erkennbar und die Finalis verweist auf eine Tonhöhe-Lage und nicht auf einen Modus. Dass die freien Formen im Laufe des 16. Jahrhunderts solche Unterschiede in dem theoretisch.praktischen Diskurs aufdeckten, erklärt sich dadurch, dass der Zusammenhang von modalen Kadenzen, der den Verlauf des ganzen Stückes regelte, für die freien instrumentalen Formen bis um 1600 die einzige stützende modale Grundlage bildete. Die Finalis und die Kadenzdisposition sowie ihre Einschränkung auf ihre wenigen Schemata galten als grundlegende kompositorische Basis. Ein einfaches Kadenzschema war eine der wesentlichen Voraussetzungen für die Überlieferung dieser Formen. Diese besonderen Funktionen der Kadenzordnung zeigen sich als ein für die Instrumentalmusik spezifisches Indiz, obwohl die Kadenzordnung sich im Allgemeinen von der vokalen Musik ableiten lässt.
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Kershaw, Allan. "Propertius 1.16.38". Classical Quarterly 41, nr 1 (maj 1991): 258. http://dx.doi.org/10.1017/s0009838800003797.
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To the host of suggestions I would add the sense of the passage is, ‘I have never annoyed you with petulant language, with the things the mob in the heated forum is accustomed to say, that you suffer me to… But I have often…’ His was, as line 41 explains, the language of poetry. The contrast between the language of the forum and poetry is an obvious one, and is made elsewhere by Propertius ‘turn tibi pauca suo de carmine dictat Apollo et vetat insano verba tonare foro. at tu finge elegos’ (4.1.133f.). In the present passage the contrast is between the common language typical of the angry mob and the original (‘novo’, line 41) verses of theexclusus amator. It is particularly bitter that he should be condemned to the ‘trivio’ (line 40) which, like theforum, is the verymilieuof the type of language he has eschewed.
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Haryati, Tatat. "KONSTRUKSI SOSIAL KELUARGA JEPANG KONTEMPORER PADA DRAMA TONARI NO KAZOKU WA AOKU MIERU". LINGUA : JURNAL ILMIAH 17, nr 1 (29.04.2021): 1–32. http://dx.doi.org/10.35962/lingua.v17i1.68.
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ABSTRACT
This paper contains the social construction to objective reality in the family model that is featured in the TV series Tonari no Kazoku wa Aoku Mieru. The research problem focused on how is the form of social construction to the objective reality of each contemporary family model. The social construction is obtained through externalization, objectivation, and internalization is used to describe the problem patterns of each model of the Contemporary Japanese family in storytelling. The data was collected by observing, taking notes, interpreting, analyzing, and describing the results.This study is conducted through a library research. The analysis is carried out based on Peter L Berger's social construction theory which is grouped based on problem patterns. The results showed that the pattern of problems in single families, married couples, couples without blood relations, and couples of parents and children showed variations in the pattern of problems that were similar, namely 3 simultaneous Berger dialectical moments which created a new objective reality. The conclusion from this research is that the rate and form of objectivation of new social realities is influenced by the background of social construction that has been carried out by each family model.
Keyword: contemporary family model, social construction, objective reality, TV series
ABSTRAK
Tulisan ini berisi tentang konstruksi sosial terhadap realitas objektif pada model keluarga yang ditampilkan dalam drama serial TV Tonari no Kazoku wa Aoku Mieru. Bagaimana bentuk konstruksi sosial terhadap realitas objektif setiap model keluarga kontemporer tersebut merupakan permasalahan dalam tulisan ini. Analisis dilakukan berdasarkan teori konstruksi sosial Peter L Berger yang dikelompokkan berdasarkan pola permasalahan. Tulisan ini disajikan melalui metode kajian pustaka dengan teknik pengumpulan data simak, catat, interpretasi, analisis, dan deskripsi hasil. Konstruksi sosial yang diperoleh melalui eksternalisasi, objektivasi, dan internalisasi dimanfaatkan untuk menguraikan pola permasalahan setiap model keluarga Jepang Kontemporer dalam kisahan. Hasil penelitian menunjukkan bahwa pola permasalahan pada keluarga tunggal, pasangan suami istri, pasangan tanpa hubungan darah, dan pasangan orang tua dan anak menunjukkan variasi pola permasalahan yang memiliki kemiripan, yaitu 3 momen dialektis simultan Berger yang menciptakan realitas objektif baru. Simpulan dari penelitian ini adalah laju dan bentuk objektivasi realitas sosial baru dipengaruhi oleh latar belakang konstruksi sosial yang pernah dilakukan setiap model keluarga.
