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Статті в журналах з теми "Violin expression"
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Renat, Maryla. "The synthesis of tradition and avant-garde techniques in selected polish violin sonatas from the second half of the 20th century." Notes Muzyczny 2, no. 12 (December 13, 2019): 199–216. http://dx.doi.org/10.5604/01.3001.0013.7175.
Повний текст джерелаАнотація:
The article presents four chamber violin sonatas for an instrument duo written in the 1970s and 1980s, which in their concept of form and shape combine the elements of the widely understood tradition with innovative means of composition technique. The subject for a closer analysis are the following works: • Witold Rudziński, Sonata pastorale per violino e piano forte, 1978 (PWM, Cracow 1983) • Sławomir Czarnecki, Sonate tragique für Violine und Klavier, 1982 (Tonos, Darmstadt 1988) • Jan Krenz, Sonatina for two violins, 1986 (Brevis, Poznań 1994) • Zbigniew Bargielski, Sonate für Violine und Klavier „The sonata of oblivion”,1987, autograph. Each sonata listed above renders an individual concept for combining paradigms adopted from the tradition (e.g. forms, use of quotation, expression idiom) with selected avant-garde means in sound technique, which mainly derives from the sonoristic trend. What Witold Rudziński’s Sonata pastorale per violino e piano forte draws from music tradition is the thematic character of musical thoughts, and in its sound sphere it introduces the means of mild sonoristic, maintaining a balance between them. Sławomir Czarnecki’s Sonate tragique für Violine und Klavier using the quotation from the sequence of Dies irae refers to the Late-Romantic expression to which it adds unusual methods of sound production and sonoristic middle episode. The function of these innovative means is to contrast it against dramatic expression of the piece’s outermost elements. The third discussed work, Sonatina for two violins by Jan Krenz corresponds with the neoclassical trend from the 20th century and brings out diverse elements of violin technique. It refers to the B-A-C-H sound symbol known from the past and to the variation form and combines them with more recent sound structures. The fourth composition, Sonate für Violine und Klavier by Zbigniew Bargielski, is the most innovative one in terms of its sound layer and formal concept. Its connection to the past is maintained thanks to a quotation from Chopin’s music transformed in an interesting way. The analysis of the sonatas leads to the following final conclusion: the tradition and the avant-garde in the discussed works from the postmodern period are not in opposition one against another in terms of style and aesthetics but they create complementary phenomena, in which the message drawn from tradition is given a new face.
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Rice, Hugh Collins. "SERIAL EXPRESSION IN SCHOENBERG'S VIOLIN CONCERTO, OP. 36." Tempo 63, no. 247 (January 2009): 38–44. http://dx.doi.org/10.1017/s0040298209000047.
Повний текст джерелаАнотація:
This article is, in many ways, a direct response to the more or less simultaneous publication of Alex Ross's The Rest is Noise and the release of Hilary Hahn's recording of the Schoenberg Violin Concerto.
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Helbing, Volker. "Konzert als Groteske — Anmerkungen zum ersten Satz des Violinkonzerts." Studia Musicologica 57, no. 1-2 (June 2016): 139–60. http://dx.doi.org/10.1556/6.2016.57.1-2.10.
Повний текст джерелаАнотація:
The grotesque and the theatrical, as essential facets of Ligeti’s oeuvre, become more evident in his Violin Concerto than in most of his works from the 1980s. The analysis shows how these facets find expression on different levels of the composition — from the harmonic and rhythmic pre-settings over the compositional detail to the individual interpretation of the Violin Concerto as a genre and the formal dramaturgy.
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Lysychka, Oleksandr. "INTROSPECTION AS A SIGN OF LYRICALLY-DRAMATIC GENRE TYPE IN E. ELGAR’S VIOLIN CONCERTO." Aspects of Historical Musicology 25, no. 25 (December 31, 2021): 57–86. http://dx.doi.org/10.34064/khnum2-25.03.
Повний текст джерелаАнотація:
Statement of the problem. Edward Elgar’s instrumental concertos occupy the special place in European music. Most of the violin concertos of Romantic composers were written before E. Elgar created his own (1910); the concertos by J. Sibelius (1904) and M. Reger (1908) are closest to this work in time, and Elgar’s Concerto almost coincides with the chronology of K. Nielsen’s Violin Concerto (1911), which has already been, however, significantly influenced by neoclassical aesthetics. In five years, K. Szymanowski’s First Violin Concerto (1916) will appear, rejecting the romantic way of expression, and later a new “era” in the development of this genre will begin. Elgar’s Violin Concerto (1910), the first of his two instrumental concerts, is another step of the composer on the way to mastering various musical genres, the accumulation of new creative ideas. In a number of parameters, the work is closer to the First Symphony, becoming almost a doppelganger of it but with a solo violin, an instrument played by the composer himself. Thus, the study of the Concerto is relevant, at least, in three aspects: in the analysis of the creative evolution of the composer, for understanding his attitude to the concert genre, and for revealing the meaning of the composer’s self-expression. Consideration of the work in the aspect of the latter – identifying features of introspection in the music of the Violin Concerto as part of its genre structure – is the purpose of this study, which is the first attempt of its kind. Conclusions. Elgar’s Violin concerto follows the tradition of lyricallydramatic type of symphonism, which the composer employed in his First symphony written shortly before the Concerto. It can be seen both in thematically-intonational content and in special features of dramaturgy and composition (“throughout” themes, large duration, conflict dramaturgy). The genre of instrumental concerto suggests additional dimension of the work, relation between solo and orchestral parts, and in this case the composer maintains a balance in such things as distribution of themes and their development and interpretation of soloist’s part. The introspective character of the Violin concerto is most obvious in its Cadenza – the most significant episode for this genre – due to its significant length, the lyrical way of expression, reminiscences and derivative themes, the rejection of a clear metrorhythmic organization that allows the perception of Cadenza as a stop in time for lyrical reflection. Other aspects of introspectiveness include the predominance of lyrical themes, a large number of fragments with quiet dynamics and the genre’s predicted concentration of attention on the soloist, although the composer retains balance between solo and orchestral parts.
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Glowacka-Pitet, Danuta. "Music and its performance like a vehicle of expression and communication." Comunicar 12, no. 23 (October 1, 2004): 57–60. http://dx.doi.org/10.3916/c23-2004-10.
