Дисертації з теми "Facture de piano"

L’étude fournit un panorama exhaustif de la facture du piano dans les provinces belges. Elle s’étend de 1761, année de la première référence écrite au piano, à 1851, date jalon marquée par l’industrialisation progressive des techniques et la standardisation des modèles. Entre ces deux dates, le dépouillement des almanachs permet de dénombrer plus d’une centaine de facteurs, majoritairement actifs à Bruxelles. Ils possèdent, suivant les registres des patentables, de petits ateliers. L’examen des instruments conservés montre que la production est de qualité. Elle relève à part entière de l’artisanat et est centrée sur les modèles domestiques – pianos carrés et pianos droits. En 1850, elle avoisine 1 750 instruments par an. Une cinquantaine de brevets d’invention liés au piano sont déposés. Ils témoignent, tout comme la participation croissante des facteurs aux expositions des produits de l’industrie, de la formidable énergie qui mobilise la facture du piano durant la période considérée.
Doctorat en Histoire, art et archéologie
info:eu-repo/semantics/nonPublished

Cette thèse est motivée par la volonté de repositionner la facture instrumentale dans l’histoire de la technique pianistique. À l'intersection de l'acoustique musicale et de la musicologie, une approche unifiée est proposée, tirant parti de la tendance des deux disciplines à confronter plus directement leurs démarches de recherche avec la pratique musicale. En acoustique musicale, les propriétés mécaniques et vibro-acoustiques particulières des pianos historiques, appelés par convention fortepianos ou pianofortes pour les distinguer de leurs homologues modernes, suscitent un intérêt croissant. Cependant, la description physique de la production sonore nécessite de mettre en lumière le rôle indissociable des musiciens. Sur le plan musicologique, les performance studies examinent les styles d’interprétation et les techniques de jeu du point de vue de leur histoire. En complément de leurs observations, ces études peuvent s’intéresser à la démarche authentiquement artistique à travers laquelle l’interprétation historiquement informée ou HIP (Historically Informed Performance) a revisité l’exécution musicale sur les instruments historiques. Parmi les sources mobilisées par la HIP musicale pianistique, les fortepianos ont occupé historiquement une place centrale, étant perçus comme indiquant eux-mêmes le chemin pour la reformulation de leur jeu. En revanche, cette thèse met les pianistes au centre de l’étude, s’articulant autour du piano mais ne le considérant que du point de vue de leur interaction. Des discours de pianistes sont recueillis et analysés, montrant que le médium de cette interaction est pour eux le geste musical. Cet objet cognitif rassemble, d’une part, l’action des musiciens en situation de jeu, qui incarne leurs intentions musicales, et, d’autre part, leur perception, qui en est informée. Les actions ancillaires de pianistes en situation de jeu sont capturées et analysées, mettant en évidence la prévalence de comportements idiosyncratiques sur ceux qui dépendent de l’instrument joué, notamment au niveau de l’angle formé par le poignet. Ces observations ouvrent une nouvelle voie dans l’étude de l’interprétation musicale basée sur la signature cinématique de chaque instrumentiste, reflet de sa conception interprétative singulière. Finalement, une analyse mécano-acoustique de pianos est conduite, soulignant les avantages d’une intégration explicite dans son élaboration des paramètres de contrôle instrumental, notamment la masse engagée pour enfoncer les touches. Cela permet d’associer l’influence de la conception que se fait l’instrumentiste du rapport entre le style d’interprétation de l’œuvre et la technique de jeu de l’instrument
Historically Informed Performance (HIP) is an artistic approach aimed at executing works or practices from a specific era while imbuing them with the aesthetic and expressive ambitions as well as the stylistic codes of that time. Among the sources used in pianistic HIP, there are instruments whose construction principles date back to the relevant period, such as fortepianos or pianofortes, conventionally named to distinguish them from their modern counterparts. In the field of musical acoustics, the pianoforte is gaining increasing interest, typically focused on its unique mechanical and vibro-acoustic properties. However, the evolution of this discipline is marked by a tendency to elucidate the inseparable role of the musician in shaping scientific approaches. From a musicological perspective, historically informed performance has opened a new research field dedicated to the execution from a historical standpoint, known as performance studies. This innovative domain studies interpretation styles and playing techniques of historical instruments that HIP revisits in an authentically