Kata Kunci: model keluarga kontemporer, konstruksi sosial, realitas objektif, drama seri TV
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Brum, Argemiro Luís, Cristiane Ivete Bugs Vione i Eliane Spacil de Mello. "Estudo bibliométrico: Novas tecnologias em marketing – período 2010 -2018". Research, Society and Development 10, nr 9 (3.08.2021): e56910918479. http://dx.doi.org/10.33448/rsd-v10i9.18479.
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Este estudo tem como objetivo avaliar a produção científica sobre a adoção de novas tecnologias para auxiliar o marketing na promoção de estratégias que facilitem as organizações brasileiras a se tonarem mais competitivas no mercado. A metodologia possui uma abordagem quantitativa visando quantificar os modelos utilizados, através das publicações em eventos (EnANPAD, EMA e CLAV) no período de 2010 a 2018. O estudo teve como resultado a restrição da adoção de novas tecnologias a determinados tipos de produtos ou serviços, bem como de uma revolução rápida desta tecnologia no mercado. Observou-se que os modelos mais utilizados na análise foram o TAM e UTAUT2, o que demostra a importância da utilização de modelos para avaliar o consumo e a aceitação dos consumidores aos produtos ofertados. Os resultados obtidos restringem-se a 37 artigos apresentados em eventos como EMA e EnANPAD e a CLAV no período de 2010 a 2018 na qual o tema foi estudado. O tema é contemporâneo no Brasil, e apresenta limitações que prejudicam um estudo mais robusto, porém é emergente e existe um grande potencial para o desenvolvimento de estudos empíricos que tratem da adoção de novas tecnologias e Marketing.
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Bernardes, Mauricio Moreira e. Silva, Geisa Gaiger de Oliveira, Stan Ruecker i Keiichi Sato. "Identificação de pesquisas estratégicas em gestão de design direcionadas ao aumento da competitividade de micro e pequenas empresas brasileiras". Design e Tecnologia 3, nr 05 (1.08.2013): 24. http://dx.doi.org/10.23972/det2013iss05pp24-34.
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No Brasil, apesar da importância do processo de gestão de design, o foco de investigação nesta área é bastante recente. Parte desses estudos são direcionados para grandes empresas de diferentes segmentos de mercado. Nesse contexto, a realização de pesquisas que visem compreender a situação das pequenas empresas brasileiras é particularmente oportuna devido aos incentivos governamentais para ajudá-las a tonarem-se mais inovadoras e produtivas. Este artigo apresenta os resultados de um projeto que visa identificar oportunidades de pesquisa de design para pequenas empresas que podem orientar o desenvolvimento de novas políticas e investimentos do Governo Brasileiro e da Academia. O artigo foi baseado em dados coletados em entrevistas com especialistas em design. As oportunidades identificadas estabeleceram uma referência para a concepção de uma estrutura de gerenciamento de projeto a ser validado em pequenas empresas. A estrutura proposta inclui a análise de desempenho de valor, as inovações nas práticas de gestão, e novas abordagens para o trabalho em equipe multidisciplinar. O desafio de investigar a aplicabilidade dos resultados da pesquisa apresentados neste artigo pode orientar o desenvolvimento de projetos futuros e têm implicações para mudanças na política, tanto por parte das empresas quanto pela academia.
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Santos, Leticia Aparecida dos, i Denis Honorato Costa. "O novo normal: A evolução do trabalho home-office e hibrido após pico da crise pandêmica SARS-CoV-2". E-Acadêmica 3, nr 2 (2.06.2022): e1632151. http://dx.doi.org/10.52076/eacad-v3i2.151.
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Introdução: O ano de 2020 teve seu início marcado por uma crise pandêmica, ocasionada pelo SARS-CoV-2, popularmente conhecido como COVID-19, onde muitas pessoas tiveram os cursos de suas vidas modificadas, já as empresas tiveram que se adaptar ao novo conceito de teletrabalho ou home-office, devido a restrição e como medida de contenção do vírus, seria primordial o isolamento social, iremos observamos vantagens e desvantagens nesta modalidade de trabalho. Objetivo: Demonstrar a evolução do teletrabalho ou trabalho híbrido após pico da crise pandêmica. Metodologia: Para composição desta revisão da literatura, foram realizadas busca entre fevereiro a maio, por material científico relacionado as principais Bases de Administração, por meio de bases de dados como: Google Acadêmico. Foram selecionados artigos e livros, escritos em português, com base trabalhos publicados nos últimos 2 anos. Inicialmente foram listados em torno de 7.130 resultados de artigos com as respectivas, onde 18 destes foram escolhidos aleatoriamente, mas estão diretamente ligados ao tema deste trabalho. Considerações Finais: A pandemia foi extremamente desafiadora para todos, e no âmbito do trabalho considerado “normal”, tivemos a ascensão do trabalho HO, o qual mais tarde se tonaria híbrido, grande foram os desafios das empresas em conseguir através da tecnologia ofertar esta possibilidade de trabalho aos seus colaboradores, e por outro lado muitas foram as vantagens e desvantagens enfrentadas por este trabalhadores, que no meu ponto de vista possuíram mais vantagens do que desvantagens e agora após o pico pandêmico observamos que muitas empresas, de fato, permaneceram com esta nova modalidade de trabalho.