Повний текст джерелаАнотація:
Through the practice experience as violin´s performer, in this paper the author shows the communicative intention of music and emphasizes the expressive and emotional feelings that musicians feel and perceive through the music they perform, transmitting their sensations to the audience. With a very personal vision, she shows how the communicative function of performers has always existed along the history of music, and she remembers the most representative figures of all times, as performers and as expressive creators. A través de la experiencia práctica como intérprete del violín, la autora plasma en este artículo la intención comunicativa de la música y destaca los valores emocionales y expresivos que los músicos sienten y perciben a través de la música que interpretan, proyectando sus sensaciones al oyente. Con una visión muy personal, muestra cómo la función comunicadora de los intérpretes ha existido siempre a lo largo de la historia de la música, y recuerda las figuras más representativas de todos los tiempos que desempeñaron su actividad como intérpretes-comunicadores y como creadores-expresivos.
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Ревуцький, А. Я., and О. П. Гужва. "Melody of S. Prokofiev as the main feature of his style (on the examples of Concerts No. 1 and No. 2 for violin and orchestra)." Музикознавча думка Дніпропетровщини, no. 15 (November 1, 2019): 61–75. http://dx.doi.org/10.33287/22195.
Повний текст джерелаАнотація:
The purpose of the article is to analyze the violin concertos No. 1and No. 2, to find and explore the characteristic signs of S. Prokofievʼsmelody, lyrics, cantilenas, and ways of its construction. One of the taskswill be to discover their differences, using the example of concerts to showthe evolution of melody development by S. Prokofiev. Find thecharacteristics of his melody with works that were created in the same timeinterval along with the violin concertos. The methods are based on a comprehensive analysis of violin concertos; the historical and structurallyanalytical methods are used to track the evolution of the melody ofS. Prokofiev. Scientific novelty claims relevance because, unfortunately,very little attention is paid to the unique lyrics of Prokofiev, which standsout very clearly among other composers. Therefore, the study of thecharacteristics of the canted melody reveals the melodic style in itsmainstream. Especially since it is the cantilena that contains the mostimportant artistic discoveries of the composer in the field of melody, this iswhere the peculiarity of his melodic thinking manifested itself.Conclusions. Prokofiev was one of the first composers of the twentiethcentury, who brought the violin art back to its natural, for centuries acertain lyrical-emotional direction. The violin in his works appears mostoften in the role of „actorˮ, who predominantly distinctly „singsˮ. Thisfeature is inextricably linked with the lyrical direction – very strong in allProkofievʼs works. The lyrical direction, we can assume, dominatesProkofievʼs entire violin heritage. His innovation in the field of updatingthe melody from the inside consisted in updating its imaginative,intonational, mode. Over the years, the Prokofievʼs violin style haschanged, reflecting the general evolution of its artistic and aestheticprinciples. The last period of his work was marked by the desire forsimplicity, clarity of musical thinking, and hence to even greater modesty,transparent texture, and wise savings in the means of expression.
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Uspenska, I. O. "Violin concerto principles as a way of musical thinking: semantic discourse." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 56, no. 56 (July 10, 2020): 169–88. http://dx.doi.org/10.34064/khnum1-56.11.
Повний текст джерелаАнотація:
Background. The history of concert music, separated from ritual and other non-musical functions, is closely connected with the art of violin. The violin was the leading instrument of the Baroque concert style, the examples of which are still unsurpassed. Despite the large amount of research on the formation and varieties of violin style, the concept of “concert” in combination with the concept of “violin” has not yet been considered separately, which determines the relevance of the topic of this article. The object of the research is a concerto principle of musical thinking in violin music; the purpose of the study is to identify the features of the phenomenon of concert in the system of music genres with the participation of the violin. Research methodology. To highlight the content of the stated topic, the article uses elements of both general and special musicological methods, including: historical genetic, deductive, comparative (general scientific approaches); organological, genre and stylistic analysis (musicological approach). Results. The article is devoted to the characterization of the “concerto principles” concept, which is the basis for the study of concert works for violin. It is noted that such phenomena and concepts as “concerto principles”, “concertіzing”, “concerto” are based on the reflection of the dialogue idea in its projection on the dialectic of musical formation (according to B. Asafiev). The author of the article identifies the main approaches to classifying the types of concerto as a musical genre, pointing out the following oppositions: “composer – performer-soloist”, “performer-soloist – orchestra”, and “structural canon – freedom of construction”. The significance of such attributes of concerto as virtuosity and improvisation inherent in any concert forms, including with the participation of the violin, is highlighted. It is noted that the implementation of the concerto principles, which come from large concert forms by J. S. Bach (according to Yu. Kholopov), is a prerequisite in the practical application of the concerto violin music models that are individually embodied in the work of modern masters, including Kharkiv citizens. In order to characterize the phenomenon of violin concerto principles, it was necessary to dwell on the nature of a whole complex of phenomena defined by B.Asafiev as “the basis and principle of concerto”. Based on the observations made by the founder of intonation theory, we can conclude that there is a common core of any concerto music – the idea of a dialogue that arises between the generating and generated intonational and thematic impulses that potentially contain a key to the dialectic of the musical process in its various structural formulations. The dialogue nature of concerto as a special musical genre also includes such attributes as virtuosity and improvisation. However, their presence in a concerto has various gradations and is not, as a rule, a foreground factor. At the same time, we cannot deny that the virtus aesthetics (lat. – valor, talent) is important within the system of concerto genres represented in music for a certain instrument, in particular, the violin. In this regard, a concerto is always a “competition and agreement” between the soloist and the orchestra accompanying him. As a result, and on this basis, we can say about the formation of the three main types of interaction between the participants in the concert dialogue: dominating solo, dominating orchestra, and parity (according to K. Kuznetsov). It should be noted that the improvisation clarifies the meaning of concerto as a performing genre, which is aimed at the free expression of a musician, unlimited by the existing canons and structural models. The genome of concerto (M. Bondarenko) is realized in a rather wide variety of musical forms and genre subtypes – from the standard model of a concerto for a solo instrument with orchestra, a concert for orchestra, a “concerto without orchestra” (R. Schumann), to any other genre forms containing signs of concerto (K. Bila). In evolutionary terms, the development of the concert dialogue idea went through several stages in which two multidirectional vectors are distinguished – centripetal (the way to concerto as a special kind of symphonic genre) and centrifugal (“dispersal” of concerto as a principle of musical thinking in different intonation systems – mono-, poly- and liberal-genre, according to G. Daunoravichene). The “Genre Explosion” (L. Shapovalova), inherent in Modern music, influenced concerto as a musical genre, where composers and performers can discover for themselves and for listeners the most