artistic approach. Motivated by the desire to reposition the role of instrumental craftsmanship in the history of pianistic technique, this thesis revolves around the instrument, specifically the piano, as the intersection point of musical acoustics and performance studies, placing the pianist at the center of experimentation. The observations made, on one hand, pave the way for a new analysis of musical interpretation based on musical gestures as a reflection of each performer’s unique interpretative conception. On the other hand, they highlight the benefits of an explicit integration of musical action in the acoustic and mechanical analysis of musical instruments, incorporating the influence of the performer’s conception of the relationship between the work and the instrument

Le présent travail, réalisé dans le cadre du projet ANR MAESSTRO, concerne le remplacement des tables d’harmonie de piano traditionnellement constituées d’épicéa par des structures composites stratifiées. Cette démarche suppose une connaissance fine des matériaux à remplacer et des matériaux de remplacement. La contribution de la thèse consiste donc en le développement d’outils de caractérisation du comportement dynamique de structures viscoélastiques anisotropes hétérogènes sur une large bande de fréquence. Dans une première partie, l’étude théorique de la propagation des ondes planes dans ces structures est étudiée. Contrairement à une approche modale classique, les conditions aux limites et chargements sont écartés du problème. Les surfaces de dispersion obtenues contiennent la signature de l’anisotropie, de l’hétérogénéité des propriétés mécaniques ou encore du comportement dissipatif de la structure. La deuxième partie est dédiée au développement d’un moyen de mesure plein-champ robotisé. Celui-ci permet la mesure du champ de vitesse tridimensionnel instantané d’une structure soumise à un chargement dynamique répétable. La définition de l’expérience est intégrée dans un environnement CAO, permettant la prise en compte des problématiques liées à l’utilisation d’un bras robot, ainsi que l’automatisation complète de la mesure. La troisième partie est consacrée à la formulation de procédures d’identification basées sur les mesures obtenues. Les paramètres d’un modèle réduit de la mesure sont identifiés par le biais d’une méthode ESPRIT originale, intégrant des développements spécifiques aux mesures plein-champ. Ces paramètres sont ensuite utilisés pour exprimer un problème aux valeurs propres inverse permettant l’identification des propriétés de la structure mesurée. La démarche est mise en œuvre dans le cadre de l’analyse modale (régime transitoire) et l’analyse en vecteurs d’onde proposée (régime permanent). Des validations expérimentales sur des poutres homogènes et plaques anisotropes sont présentées. Le manuscrit conclut par l’application des méthodes proposées à l’identification des propriétés matériau d’une table d’harmonie de piano à queue Stephen Paulello Technologies SP190//
The present work, as part of the MAESSTRO ANR project, is motivated by the replacement of wood by composite material in the design of the piano soundboard. The main focus is on the characterization of the mechanical properties of both replaced and replacement materials in a wide frequency range, taking into account anisotropy, heterogeneous and viscoelastic behavior. First, the wave propagation in such structures is investigated; boundary conditions and loads are discarded to focus on the mechanisms responsible for the energy transmission in the media. The footprint of the complex behavior of the studied structures is represented and interpreted via the dispersion surfaces. Second, a robotized setup is proposed, allowing for the measurement of the full-field instantaneous 3D velocity along the surface of structures submitted to a repeated dynamic load. Third, identification methods using this experimental data are proposed. Based on the parameters of a reduced signal model of the measurement identified with an original ESPRIT method, inverse eigenvalue problems are formulated. Both transient and steady regime are investigated, respectively through modal analysis and the proposed wavevector analysis. The proposed methods are validated through applications on homogeneous beams and anisotropic plates. Finally, the overall proposed procedure is applied for the identification of the material properties of the soundboard of the Stephen Paulello technologies SP190// grand piano