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Spivack, Arthur J. "Comment on: Tonarini et al. (2003), Journal, Volume 27 (1), pp. 21-39 and Gonfiantini et al. (2003), Journal, Volume 27 (1), pp. 41-57". Geostandards and Geoanalytical Research 27, nr 2 (lipiec 2003): 203. http://dx.doi.org/10.1111/j.1751-908x.2003.tb00647.x.
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D'Orazio, Massimo, Fabrizio Innocenti, Sonia Tonarini i Carlo Doglioni. "Reply to the discussion of: “Carbonatites in a subduction system: The Pleistocene alvikites from Mt. Vulture (Southern Italy)” by M. D'Orazio, F. Innocenti, S. Tonarini and C. Doglioni (Lithos 98, 313–334) by F. Stoppa, C. Principe and P. Giannandrea". Lithos 103, nr 3-4 (lipiec 2008): 557–61. http://dx.doi.org/10.1016/j.lithos.2007.10.010.
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McCarthy, T. J. H. "Anonymous I and Prologus in tonarium: Changing Interpretations of Music Theory in Eleventh-Century Germany". Journal of the Society for Musicology in Ireland, 30.06.2005, 19–32. http://dx.doi.org/10.35561/jsmi01053.
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This article examines the relationship between Prologus in tonarium by Abbot Bern of Reichenau (d. 1048) and the eleventh-century music treatise known today as ’Anonymous I’ (first published by Dom. Martin Gerbert in Scriptores ecclesiastici de musica sacra of 1784). The authorship and dating of Anonymous I are disputed in current historical literature: Abbot Bern himself has been suggested as its author by one scholar, while dates proposed by other scholars range from c1000 to c1100. The situation is further complicated by the possible connexion of Anonymous I both to an interpolated version of Prologus in tonarium and to the lengthy treatise Breviarium de musica by Frutolf of Michelsberg (d. 1103). This article argues that though Anonymous I was probably written shortly after Prologus in tonarium, it was produced independently of that work. Anonymous I was, however, an important influence on the reception of Abbot Bern’s music theory by eleventh-century clerks.
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Shao, Chenglong, i Osamu Muta. "TONARI: Reactive Detection of Close Physical Contact using Unlicensed LPWAN Signals". ACM Transactions on Internet of Things, 15.02.2024. http://dx.doi.org/10.1145/3648572.
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Recognizing if two objects are in close physical contact (CPC) is the basis of various Internet-of-Things services such as vehicle proximity alert and radiation exposure reduction. This is achieved traditionally through tailor-made proximity sensors that proactively transmit wireless signals and analyze the reflection from an object. Despite its feasibility, the past few years have witnessed the prosperity of reactive CPC detection techniques that do not need spontaneous signal transmission and merely exploit received wireless signals from a target. Unlike existing approaches entailing additional effort of multiple antennas, dedicated signal emitters, human intervention, or a back-end server, this paper presents TONARI, an effortless CPC detection framework that performs in a reactive manner. TONARI is developed for the first time with LoRa, the representative of unlicensed low-power wide area network (LPWAN) technologies, as the wireless signal for CPC detection. At the heart of TONARI lies a novel feature arbitrator that decides whether two devices are in CPC or not by distinguishing different types of LoRa chirp-based additive sample magnitude sequences. Software-defined radio-based experiments are conducted to show that the achievable CPC detection accuracy via TONARI can reach 100% in most practical cases.
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Cossé, Peter. "Schallplatten: Neue Schallplatten - Frankreich in verschiedenen Tonarten". Österreichische Musikzeitschrift 44, JG (styczeń 1989). http://dx.doi.org/10.7767/omz.1989.44.jg.574.