diverse elements of language and technology, referring to different eras and genre styles. The absence of a unified concert model in modern composer and performing practice is largely due to the set of instruments. The instrumental component of concert genres (namely genres, not a genre) is in modern conditions a key determinant in implementing the principles of concerto, which fully applies to violin music. It was the violin that was one of the main instruments that determined the appearance of a solo concerto in the Baroque music, where the foundations of the entire subsequent development of instrumental genre traditions were laid in the direction from the typical vision to the author’s version – the hypothesis of the world (M. Starcheus), concentrated in the genre “matrix” (E. Nazaikinsky). The unsurpassed examples of a large concerto form, which composers of all subsequent eras have oriented themselves to, are found in the works of J. S. Bach, who was not so much an “inventor” as a “trend-setter”. In concertos by J. S. Bach, the severity and seriousness of thought are combined with a peculiar “neutralization” (Yu. Kholopov) of form elements that create a kind of its internal tonal and harmonic “frame”. At the heart of Bach’s concerto principles, which apply to all other manifestations of this principle, and to modern violin literature, there are two constructive standards – polyphonic (theme and interlude) and homophonic (theme and episode), in which Yu. Kholopov sees not only differences, but also similarities. The author of this article did not set the goal of illustrating these principles on the material of specific works from the creative portfolios of Kharkiv masters. At the same time, the three principles of constructing a large concerto form – alternative, developmental and reprise-repeated (Yu. Kholopov), developed by I. S. Bach, can be traced in a number of examples – from concertos for violin (violins) with orchestra – to concerto miniatures , where the “image” of the instrument is realized through various gradations of concerto as the basis and principle of musical thinking. Conclusions. The semantics of violin concerto is revealed in two meanings, concentrated in the components of this phenomenon. The main one is “concert” as a principle of musical thinking, based on a combination and different types of ratio of dialogicity (genre constant), virtuosity and improvisation (genre attributes). The second component of the phenomenon – “violin” – specifies the first at the level of the genre system, which is multifaceted and includes works of different models, classified on the basis of mono-, poly- and librogenre. The semantic “matrices” of violin concerto find expression in the corresponding genre forms, which was first demonstrated in the music of the late Baroque (J. S. Bach), where they were divided into two most common types of poetics: polyphonic (theme and interlude), homophonic (theme and episode). The article states that on this methodological basis it is necessary to approach the concert violin style in the works of both individual authors and regional schools, in particular, one of the leading in Ukraine – Kharkiv, which is the immediate prospect of further study of the topic.
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Tulyantsev, Andrey. "Harry Logwin as a symbol of the violin Dnepropetrovsk region." Музикознавча думка Дніпропетровщини, no. 19 (December 30, 2020): 16–24. http://dx.doi.org/10.33287/222030.
Повний текст джерелаАнотація:
The purpose of the article is to study the creative person of Harry Logvin. He is the only Peopleʼs Artist of Ukraine, as a violinist, who lived and worked in our region. Garry Logvin was concertmaster of the Dnepropetrovsk Opera and Ballet Theater, teacher, co-founder of the private new chamber orchestra «Seasons». The scientific novelty of this article has the following vectors: approved the concept „accompanist of the orchestra of the Dnepropetrovsk Opera and Ballet Theater”, a study is being made of the relationship between internal and external form and how the master performed works for violin solo in the Dnepropetrovsk private chamber orchestra „Seasons”, in the vector about the pedagogical heritage of the teacher Garry Logvin, the structural periodization of the masterʼs performing heritage is being done, which is inseparably united with the evolution of the expressive means of the repertoire for orchestral works. To achieve the goal and solve the assigned tasks, the following research methods were used: historiographic – articles are analyzed where the facts of the violinistʼs creative biography are recorded; systemic – the author analyzes the art of violin in the Dnipropetrovsk region as a system of genres, which has a specific structure – an opera and ballet theater, violin pedagogy, a private chamber orchestra. Conclusions. The features of Harry Logvinʼs violin art are concentrated into amazing expression. They had their own specifics in multi-genre performances of the Dnepropetrovsk Opera and Ballet Theater, concerts of the private chamber orchestra „Seasons”. Sound is a means of expression, a part of the orchestral play being reproduced. The dramatic, technical, emotional, informational aspects of sounding had their own plots. The art of Harry Logvin is of great importance for the popularization of classical music in the Dnipropetrovsk region.
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Chamczyk, Ewa. "Duels in Sound: Pietro Antonio Locatelli vs Jean-Marie Leclair." Kwartalnik Młodych Muzykologów UJ, no. 47 (4) (2020): 69–102. http://dx.doi.org/10.4467/23537094kmmuj.20.043.13916.
Повний текст джерелаАнотація:
The tradition of musical duels harkens back to the days of ancient Greece. One of the earliest examples of musical rivalry is the myth of Marsyas and Apollo, which ends tragically for the satyr. Without doubt, the tournaments of the ancients served as an inspiration for later generations of musicians. In each epoch they took a different form, tailored to the current norms and customs. In the sixteenth century the singing contests of the Meistersingers became extremely popular. With the development of instrumental music in the seventeenth century, duels, in which the main subject of the dispute was the superiority of one of the performers in terms of interpretation and mastery of playing a given instrument, were increasingly growing in importance. The eighteenth century, in which public concert life flourished and demand for virtuoso instrumentalists consequently grew, brought a genuine boom in musical duels. During that era, musical duels were not only confrontations between individual musicians or their patrons, but also important contributions to the exchange of experiences between artists, the spread of musical novelties and dissemination of the works themselves. Additionally, such ‘battles’ symbolised a confrontation of musical styles, in particular the Italian and the French one. Jean-Marie Leclair, known as the French Corelli, is considered by many researchers as the founder of the French violin school. Pietro Antonio Locatelli, an heir to the legacy of Arcangelo Corelli, is justifiably considered as the Paganini of the eighteenth century. Despite shared roots in the Italian violin school, their music differs in both form and expression. At first glance, Locatelli’s typically Italian music goes far beyond the previously accepted norms as far as demands placed on the violinists are concerned, whereas Leclair’s French music bears the mark of Antonio Vivaldi’s models set in the latter’s violin concertos. We know that the first confrontation of the violinists took place on 22 December 1728 at Kassel court. Some authors speculate that it was not the only meeting of these two musicians. The surviving accounts suggest that both of them stirred strong emotions among the audiences with their playing. Despite their enormous importance for the development of violin music, both composers remain underrated. This article briefly outlines the history of musical duels and sheds light on the practice of violin performances in the first half of the eighteenth century. Additionally, I have attempted a comparative analysis of selected violin concerts, namely: Locatelli’s Violin Concerto in G major Op. 3 No. 9 and Violin Concerto in A minor Op. 7 No. 5 by Jean-Marie Leclair. These two come from a similar period in the work of both composers and are close in time of composition to the famous duel.