The compatibility of the instrument with human physical abilities and characteristics is one of the principles in ergonomics. Inadequate instrument set-ups and sizes that mismatch the player’s physical attributes is frequently cited as one of the risk factors contributing to the development of playing-related musculoskeletal disorders (PRMDs) in violin and piano performers. For violinists, playing in a sustained asymmetric posture is inevitable and it has been observed that the left upper limb, which is the side that supports the instrument, is predominantly symptomatic in upper string players (violinists and violists). The use of adaptive accessories, such as a chin rest and/or a shoulder rest, has been proposed to be a way to improve the interface between the instrument and the player. For pianists, a “one-size-fits-all” keyboard has been the available industry standard with respect to the size of the keyboard in modern piano manufacturing, teaching and performing. However, recent demographic evidence proposes that this standardised piano keyboard discriminates against many pianists who have relatively smaller hand sizes. Controversies persist in best methods to ergonomically fit the instrument to the player among players and pedagogues of both these instruments, and no reviews to date have been conducted to determine whether a collection of evidence to support ergonomic ideals exists. This doctoral thesis presented the synthesis of work on investigating ergonomics in violin and piano performance and addressing knowledge gaps regarding optimising the interface between the instrument and the player. A systematic review of this topic was undertaken in Chapter 2. The results revealed that only scarce evidence with heterogeneity and low quality of methodology available on instrumental ergonomics in violin and piano performance. An observational study on interaction between hand span and different sizes of keyboards on muscle activity in pianists was conducted in Chapter 3 to investigate the biomechanical responses under ergonomic modifications, while hand size was identified as a potential risk factor for PRMDs (Chapter 2). The results of this experiment showed less muscular loads in pianists while they were playing on a matched size of keyboard regarding their hand spans, suggesting a compatible interface between the player and instrument can enhance performance biomechanics. Chapter 4 and 5 presented an interview study conducted to explore the factors that contribute to optimising the instrument-player interface in violin playing while the lack of comprehensive understanding of violin set-up was shown in Chapter 2. In Chapter 4, interview data was extracted in a way to present how the violin instrument should fit to a player. The results suggested there were fundamental inconsistencies in the use of physical elements (e.g. violin accessories and position the violin instrument) and the attitudes and beliefs towards instrument set-up while participants held onto different sources of knowledge. On the other hand, comfort and budget were commonly seen as the considerations in selecting the ergonomic set-up. Chapter 5 presents the findings from the aspect of how violinists should fit with their instruments, showing the biomechanics greatly varies but having a neutral posture may be the common aim in violin playing. It is also revealed the phenomenon that violinists tended to prioritise musical performance over monitoring their own posture and movement. Results in both Chapter 4 and 5 showed teacher plays an important role in either pedagogically providing ergonomic suggestions or working with body health professionals on improving a performance interface in violinists, and the process can be time-consuming. The data presented in this thesis showed the complexity of optimising the interface between the musical instrument and the player. From the investigations on violinists and pianists, interdisciplinary collaborations and crossover trainings in the professionals are recommended so that musicians are able not only to be trained with adequate ergonomic supports but to sustain their desirable musical outcomes. Future research building upon the findings of this thesis will further facilitate the inclusion of ergonomics in the industry of musical performance.

Thesis (Ed.D.) -- Teachers College, Columbia University, 1991.
Typescript; issued also on microfilm. Sponsor: Robert Pace. Dissertation Committee: Lenore Pogonowski. Includes bibliographical references: (leaf 124).

Pienininkystė – nuo seno Lietuvos respublikoje sparčiai besivystanti gyvulininkystės šaka, nes čia yra palankios gamtinės sąlygos. Pieno kokybė dažniausiai priklauso nuo gyvulio sveikatos ir žinoma nuo jam sudarytų laikymo sąlygų. Pieninių galvijų laikymo sąlygos turi atitikti jų biologines ir etologines reikmes. Respublikoje nuolat atliekami tyrimai siekiant užtikrinti ne tik produkcijos kiekybę, bet ir kokybę. Šiuo metu vis dažniau vyrauja reikalavimai, bei teiginiai, kad geriausiai galvijus laikyti nepririštus. Gyvulininkystės patalpų mikroklimatas įtakoja galvijų fiziologinių rodiklių normas. Būtina apibrėžti ir kiekybiškai įvertinti kiekvieno aplinkos komponento svarbą, kas gali leisti išvengti didžiausią žalą gyvuliams darančių veiksnių. Daugelio mokslo darbuotojų pastebėjimais dėl blogų karvių laikymo salygų primelžiama iki 15 proc. mažiau pieno. Be to, tokio pieno kokybė bus prasta, iš jo nebus galima pagaminti aukštos kokybės produktų. Valstybė kiekvienais metais praranda šimtus milijonų litų, dėl blogos kokybės pieno. Lietuvoje yra mažai atlikta tyrimų apie aplinkos veiksnių įtaką gyvulių produktyvumui, tame tarpe ir pieno kokybei. Būtina didinti tokių tyrimų kiekį Lietuvoje. Kadangi Lietuvoje nėra nuosekliai tyrinėta laikymo sąlygų įtaka pieno galutinei produkcijai, todėl iškeltas darbo tikslas: įvertinti skirtingomis sąlygomis laikomų karvių aplinką bei pieno kokybės kitimus. Darbo uždaviniai: 1. Įvertinti karvių laikymo sąlygų skirtumus. 