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Santos, Claudecir Dos. "O ENSINO DA CIÊNCIA DO ETHOS EM UM PAÍS RELIGIOSO". Educere et Educare 14, nr 31 (7.03.2019). http://dx.doi.org/10.17648/educare.v13i31.19639.
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Tendo como referência o Projeto de Lei do Senado Federal, PLS Nº 2 de 2012, e a proposição das discilinas de Cidadania Moral e Ética, e, Ética Social e Política na educação básica, como iniciativa para fazer frente ao “esvaziamento ético no Brasil”, o presente artigo problematiza essa afirmação indagando-se sobre as relações de um “esvaziamento ético” com as revelações de um moralismo hipócrita. O artigo procura mostrar que a sugestão/criação de projetos educacionais que pretendem superar a "crise de valores humanos” fundamentados na ética e na moral, mas que ignoram ou desconhecem o conteúdo semântico da ciência do ethos, correm o risco de se tonarem estéreis.
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Moran, Neil. "Altrömische Offertoriums-Gesänge in medialen Tonarten. Zum Verhältnis des byzantinischen zum altrömischen und gregorianischen Choral". Byzantinische Zeitschrift 106, nr 1 (styczeń 2013). http://dx.doi.org/10.1515/bz-2013-0006.
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Stibbe, Arran. "Zen and the Art of Environmental Education in the Japanese Animated Film Tonari no Totoro". Journal for the Study of Religion, Nature and Culture 1, nr 4 (17.01.2008). http://dx.doi.org/10.1558/jsrnc.v1i4.468.
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Papp, Ágnes. "Eine liturgische Handschrift mit Tonar der Zagreber Diözese aus dem 17. Jahrhundert / Liturgični rokopis iz 17. stoletja s tonarjem zagrebške škofije". De musica disserenda 9, nr 1-2 (24.06.2015). http://dx.doi.org/10.3986/dmd09.1-2.06.
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Bania, Maria. "Om termen ”affektlära” och det svenska ordet ”affekt” i diskussioner om 1600-talets och det tidiga 1700- talets musik". Svensk tidskrift för musikforskning / Swedish Journal of Music Research, 1.12.2021, 1–20. http://dx.doi.org/10.58698/stm-sjm.v103i.10351.
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Intresset för affekt och dess betydelse för mänskligt agerande har under det senaste halvseklet vuxit sig allt starkare inom en rad forskningsområden. Vad gäller musikforskning är detta dock långt från nytt. Relationen mellan musik och affekt har varit föremål för omfattande diskussioner sedan antiken. För 1600- och 1700-talens europeiska teoretiker och musiker var musikens förmåga att uttrycka och uppväcka affekter central. 1700-talets affektbegrepp hade dock inte samma innebörd som termen ”affekt” har i nutida affektteori, utan refererade till definierbara och medvetna emotionella tillstånd som var möjliga att verbalisera, som exempelvis sorg, glädje och rädsla. Termers innebörder förskjuts eller förändras ibland över tid, det är något som all historiografi måste ta hänsyn till. De ord och begrepp som vi använder färgar vår förståelse, och dessa betydelseskiftningar kan ge upphov till missförstånd. Termen affektlära (ty. Affektenlehre, eng. doctrine of the affections eller theory of the affections) har sedan tidigt 1900-tal använts i litteratur i musikestetik och musikhistoria. Begreppet etablerades av tyska musikforskare1 men är välbekant även från svensk musikhistorieundervisning.2 Affektlära kan i diskussioner om europeisk 1600- och 1700-talsmusik referera till periodens estetiska åskådning att musikens roll var att uppväcka specifika affekter hos åhörarna.3 Ofta inkluderar termen även uppfattningar om hur tonsättaren kunde uttrycka eller representera olika affekter i musik.4 Ibland förmedlar litteraturen intrycket att 1700-talets musiker och teoretiker använde termen affektlära i betydelsen av en mer eller mindre allmän, detaljerad, statisk, närmast schematisk och mekanistisk lära om hur musikaliska parametrar som intervall, melodiska figurer, rytmer och tonarter skulle användas för att objektivt kunna representera specifika affekter.5 Detta har dock under senare tid ifrågasatts av bland andra Buelow (1983, s. 397–400). Denna artikel undersöker vilka eventuella missuppfattningar som en användning av termen affektlära i diskussioner om 1600- och 1700-talens musik kan förorsaka. Vidare undersöks vilka eventuella missförstånd som kan uppkomma då ordet det svenska ordet affekt används i musikforskning som motsvarighet till 1700-talstyskans Affect.6