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Kudashova, V. A. "VIOLIN SOUND IMAGE AND NEW COMPOSITIONAL WRITING TECHNIQUES OF THE SECOND HALF OF THE XXTH CENTURY." Arts education and science 2, no. 31 (2022): 49–56. http://dx.doi.org/10.36871/hon.202202007.
Повний текст джерелаАнотація:
The expansion of the sound image of violin music in the second half of the XXth century is largely due to the emergence of new compositional writing techniques. The spirit of experimentation, the pathos of finding ways to embody original artistic ideas significantly influenced the composers' attitude to the "sound" and image of the instrument. The authors adapt the writing technique and the acoustic and expressive possibilities of the violin to the content and concept of their compositions. In sonoristic, minimalistic, aleatoric compositions, the creation of a new musical reality encourages the authors to measure the boundaries of sound and penetrate into its internal structure. It ceases to be only instructive material for composer and performer, acquiring an autonomous semantic role. In this regard, the violin sound device is ideal for experiments in the direction of expanding the timbre acoustic capabilities of the instrument. Traditional instrumental techniques and performing means of expression are being adjusted. The searches for the liberation of sound from the regulations of pitch, rhythm, form, and so on become productive. Such an interpretation of the instrument subordinates the sound to the creator's will, equalizing the rights of the composer and the performer. It opens up unlimited ways to implement individual ideas, expanding the range of artistic possibilities of the sound image of the violin in the works of Western and Russian composers of the second half of the XXth century. This process has been little studied in modern musicology, so its present study acquires a particular relevance and novelty.
Дисертації з теми "Violin expression"
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Lee, Sunny. "The unique expression of Shostakovich's violin writing /." Thesis, Connect to this title online; UW restricted, 1994. http://hdl.handle.net/1773/11436.
Повний текст джерела
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Young, Diana S. (Diana Santos) 1975. "New frontiers of expression through real-time dynamics measurement of violin bows." Thesis, Massachusetts Institute of Technology, 2001. http://hdl.handle.net/1721.1/63219.
Повний текст джерелаАнотація:
Thesis (S.M.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2001.Includes bibliographical references (leaves 84-87).
The violin has long been admired as one of the most beautiful, complex, and challenging musical instruments. With its capacity for nuance, richness of tone, and flexibility of range, its expressive qualities have been surpassed by none, despite the fact that its construction has not been changed for hundreds of years. It is the form and function of the traditional violin that inspired the work detailed in this thesis. Here, the design and construction of a new violin interface, the Hyperbow, is discussed. The motivation driving the research of this instrument was the desire to create a violin bow capable of measuring the most intricate aspects of violin technique, the subtle elements of physical gesture that immediately and directly impact the sound of the instrument while playing. In order to provide this insight into the subtleties of bow articulation, a sensing system was implemented to measure changes in position, acceleration, and the downward and lateral strains on the bow stick. These sensors were fashioned using an electromagnetic field sensing technique, commercial MEMS accelerometers, and foil strain gauges. Because the forces and stresses applied to the bow are immediately connected to a violinist's experience while playing, the implementation of a new music controller that utilizes these intimate aspects of physical interaction between a player and an instrument may inspire altogether new methods of expression. The measurement techniques used in this work were found to be quite sensitive and yielded sensors that were easily controllable by a player using traditional right hand bowing technique. In addition, the Hyperbow proved to be helpful in recognizing and analyzing the physical parameters of common bowstrokes
by Diana S. Young.
S.M.
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Deyoe, Nicholas Oberg Deyoe Nicholas Oberg Deyoe Nicholas Oberg Deyoe Nicholas Oberg. "A simultaneity of conflicting modes of expression." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2008. http://wwwlib.umi.com/cr/ucsd/fullcit?p1453674.
Повний текст джерелаАнотація:
Thesis (M.A.)--University of California, San Diego, 2008.Accompanying disc is DVD-ROM, and includes sound files for 2nd and 3rd compositions. The 1st work for flute and violin, 2nd for 15 instruments, 3rd for tenor saxophone and piano. Title from first page of PDF file (viewed June 25, 2008). Available via ProQuest Digital Dissertations. Durations: ca. 14:00, ca. 15:00, ca. 15:00.
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Maheshwari, Malvika. "Violent regulation and artists in India : the transformation of freedom of expression." Paris, Institut d'études politiques, 2011. http://www.theses.fr/2011IEPP0028.