2. Nustatyti pieno... [toliau žr. visą tekstą]
Object and tasks of work: The aim of this work was to evaluate the various conditions the cows are housed, and how that change the quality of the milk. Tasks of work : 1. To evaluate the cow housing conditions. 2. To investigate the differences in milk quality indicators. 3. To investigate the possible influence of cow housing conditions of milk qualitative indicators. 4. To analyze the negative factors affecting the quality of milk. Results and conclusions: It was found that there is a connection (p <0.05) between: 1. indoor air temperature and the total number of bacteria in milk; 2. indoor air humidity, and the total number of bacteria in milk; 3. bearing surface temperature and the total number of bacteria in milk; 4. indoor air temperature and somatic cell count in milk; 5. bearing surface temperature and somatic cell count in milk. With increasing microclimatic parameters, increasing the total number of bacteria in milk, and somatic cell count in milk. In the investigated farms, the best microclimate indicators were where cows was loose. It was the same with the milk quality indicators. The most negative factor affecting milk quality indicators, is housing temperature in the barn, because it encourages the other negative factors, like indoor air humidity and bearing surface temperature.

The aim of this work is to research milk and kefir microbiological indicators according to microbiological risk factors in the milk processing company A. Work tasks: to analyze drinking milk, ultra high temperature pasteurized milk and kefir descriptions and factors of the risk in technological process schemes; microbiological factors of the risk control schemes; samples of these products microbiological indicators according to company’s self-control plan. Conclusion: The main microbiological risk factors in drinking milk is total bacterial count, coliform bacteria, Salmonella; in the kefir – coliform bacteria, yeasts and moulds. Principals control points in drinking milk, ultra high temperature pasteurized milk and kefir technological schemes are: reception of the raw cow’s milk; freezing of the raw cow’s milk, storage and keeping; pasteurization of milk and freezing, pasteurized milk compound storage and keeping; milk warming, deaeration, homogenization, sterilization and refreshing (only for ultra high temperature pasteurized milk); repeated thermal treatment, cooling up to inoculation temperature (only for kefir); inoculation and incubation (only for kefir); storage. In the company’s A self-control plan preview principal control points microbiological risk factors are controlled by keeping a check of heating and freezing stages temperature and duration, monitoring of microbiological parameters are made not less than 4 times per year. Coliform bacteria and total bacteria... [to full text]

Magistro baigiamajame darbe analizuojama Lietuvos ir užsienio autorių teoriniai teiginiai organizacijos kultūros ir darbuotojų motyvavimo klausimais, išryškinamos pagrindinės privataus sektoriaus darbuotojų motyvavimo priemonės, nagrinėjami pagrindiniai organizacijos kultūros veiksniai ir organizacijos kultūros pokyčiai. Tyrime dalyvavo 134 respondentai dirbantys įmonės AB „Pieno žvaigždės“ filiale „Mažeikių pieninė“. Remiantis anketinės apklausos rezultatais buvo identifikuota, kad daugiausia įtakos darbuotojų motyvacijai turi darbo užmokestis ir premijos, apdovanojimai bei darbo įranga (darbo aplinka), ceremonijos ir įvykiai. Fiziologiniai poreikiai darbuotojams yra svarbiausi, todėl materialių organizacijos kultūros veiksnių stiprinimas turės teigiamos įtakos darbuotojų motyvacijai. Mažiausiai įtakos darbuotojų motyvacijai turi vadovavimas, t.y. sprendimai, kontrolė. Gauti tyrimo rezultatai rodo, kad net 48 proc. apklausoje dalyvavusių respondentų norėtų keisti esamą organizacijos kultūrą ypač valdymo struktūrą, santykius su vadovais bei organizacijos vertybes ir nuostatas. Organizacijos kultūros pokyčiai darytų teigiamą įtaką darbuotojų motyvacijai, nes minėti veiksniai turi būti koreguojami norint išlaikyti gerus įmonės darbuotojus, stiprinant jų motyvaciją ir lojalumą organizacijai.