Повний текст джерелаАнотація:
L'article 19 de la Constitution indienne garantit à tout citoyen le droit à la liberté d'expression. Cet article fut adopté en 1950 afin de poser les bases d'une démocratie laïque. Néanmoins, son interprétation connut d'importants changements à partir des années 1980 et des années 1990 lorsque les artistes et les œuvres d'art eurent à subir des violences continuelles. Cette thèse examine comment la liberté d'expression des artistes fut diversement interprété et comment elle fut régulé depuis les années 1950. Nous analysons ces évolutions en travaillant sur les rôles qu'on joués les instances de régulations étatiques (comme le Parlement, les tribunaux, l'Académie nationale des Arts). Nous montrons comment l'expression artistique fut l'objet de violences visant à la réguler. Ces violences traduisent un contexte politique changeant marqué par la criminalisation du Congrès et l'essor des tensions communautaires concomitant avec l'essor du Bhartiya Janata Party. Enfin, la présente recherche insiste sur les attaques dont les artistes furent la cible de la part des organisations nationalistes hindoues alors que le contexte politique est marqué par l'apparition de nouveaux médias et une anxiété croissante de voir l'Islam affirmer sa suprématie dont la population à majorité hindoue serait la victime. Ce mode opératoire fut repris par diverses organisations socio-politiques qui, bien que dépourvues de motivations idéologiques, attaquèrent les artistes en considérant que leurs sentiments personnels avaient été heurtés. Par le passé, l'Etat n'envisageait pas de rester neutre dans cette situation. Désormais, non seulement il le demeure, mais il appuie ceux qui répriment la liberté artistique. En décrivant les motivations de ceux qui commettent ces violences ainsi que le climat de peur et d'auto-censure qui règne parmi les artistes, nous démontrons que la régulation violente et désordonnée à laquelle est soumise la liberté artistique contribue à créer un climat de terreur perpétuel. Les libertés artistiques ont été modifiées, non dans le cadre constitutionnel mais en dehors de ce dernierEnshrined in the Article 19 of the Constitution of India, freedom of speech and expression is a fundamental right of every citizen. Adopted in 1950 with the aim of establishing a secular democracy, the trajectory of the Article 19 demonstrates a substantive mutation in the discourse of free speech due to the sustained violence on artists and works of art since the 1980s and early 1990s. The thesis examines the transformation of the meaning and the mechanisms of regulating freedom of expression of artists in India since the 1950s. It explores the complexities informed by the historically specific forms that both the regulatory (laws, judicial directives etc. ) and allocatory (the National Akademies of Art) aspects of state intervention have assumed in India. It also provides a window into the trajectory of violent regulation of artistic expression by examining the political changes through the criminalization of Congress and communal violence under the Bhartiya Janata Party. The work traces the militant Hindu nationalists’ attacks on artists- informed by new media technologies, anxiety of Islam’s supremacy over the ‘victimized’ Hindu majority, representation of women and sexuality, anti-West sentiments etc. Devoid of any ideological motives, gradually various socio-political organizations began emulating this modus operandi of attacking artists by claiming of ‘hurt sentiments. ’ While the institutions of state earlier considered it unaffordable to be neutral in such a conflict, now not only remained neutral but sided with those indulging in coercive suppression of artistic liberties. Tracing individual motivations behind the acts of violence and artists’ widespread admission of fear and self-censorship, the work argues that violent regulation of artistic expression from an unexpected, infrequent interruption of the creative process of everyday life transformed into a ‘continuous reign of terror. ’ The transformation of artistic liberties occurs not within the framework of the Constitution as much as over the very nature of the Constitution
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Marshall, Amy D. "Violent husbands' recognition of emotional expressions among the faces of strangers and their wives." [Bloomington, Ind.] : Indiana University, 2004. http://wwwlib.umi.com/dissertations/fullcit/3162247.
Повний текст джерелаАнотація:
Thesis (Ph.D.)--Indiana University, Dept. of Psychology, 2004.Title from PDF t.p. (viewed Dec. 1, 2008). Source: Dissertation Abstracts International, Volume: 66-01, Section: B, page: 0564. Chair: Amy Holtzworth-Munroe.
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Timoteo, Ranan Salvador 1975. "A expressão poética na obra para violão solo de Willy Corrêa de Oliveira /." São Paulo, 2019. http://hdl.handle.net/11449/183557.
Повний текст джерелаАнотація:
Orientador(a): Maurício Funcia De BonisBanca: Lutero Rodrigues da Silva
Banca: Gilson Antunes
Resumo: Esta pesquisa investiga a obra para violão solo de Willy Corrêa de Oliveira, buscando compreender como a música se relaciona com elementos externos à sua estrutura, quais os processos de atribuição de significado desenvolvidos e quais as formas como os significados são articulados pela sintaxe musical. Para tanto, realizaremos um estudo da maneira como se desenvolvem os processos da metalinguagem, da intersemiose e da representação, e desenvolveremos uma leitura da expressão poética de cada peça
Abstract: This research investigates Willy Corrêa de Oliveira's solo guitar works, seeking to understand how music relates to elements external to its structure, the processes of attribution of meaning developed and how meanings are articulated by musical syntax. To do so, we will study the way in which the processes of metalanguage, intersemiosis and representation take place, and develop a reading of the poetic expression of each piece
Mestre
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Allen, Jeanette. "Romantic jealousy : the role of attachment style and social comparison processes in the violent expression of romantic jealousy." Thesis, University of Leicester, 2000. http://hdl.handle.net/2381/31291.
Повний текст джерелаАнотація:
The aim of this study was to investigate the experience of romantic jealousy in a group of men who have committed a serious offence against an intimate partner. The study drew on evolutionary theory, specifically looking at attachment theory and social comparison processes to account for individual differences in the experience and violent expression of romantic jealousy. This study was primarily an unrelated between groups comparison study, correlations of the dependent variables were also made to investigate the associations between these factors. The participants included "domestically violent" men (men with a conviction of violence against their partner), "extra-domestically violent" men (men with a conviction of violence but not against their partner) and "non-violent" men. The dependent variables were interpersonal jealousy, attachment style, anger, abusiveness, internalised shame, and social comparison in adulthood and in adolescence. The results found predominantly insecure attachment styles within the sample of violent men, with "domestically violent" men reporting significantly higher attachment anxiety than either of the other two groups. Attachment anxiety was found to be associated with jealousy, anger and abusiveness in intimate relationships. Mixed support was provided for the role of social comparison processes, with the results highlighting the perception of feeling different to and unaccepted by ones peer group in both adolescence and adulthood as being associated with jealousy, anger, abusiveness and internalised shame. It is suggested that the internal working model of the self, characteristic of attachment anxiety is a "shame-based" model, involving global attacks on the self, revealing the intricate connection with feelings of alienation and rejection. Clinical limitations of the results of this study are discussed and areas for further research are highlighted.
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Viola, Stefania [Verfasser], and Dario Michael [Akademischer Betreuer] Leister. "Expression of higher plant photosynthetic proteins in the cyanobacterium Synechocystis sp. PCC 6803 / Stefania Viola. Betreuer: Dario Leister." München : Universitätsbibliothek der Ludwig-Maximilians-Universität, 2014. http://d-nb.info/1082205362/34.
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Viola, Stefania Verfasser], and Dario Michael [Akademischer Betreuer] [Leister. "Expression of higher plant photosynthetic proteins in the cyanobacterium Synechocystis sp. PCC 6803 / Stefania Viola. Betreuer: Dario Leister." München : Universitätsbibliothek der Ludwig-Maximilians-Universität, 2014. http://d-nb.info/1082205362/34.
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Miller, Molly A. "Differential Styles of Emotional Reactivity and Antisocial Behavior Relative to Post-Traumatic Stress Disorder Symptom Expression in Detained Youth." ScholarWorks@UNO, 2016. http://scholarworks.uno.edu/td/2175.