The master's work analyzes theoretical works about organization culture and employees motivation written by Lithuanian and foreign authors, the main factors for employees motivation in private sector, the main organization culture factors and organization culture changes. 134 respondents who work in the branch of “Mažeikių Pieninė” in the JSC “Pieno Žvaigždės” participate in the research conducted. The questionnaire survey revealed that work pay, individual bonuses, awards, work environment, ceremonies and events are the most prevailing work motivation. Physiological demands are the main job motive, for this reason increasing the material organization culture factors will have positive influence for workers motivation. Management (solutions and job control) have the least influence for workers motivation. The master's work results show that 48 per cent of respondents want to change organization culture especially management structure, contacts with managers and organization values. The changes of organization culture will have positive influence for workers motivation because it will help organization to hold perspective workers, will increasing their motivation and loyalty of organization. First of all, to get this result organization must correct management factor.

La musique arabe se distingue par une riche diversité modale. Par ses quarts de tons inclus dans plusieurs modes, ses ornementations effectuées dans le jeu des interprètes et ses timbres spécifiques, son exécution devient une sorte de handicap forcé par ses modes particuliers qui sont souvent en dehors du système musical tempéré. Cela n’empêche pas la présence et l’usage du piano dans la musique arabe que ce soit en accompagnement (instrumental ou vocal) dans un groupe ou « takht » arabe ou même en solo. Cette problématique a été traitée de manière plus globale. L’étude de la relation entre Occident et Orient relève d’un défi pour énumérer le détail d’une acculturation très vaste et pluridisciplinaire (musicale, théâtrale, cinématographique, sociale, politique…) Dans plusieurs ouvrages et plusieurs recherches, l’interaction musicale entre ces deux mondes a été traitée de manière générale. Par conséquent, nous trouvons que le traitement précis et ciblé de notre recherche se présente dans l’étude de l’insertion du piano dans la civilisation arabe en premier lieu puis dans la musique arabe en second lieu. La fusion entre une icône de l’occident et une musique à caractère modal, voire ethnique, est impressionnante ce qui nous amène à traiter ce phénomène dans une thèse
Arabic music is characterized by a rich modal diversity. For its quarter tones included in several modes, ornamentation made while playing special stamps, its execution becomes a kind of disability forced by its particular modes that are often outside the tempered musical system. This does not preclude the presence and use of piano in arabic music whether in accompaniment (instrumental or vocal) in a group or arabic "takht" or even solo. This issue was addressed more comprehensively. The study of the relationship between West and East is a challenge to list the details of a very broad and multidisciplinary acculturation (music, theater, film, social, political ...) In several books and several research projects, musical interaction between these two worlds has been treated in general. Therefore, we find that specific and targeted treatment of our research is presented in the study of the insertion of the piano in the Arab civilization at first and then in arabic music. The merger between an icon of the West and a music modal character, even ethnic, is impressive which brings us to treat this phenomenon in a thesis

Los incendios son el tipo de perturbación natural más frecuente en los ecosistemas mediterráneos (Naveh, 1975; Gill et al., 1981; Trabaud, 1981). En un tiempo relativamente corto, y como consecuencia de diferentes factores sociales y climáticos, el efecto de los grandes incendios (mayores de 1000 ha) se ha visto incrementado en los últimos años (Prieto, 1995; Piñol et al., 1998). Así, en el periodo comprendido entre 1987 y 1994 se produjeron en Cataluña (NE Península Iberica) un total de 5279 incendios. El 99.7% de ellos fue menor de 1000 ha y quemó un 30% de la superficie total quemada, mientras que el resto de la superficie se quemó en tan solo 16 incendios de más de 1000 ha (0.3% del total) (Terradas y Piñol, 1996).