Повний текст джерелаАнотація:
This study sought to explore whether PTSD symptoms in detained adolescents were differentially related to high and low patterns of emotional reactivity, as determined based on callous-unemotional (CU) traits and emotion dysregulation. Analyses revealed four distinct groups based on these criteria: a low/no trauma control group with few PTSD symptoms, and three groups whose PTSD symptoms were distinguished by symptoms of emotional numbing. The study sought to determine whether these profiles were related to distinct patterns of aggression and delinquency. Results revealed that the low/no PTSD symptom group exhibited the least aggression and delinquency. Further, results indicated that higher CU traits and violent offending are associated with a combined PTSD symptom profile. Results suggest a relationship between PTSD symptoms, delinquency, aggression, and CU traits. Findings provide support for the existence of a secondary variant of CU youth who are more emotionally dysregulated and prone to both arousal and emotional detachment.
Книги з теми "Violin expression"
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Gerle, Robert. The art of bowing practice: The expressive bow technique. London: Stainer & Bell, 1991.
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United States. Congress. House. Committee on the Judiciary. Expressing the sense of the Congress that states should work more aggressively to attack the problem of violent crimes committed by repeat offenders and criminals serving abbreviated sentences: Report (to accompany H. Con. Res. 75). [Washington, D.C.?: U.S. G.P.O., 1997.
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Judiciary, United States Congress House Committee on the. Expressing the sense of the Congress that states should work more aggressively to attack the problem of violent crimes committed by repeat offenders and criminals serving abbreviated sentences: Report (to accompany H. Con. Res. 75). [Washington, D.C.?: U.S. G.P.O., 1997.
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United States. Congress. House. Committee on the Judiciary. Expressing the sense of the Congress that states should work more aggressively to attack the problem of violent crimes committed by repeat offenders and criminals serving abbreviated sentences: Report (to accompany H. Con. Res. 75). [Washington, D.C.?: U.S. G.P.O., 1997.
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(Editor), Anne Witt, ed. Orchestra Expressions, Book Two for Violin (Expressions Music Curriculum). Alfred Publishing Company, 2006.
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Anderson, Gerald, Kathleen Brungard, Sandra Dackow, and Michael Alexander. Orchestra Expressions, Book One for Violin (Expressions Music Curriculum). Alfred Publishing Company, 2004.
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Uk, Little Brown. Terror Attacks: The Violent Expression of Desperation. Book Sales, 2006.
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Santos, Jonathan. 20 Caprichos para Violino Solo de Livre Expressão. Independently Published, 2017.
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High, Casey. Like the Ancient Ones. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039058.003.0004.
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This chapter examines the gendered dimensions of alterity and Waorani understandings of what it means to be “like the ancient ones” (durani bai). It analyzes the place of violence and memory in contemporary Waorani gender dynamics by elucidating the meanings of the expression durani bai by which young people describe their public warrior performances. Despite a strongly egalitarian ethos, the chapter shows that Waorani women and men experience the generational changes that have come with oil work, urban migration, and other social transformations in different ways. It explains how young men struggling to demonstrate the abilities for which male elders and ancestors are remembered embrace the Amazonian warrior of colonial imagination and violent imagery in popular cinema in expressing a form of masculinity they associate with durani bai. Rather than leading to pronounced gender antagonisms between women and men, these generational changes reflect Waorani understandings of gendered agency that associate women with the production of interiority and men with relations of exteriority.
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Spitzer, Michael. Affective shapes and shapings of affect in Bach’s Sonata for Unaccompanied Violin No. 1 in G minor (BWV 1001). Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199351411.003.0008.
Повний текст джерелаАнотація:
This chapter analyses Bach’s Sonata for Unaccompanied Violin No. 1 in G minor in terms of recent theories of music and emotion. It considers how musical ‘shape’ relates to the structure of affect, conceived in the nuanced terms afforded by recent work in the psychology of discrete emotional categories. Part I is dedicated to a close reading of Bach’s opening Adagio. Analysing three levels of shape (acoustic cues, midlevel phrasing and large-scale form), the chapter compares Bach’s music both to the shape of particular emotional behaviours and to the expressive shapings of a formal model. This notion of shaping is then extended to performance styles of ‘expressiveness’ (mainstream, HIP and deviant) in three interpretations of the Adagio captured in tempo and dynamic maps. Part II analyses the whole sonata cycle in terms of ‘transformational vectors’.
Частини книг з теми "Violin expression"
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Yu, Lauren Jane, and Andrea Pohoreckyj Danyluk. "Predicting Expressive Bow Controls for Violin and Viola." In Computational Intelligence in Music, Sound, Art and Design, 354–70. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-55750-2_24.
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Kirkpatrick, Daniel. "Non-violent movements." In Political Expression and Conflict Transformation in Divided Societies, 33–57. 1. | New York: Routledge, 2019. | Series: Routledge studies in peace and conflict: Routledge, 2019. http://dx.doi.org/10.4324/9780429323201-3.
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Steiner, Kristian, and Anders P. Lundberg. "Loving Violent Arabs: A Study of Radicalism Within the Israeli Messianic Movement." In Expressions of Radicalization, 147–80. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-65566-6_6.
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Dalgaard-Nielsen, Anja. "Patterns of Disengagement from Violent Extremism: A Stocktaking of Current Knowledge and Implications for Counterterrorism." In Expressions of Radicalization, 273–93. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-65566-6_10.
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Tapias, Maria. "Re-Assessing the Silent Treatment: Emotional Expression, Preventive Health, and the Care of Others and the Self." In Violent Reverberations, 173–91. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-39049-9_7.
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Loreck, Janice. "Sex and Self-Expression: Fatal Women in Baise-moi." In Violent Women in Contemporary Cinema, 54–74. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/9781137525086_4.
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Dokhanchi, Milad. "Debating Islamism as an Expression of Political Islam." In Routledge Handbook of Non-Violent Extremism, 179–93. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003032793-14.
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Hamid, Ahmad Fauzi Abdul, and Che Hamdan Che Mohd Razali. "Nativist Expressions of Non-violent Extremism in Malaysia." In Routledge Handbook of Non-Violent Extremism, 150–65. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003032793-12.
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Ford, Michele. "Violent Industrial Protest in Indonesia: Cultural Phenomenon or Legacy of an Authoritarian Past?" In New Forms and Expressions of Conflict at Work, 171–90. London: Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9781137304483_10.
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Reiter, Walter S. "The Inner Life of Sound." In The Baroque Violin & Viola, 74–84. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190922696.003.0009.
Повний текст джерелаАнотація:
One essential element of musical expression is the living sound, capable of holding the constant attention of the audience. This lesson traces that ubiquitous concept from Caccini’s “swelling and abating of the voice” (1602) to the violin études of Mazas (1843). In the Baroque sound world, free from the all-pervasive vibrato of modern times, it was the responsibility of the bow to provide this ‘inner life of sound.’ Based mainly on the writings of Tartini, Geminiani, and Leopold Mozart, all of whom are quoted, this lesson contains five exercises for perfecting the expressive device that guaranteed this living sound, the “Messa di voce.” The many different aspects of its technique, gleaned from the sources, are isolated and explained in detail, from simple pressure with the forefinger to the addition of vibrato: two composers who indicated this device in their compositions, Veracini and Piani, are quoted and illustrated.