Los incendios de gran tamaño suelen ser tambien incendios de alta intensidad (Huston, 1994), ya que suelen ir unidos a una cubierta forestal continua y extensa (Huston, 1994; Turner et al., 1994; Piñol et al., 1998), y a determinadas condiciones meteorológicas caracterizadas por largos periodos de sequía y fuertes vientos (Terradas y Piñol, 1996; Turner et al., 1997). Los grandes incendios pueden tener un doble efecto sobre el paisaje. Por un lado, pueden tener un papel homogeneizador, ya que el fuego normalmente arrasa la vegetación independientemente de la densidad, la edad, y la composición específica (Christensen et al., 1989; Bessie y Johnson, 1995), sincronizando en grandes áreas la sucesión de la vegetación (Connell y Slatyer, 1980), y eliminando la heterogeneidad generada por estadios más avanzados de la misma (Huston, 1994). Por otro, los grandes fuegos también pueden tener un efecto heterogenizador que depende de la escala a la que se observan (Turner et al., 1994, 1998): a nivel de paisaje (que correspondería a una escala de 10-104 km2, según McKenzie et al., 1996) se origina un mosaico de áreas quemadas y no quemadas, mientras que a nivel de zona quemada (que correspondería a la escala de bosque/comunidad, es decir, 1-10 km2, según McKenzie et al., 1996), la heterogeneidad espacial es el resultado del mosaico generado por las diferentes severidades con que se quema la vegetación (Turner et al., 1994). Turner et al. (1994) demuestran, en su estudio sobre los efectos del fuego en la heterogeneidad del paisaje del parque nacional de Yellowstone, que el patrón que se crea de áreas quemadas y no quemadas a lo largo del paisaje depende del tamaño del incendio, y que los principales factores que lo controlan son la velocidad y la dirección del viento (Eberhart y Woodward, 1987; Fryer y Johnson, 1988). A una escala espacial más pequeña, las variables ambientales responsables del mosaico de severidades de quema dentro de las zonas quemadas son las variaciones en la cantidad de combustible y de humedad, y la topografía (Christensen et al., 1989; Turner et al., 1994; Glitzenstein et al., 1995), mientras que, a una escala aún más pequeña, de individuo, las variaciones en la intensidad de quema frecuentemente originan una alto grado de heterogeneidad espacial en la supervivencia de las plantas (Christensen et al., 1989; Schullery, 1989). La intensidad del fuego posee un efecto predictible sobre el número y el tipo de plantas que mueren o son dañadas. Este riesgo de mortalidad está relacionada con el tamaño de las plantas (disminuye cuanto mayor es el individuo; Huston, 1994; Johnson, 1992), y con los mecanismos de resistencia al fuego, la inflamabilidad y las estrategias regenerativas de las especies (McKenzie et al., 1996).
Entender las causas de la creación de heterogeneidad espacial postincendio, la distribución de áreas quemadas y no quemadas, el patrón de las diferentes severidades de quema y el patrón de supervivencia de las plantas, es básico para comprender la dinámica de la regeneración postincendio de las especies de las áreas quemadas (Turner, 1998). En el presente estudio se examinan, a diferentes escalas, las consecuencias de un gran incendio ocurrido en el nordeste de España en 1994. En concreto, el objetivo principal del estudio es (1) relacionar la heterogeneidad espacial generada por el comportamiento del fuego con las variaciones topográficas y la composición de la vegetación antes del incendio, y (2) ver los efectos directos, los patrones de supervivencia, que produce sobre las principales especies arbóreas (Pinus halepensis Mill.y Quercus ilex L.).
Forest fires are the most frequent type of natural disturbance in Mediterranean-type ecosystems (Naveh 1975; Gill et al. 1981; Trabaud 1991). As a consequence of different climatic and social factors, the effect of large wildfires (i.e., fires larger than ca. 1000 ha) has increased in the last years (Greenpeace, 1995; Piñol et al., 1998). Thus, 99.7% of the 5279 wildfires that burned in Catalonia (NE Iberian Peninsula) between 1987 and 1994, were smaller than 1000 ha, but only affected 30% of the total surface. The remainder 16 wildfires (0.3% of the total) were large wildfires which burned 70% of the total surface (Terradas et al., 1996).