Тези доповідей конференцій з теми "Violin expression"
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Liu, Jun-Wei, Hung-Yi Lin, Yu-Fen Huang, Hsuan-Kai Kao, and Li Su. "Body Movement Generation for Expressive Violin Performance Applying Neural Networks." In ICASSP 2020 - 2020 IEEE International Conference on Acoustics, Speech and Signal Processing (ICASSP). IEEE, 2020. http://dx.doi.org/10.1109/icassp40776.2020.9054463.
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Shibuya, Koji, Kento Kosuga, and Hiroshi Fukuhara. "Bright and Dark Timbre Expressions with Sound Pressure and Tempo Variations by Violin-playing Robot*." In 2020 29th IEEE International Conference on Robot and Human Interactive Communication (RO-MAN). IEEE, 2020. http://dx.doi.org/10.1109/ro-man47096.2020.9223503.
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Agrawal, Samiksha, and Pallavi Khatri. "Facial Expression Detection Techniques: Based on Viola and Jones Algorithm and Principal Component Analysis." In 2015 Fifth International Conference on Advanced Computing & Communication Technologies (ACCT). IEEE, 2015. http://dx.doi.org/10.1109/acct.2015.32.
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Sultanova, A. "ENGLISH POLYSEMANTIC IDIOMS NAMING VIOLENCE." In EXPONENTS OF SOCIAL AGGRESSION: GENERAL HUMANITARIAN DISCOURSES. FSBE Institution of Higher Education Voronezh State University of Forestry and Technologies named after G.F. Morozov, 2022. http://dx.doi.org/10.34220/esaghd2022_115-121.
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Phraseology, being the most expressive part of the language system, accumulates and reflects real or imaginary situations as experiences of a nation, and reveals the peculiarities of the cultural and historical development of a nation. The article describes English polysemantic phraseological units denoting violent actions, and also examines aspects of the formation of these phraseological units, namely the prototypical situations as their source. The article analyzes the role of the components of phraseological units in the formation of their meanings related to the theme of «Violence».
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Moccozet, Laurent, Alexandre Cao, Antoine Milon, Pierre-Olivier Droz, David Vernez, and Jean-Luc Bulliard. "Chapter 8: Sketching Expressive Visualization of a Natural Phenomenon: Ultra-violet Individual Exposure Estimation." In 2008 3rd International Conference on Geometric Modeling and Imaging GMAI. IEEE, 2008. http://dx.doi.org/10.1109/gmai.2008.14.
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S. P. Bove, Márcio, Jés J. F. Cerqueira, and Eduardo F. Simas Filho. "Novelty Detection Applied in Recognition of Facial Expressions." In Congresso Brasileiro de Automática - 2020. sbabra, 2020. http://dx.doi.org/10.48011/asba.v2i1.1118.
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Esta pesquisa investiga a capacidade das redes Perceptron de Múltiplas Camadas (MLP) e Função de Base Radial (RBF) na tarefa de Detecção de Novidade (DN) no reconhecimento de expressões faciais usando recursos de vídeo. O conjunto de dados de vídeo utilizado é produzido por atores profissionais em estúdio com estados afetivos básicos do rosto humano. Os algoritmos Viola-Jones, Kanade-Lucas-Tomasi (KLT) e Análise de Componentes Principais (PCA) são usados na fase de pré-processamento para extrair atributos da face. Os resultados avaliam o desempenho das redes MLP e RBF na tarefa DN, usando novas expressões faciais compatíveis com as utilizadas na fase de treinamento e também examinam a capacidade das redes em DN usando as faces de atores nunca antes vistos pelas redes. Neste processo, as redes MLP e RBF têm uma precisão de 98% para tarefa de classificação, 68% e 98% para DN com dados semelhantes aos dados da fase de treinamento e 100% para DN com dados totalmente novos. Assim, este trabalho reúne métodos e técnicas aplicadas na DN utilizando Redes Neurais Artificiais (RNA), visando a produção de sistemas interativos de cognição no campo da computação afetiva, baseados em técnicas de Inteligência Artificial (IA) e Visão Computacional.
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Candra, Henry, Mitchell Yuwono, Rifai Chai, Hung T. Nguyen, and Steven Su. "Classification of facial-emotion expression in the application of psychotherapy using Viola-Jones and Edge-Histogram of Oriented Gradient." In 2016 38th Annual International Conference of the IEEE Engineering in Medicine and Biology Society (EMBC). IEEE, 2016. http://dx.doi.org/10.1109/embc.2016.7590730.
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Lima, Pablo De Andrades, Jean Lucas Cimirro, Erico Amaral, and Gerson Munhos. "Estudo sobre Fake News: modo de operação e como atenuar a sua propagação." In XVII Escola Regional de Redes de Computadores. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/errc.2019.9238.
Повний текст джерелаАнотація:
O trabalho apresenta uma revisão literária para buscar, analisar e verificar as formas de disseminação e as tecnologias usadas no combate as notícias falsas. Foram incluídos no estudo, artigos de pesquisa brasileiros sobre o tema, que resultaram na investigação de dois problemas: O uso de robôs sociais/digitais e influência do filtro bolha no direcionamento dos acessos e como parte da solução do problema a verificação das fakes news com uso de deep learning. As pesquisas citadas mostram um tendência promissora de evolução no combate às fake news utilizando o padrão automatizado de machine learning e inteligência humana para diferenciar robôs de pessoas além de outras ações no combate a fake news como fact checking, o uso de leis punitivas e o delicado conflito entre o combate às fake news e o respeito e a liberdade de expressão, onde planos legais nacionais, sob a justificativa de combater notícias falsa possam violar esta autonomia. Após a análise dos artigos enquadrados no escopo da pesquisa, pode-se verificar a dificuldade no tratamento de notícias falsas nos meios digitais atuais como redes sociais devidas a complexidade na classificação das notícias e interesses mercadológicos que utilizam ferramentas de disseminação de conteúdo robotizados. Muito embora hajam técnicas avançadas de inteligência artificial capazes de reduzir, ainda não existem ferramentas totalmente funcionais e práticas no combate às fake news, sendo ainda a conscientização dos usuários a melhor forma de prevenção.