wildfires are fires of high intensity (Huston, 1994), because they are associated with a continuous and extensive forest cover (Huston, 1994; Turner et al., 1994; Piñol et al., 1998), and environmental conditions characterized by large drought periods and strong winds (Terradas and Piñol, 1996; Turner et al., 1997). These large wildfires may have a double effect on the landscape. On the one hand, large fires are so extensive and so severe in some areas that they destroy forest vegetation independently of its density, age and composition (Christensen et al., 1989; Bessie and Johnson, 1995). The result is that the burned lanscape appears more homogeneous than it has been before the fire, because the heterogeneous vegetation patterns generated by the different succesion pathways are syncronized in large areas (Connell and Slatyer, 1980; Huston, 1994). On the other hand, large fires often result in a heterogeneous mosaic of burn severities as well of islands of unburned vegetation across the landscape (Turner et al., 1994, 1997). In their study on the effects of large fires on landscape heterogeneity in Yellowstone National Park, Turner et al. (1994) show that this pattern depends on fire size. The main factors responsible of this pattern are wind velocity and direction (Eberhart and Woodward, 1987; Fryer and Johnson, 1988). At a smaller spatial scale, several controlling environmental variables, such as air moisture, fuel type and topography, determine the mosaic of fire severities within the burned area (Christensen et al., 1989; Turner et al., 1994; Glitzenstein et al., 1995). At an even smaller scale, that of individual, fire intensity affects the number and characteristics of plants that are partially or totally burnt, and frequently originates a high degree of spatial heterogeneity in plant survival (Christensen et al., 1989; Schullery, 1989). This mortality risk decreases with plant size (Huston, 1994; Johnson, 1992), and depends on fire-resistance mechanisms, inflamability and regenerative strategies of species (McKenzie et al., 1996).
Postfire spatial heterogeneity, which is determined by the distribution of burned and unburned areas and by the patterns of fire severity and plant survival, is basic to understand postfire regeneration in the burned areas (Turner, 1998). In this paper, we examine the characteristics and consequences on vegetation of a large wildfire that occurred in Catalonia (NE Spain) in 1994. The main objectives of this study are (1) to relate the spacial heterogeneity generated by fire behaviour with topography and prefire vegetation composition, and (2) to analyze the main survival patterns shown by the dominant tree species of the area, Aleppo pine (Pinus halepensis Mill.) and holm oak (Quercus ilex L.).

Submitted by Pedro Silva Filho (pfsilva@ipen.br) on 2017-11-17T16:32:32Z No. of bitstreams: 0
Made available in DSpace on 2017-11-17T16:32:32Z (GMT). No. of bitstreams: 0
Os aços inoxidáveis duplex são largamente utilizados na fabricação de equipamentos para a indústria de óleo e gás, utilizados tanto no ambiente onshore quanto offshore. Sua grande limitação é que, com o aumento de temperatura, ocorre precipitação de fases indesejáveis, que reduzem drasticamente a resistência à corrosão e as propriedades mecânicas desses materiais. Considerando o efeito deletério da soldagem a fusão nos aços inoxidáveis duplex, a soldagem por atrito com pino não-consumível (FSW) é amplamente considerada como alternativa aos processos convencionais. Como no FSW a união dos materiais ocorre no estado sólido, muitos dos problemas de soldabilidade associados às técnicas tradicionais de soldagem por fusão são evitados. Neste trabalho, amostras retiradas da zona misturada (ZM), das zonas afetadas pelo calor (ZTA e ZTMA) e do metal de base (MB) de chapas de aço inoxidável lean duplex LDX 2404® (UNS S82441) soldadas por atrito com pino não-consumível foram caracterizadas microestruturalmente e tiveram sua resistência à corrosão avaliada por meio de ensaios eletroquímicos. Os resultados obtidos nos ensaios eletroquímicos indicaram que as zonas afetadas pelo calor e a ZM se mantiveram tão resistentes à corrosão localizada quanto o MB. Permitiram concluir também que a excelente resistência à corrosão da liga está associada ao teor elevado de N.
Dissertação (Mestrado em Tecnologia Nuclear)
IPEN/D
Instituto de Pesquisas Energéticas e Nucleares - IPEN-CNEN/SP

碩士
國立彰化師範大學
資訊管理學系
106
Knowledge, like a sea, is boundless; only through hard study can one reach the destination. Infinite knowledge can benefit us for life. Part of our knowledge is acquired during the course of study. But after we leave the campus, personal interests, our career, environmental changes, increasing information and rapid technology improvements push us to learn with more depth and width, instead of satisfied by expertizing one single field. This is also the life-long learning concept of the adults living in the 21st century. The main purpose of this research, is to explore the factors affecting adult learning popular jazz pianos. We used the perceptual usefulness, perceived accessibility, and social influence in the technology acceptance model as a base, and added subjective norm and perceived enjoyment. After research and verification, it is supported that perceived enjoyment have influence on behavior intention; social influence also have influence on behavior intention; and behavior intention have influence on actual usefulness. The result of this study provide suggestions for music business operators, educational institutions and music education related industries to formulate enrollment strategies and future business direction.