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Cohen Zilka, Gila. "Awareness of eSafety and Potential Online Dangers among Children and Teenagers." In InSITE 2017: Informing Science + IT Education Conferences: Vietnam. Informing Science Institute, 2017. http://dx.doi.org/10.28945/3683.
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Aim/Purpose: Awareness of eSafety and potential online dangers for children and teenagers. Background: The study examined eSafety among children and teenagers from their own perspectives, through evaluations of their awareness level of eSafety and of potential online dangers. Methodology: This is a mixed-method study with both quantitative and qualitative elements. The study includes questionnaires and interviews. A total of 345 participants from Israel completed questionnaires; 90 children and teenagers were interviewed from among the participants. Contribution: The study examined eSafety among children and teenagers from their own perspectives, through evaluations of their awareness level of eSafety; potential online dangers; level of privacy online; the degree to which using the Internet facilitates their day-to-day life; exposure to positive, useful, enriching and productive content online; exposure to violent content; the degree to which they communicate or refrain from communicating with strangers online; the degree to which participants feel they require tools to cope with online dangers; the degree to which they define themselves as cautious and prudent Internet users; how they feel online dangers may be avoided – all while accounting for differences in gender, age, and socio-demographic background. Findings: Our findings show that the children and teenagers who participated in the study reported a high level of awareness. After computing a general variable expressing participants’ eSafety awareness level by averaging their responses to various statements, the study found that participants’ awareness level is medium-high. Issues that participants were concerned about included avoiding contact with strangers and cyberbullying, not necessarily by strangers, but also by friends. Recommendations for Practitioners: It is important to teach safe practices for Internet use and ways of coping with cyberbullying in order to maximize the potential inherent in the use of the Internet, and to avoid exposure to online dangers. Recommendation for Researchers: The study examined eSafety awareness by assessing and questioning children and teenage participants regarding their eSafety awareness level, as well as which aspects of Internet use they regard as either positive or negative. The study recommend incorporating in future studies, individual case studies and allowing participants to express how they perceive complex online situations. Impact on Society: This study illustrates the dual potential of Internet use within the context of eSafety, as seen through the eyes of children and teenagers. Future Research: Future studies should analyze differences between children, teenagers, and young adults (up to the age of 24), for the purpose of characterizing eSafety awareness and the effects of abiding by eSafety practices over the years, even after the age of 18, when participants have been using the Internet for relatively many years.
Звіти організацій з теми "Violin expression"
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Splitter, Gary A., Menachem Banai, and Jerome S. Harms. Brucella second messenger coordinates stages of infection. United States Department of Agriculture, January 2011. http://dx.doi.org/10.32747/2011.7699864.bard.
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Aim 1: To determine levels of this second messenger in: a) B. melitensiscyclic-dimericguanosinemonophosphate-regulating mutants (BMEI1448, BMEI1453, and BMEI1520), and b) B. melitensis16M (wild type) and mutant infections of macrophages and immune competent mice. (US lab primary) Aim 2: To determine proteomic differences between Brucelladeletion mutants BMEI1453 (high cyclic-dimericguanosinemonophosphate, chronic persistent state) and BMEI1520 (low cyclicdimericguanosinemonophosphate, acute virulent state) compared to wild type B. melitensisto identify the role of this second messenger in establishing the two polar states of brucellosis. (US lab primary with synergistic assistance from the Israel lab Aim 3: Determine the level of Brucellacyclic-dimericguanosinemonophosphate and transcriptional expression from naturally infected placenta. (Israel lab primary with synergistic assistance from the US lab). B. Background Brucellaspecies are Gram-negative, facultative intracellular bacterial pathogens that cause brucellosis, the most prevalent zoonosis worldwide. Brucellosis is characterized by increased abortion, weak offspring, and decreased milk production in animals. Humans are infected with Brucellaby consuming contaminated milk products or via inhalation of aerosolized bacteria from occupational hazards. Chronic human infections can result in complications such as liver damage, orchitis, endocarditis, and arthritis. Brucellaspp. have the ability to infect both professional and non-professional phagocytes. Because of this, Brucellaencounter varied environments both throughout the body and within a cell and must adapt accordingly. To date, few virulence factors have been identified in B. melitensisand even less is known about how these virulence factors are regulated. Subsequently, little is known about how Brucellaadapt to its rapidly changing environments, and how it alternates between acute and chronic virulence. Our studies suggest that decreased concentrations of cyclic dimericguanosinemonophosphate (c-di-GMP) lead to an acute virulent state and increased concentrations of c-di-GMP lead to persistent, chronic state of B. melitensisin a mouse model of infection. We hypothesize that B. melitensisuses c-di-GMP to transition from the chronic state of an infected host to the acute, virulent stage of infection in the placenta where the bacteria prepare to infect a new host. Studies on environmental pathogens such as Vibrio choleraeand Pseudomonas aeruginosasupport a mechanism where changes in c-di-GMP levels cause the bacterium to alternate between virulent and chronic states. Little work exists on understanding the role of c-di-GMP in dangerous intracellular pathogens, like Brucellathat is a frequent pathogen in Israeli domestic animals and U.S. elk and bison. Brucellamust carefully regulate virulence factors during infection of a host to ensure proper expression at appropriate times in response to host cues. Recently, the novel secondary signaling molecule c-di-GMP has been identified as a major component of bacterial regulation and we have identified c-di-GMP as an important signaling factor in B. melitensishost adaptation. C. Major conclusions, solutions, achievements 1. The B. melitensis1453 deletion mutant has increased c-di-GMP, while the 1520 deletion mutant has decreased c-di-GMP. 2. Both mutants grow similarly in in vitro cultures; however, the 1453 mutant has a microcolony phenotype both in vitro and in vivo 3. The 1453 mutant has increased crystal violet staining suggesting biofilm formation. 4. Scanning electron microscopy revealed an abnormal coccus appearance with in increased cell area. 5. Proteomic analysis revealed the 1453 mutant possessed increased production of proteins involved in cell wall processes, cell division, and the Type IV secretion system, and a decrease in proteins involved in amino acid transport/metabolism, carbohydrate metabolism, fatty acid production, and iron acquisition suggesting less preparedness for intracellular survival. 6. RNAseq analysis of bone marrow derived macrophages infected with the mutants revealed the host immune response is greatly reduced with the 1453 mutant infection. These findings support that microlocalization of proteins involved in c-di-GMP homeostasis serve a second messenger to B. melitensisregulating functions of the bacteria during infection of the host.