碩士
國立屏東大學
音樂學系碩士班
103
In recent years, with the enhancement of education and more emphasis on the quality of personal life and recreation, there have been many adults continuing with their lifelong learning after graduation from school, taking courses that appeal to them. In this study, the subjects are seven adults who learn to play the piano. Based on the self-determination theory by Deci and Ryan (1985), the aim of the study is to explore the effect of the three psychological support factors, autonomy needs, competence, and relatedness needs, on the motivation of adult piano learning, as well as the variations among the subjects from different backgrounds. The study adopted qualitative research methods to examine the impact of psychological support factors on the motivation of adult piano learning. All the subjects were interviewed using semi-structured interview methods and their learning process was recorded with videos. The data collected was analyzed by interpretative phenomenological analysis through finding recurrent themes. The major findings are summarized as follows. In terms of autonomy needs, the subjects were influenced by three internal factors, their enthusiasm and interests, the realization of their own ideas, and the enhancement of their ability. As to competence, it was supported by the sense of fulfillment gained from being able to play the whole piece and getting accustomed to the instructors’ teaching style. With regard to the relatedness needs, apart from the interaction between learners and teachers, the two key elements were that they could integrate what they have learned into their life and that they hoped to find learning partners. For the subjects with preschool children, their focus was to participate in their children’s piano learning and fostered a closer relationship with their children. For those whose kids were elementary students, they made a point of guiding their children, while for those with children in junior high school, not to disturb the children’s academic learning was of their concern. As for the subjects who were full-time mothers or career women, they showed differences in the willingness to share their learning experiences, but there was no difference in their determination to learn to play the piano on account of their autonomy needs. As to the subjects with different backgrounds (beginners or experienced learners), their level of competence played an important role in their learning.

Frederic Chopin's contemporaries took note of his preference for a piano with a light escapement. They commented that his method of playing was light in touch, and that his demeanor on stage contrasted strongly with that of other performers who were outwardly expressive. Although his performances enjoyed support from some members of his society, most contemporary commentators viewed his performances negatively. His performances were seen as deficient when they were contrasted with those of others, and especially those of Franz Liszt. Some of Chopin's contemporaries saw his playing as feminine and contrasted his works with those of Beethoven, whose works seemed to them to express masculinity. Negative assessments of Chopin's works also appear in later critical and musicological literature. In 1889, the music critic Henry T. Finck suggested that the desire of French, Polish, German and Viennese audiences for what he called "aesthetic jumboism" was detrimental to Chopin's popularity. It is my thesis that smallness has been, and often still is, associated with femininity and that those pianists and authors who advocated largeness - however defined (be it 'grand,' 'healthy,' 'forte,' or 'masculine') - were afraid that Chopin's refined pianism and the "small" aspects of his compositions might be used as evidence that Chopin was not strictly heterosexual. Largeness seems to have been linked in a number of ways to heroism, and it seems that smallness was seen consequently as lacking in heroism. Thus, musicians and musicologists have criticized his works for their lack of complexity and length and for the nature of their melodies, characteristics that I show to have been associated with both size and masculinity. For example, in 1986, Jean-Jacques Eigeldinger analyzed Chopin's compositions in a way that seems to me to reveal Eigeldinger's own search for complex underlying forms. This search appears to be an attempt to illustrate that Chopin was intellectually 'heroic' because he could match the organic unification that some musicologists find in the works of other great composers. While the nineteenth-century development of the piano into a powerful concert instrument undoubtedly reflected the changing nature of concert venues and audiences, since recitals moved from the salon to the concert hall, the changes in design could also been seen as reflecting an ever-increasing desire for largeness. The forcefulness and consequent loudness with which Chopin's music was played on these larger pianos might well have caused (and could still be causing) some pianists' physical problems. Jeffrey Kallberg has analyzed an array of gender-oriented metaphors in relation to Chopin's possible gender-ambiguity, wishing to remove the veil of suspicion that surrounds smallness. It is my argument that a veil of suspicion is indispensable when analyzing the language that people have used to describe their experiences with music, because they have used language to express their preferences for certain kinds of experiences. Thus I attempt to show that during the hundred and fifty years since Chopin's death, both pianists' performance practices and musicological discourse have attempted to cleanse Chopin's music from its associations with smallness and, consequently, with femininity.
Thesis (Ph.D.)-University of Natal, Durban, 2004.