Els noms dels colors del pelatge del bestiar en la documentació de l'Alguer dels segles XVIII al XIX

A partir de la tesi de doctorat 'La interferència dels parlars sards en el català de l'Alguer entre els segles XVII i XVIII. Estudi del lèxic a través dels Registres de danys de la Barracelleria /1683-1784)', l'article dóna compte del grau d'interferència lèxica del sard en el camp lexicosemàntic dels noms dels colors pelatge del bestiar i d'altres característiques físiques, un camp altament interferit pel sard, com demostren els documents analitzats dels segles XVIII i XIX (Registres de cavalls i de bísties de mola, Registres de danys, Registres de bestiar viu)

Effects of the Amount of Fillers and of the Crosslink Density on the Mechanical Behavior of Carbon-Black Filled Styrene Butadiene Rubbers

Several carbon-black filled styrene-butadiene rubbers are subjected to monotonic uniaxial tension tests in order to investi-gate the effects of the amount of fillers and of the crosslink density on their mechanical properties. The Young modulus, the volume changes associated with material damage and the stretch to failure are extracted and discussed. Results compare well to the literature results when exist and quantitative analysis are proposed when possible. Results show that filled rubbers are not incompressible when submitted to uniaxial tension tests and their volume changes are strongly dependent of the amount of fillers but are unaffected by the crosslink density. The latter shows strong impact on the filled rubbers stretch to failure but more interestingly this impact is com-parable to what is encountered in unfilled rubbers. The stretch to failure is improved by the addition of fillers with an optimum for material filled around 30 phr

Connectedness percolation of hard deformed rods

Nanofiller particles, such as carbon nanotubes or metal wires, are used in functional polymer composites to make them conduct electricity. They are often not perfectly straight cylinders, but may be tortuous or exhibit kinks. Therefore we investigate the effect of shape deformations of the rodlike nanofillers on the geometric percolation threshold of the dispersion. We do this by using connectedness percolation theory within a Parsons-Lee type of approximation, in combination with Monte Carlo integration for the average overlap volume in the isotropic fluid phase. We find that a deviation from a perfect rodlike shape has very little effect on the percolation threshold, unless the particles are strongly deformed. This demonstrates that idealized rod models are useful even for nanofillers that superficially seem imperfect. In addition, we show that for small or moderate rod deformations, the universal scaling of the percolation threshold is only weakly affected by the precise particle shape.Comment: 7 pages, 8 figures; simplified figures and added to discussion, results unchange

《프렐류드, 코랄과 푸가》를 중심으로

학위논문 (석사) -- 서울대학교 대학원 : 음악대학 음악과, 2021. 2. 장형준.본고는 낭만주의 시대 프랑스 작곡가 세자르 프랑크(César Franck, 1822-1890)의 피아노 작품 《프렐류드, 코랄과 푸가》에 대한 논문으로, 프랑크 피아노 작품에 나타난 오르간의 영향을 분석하고 이에 따른 새로운 관점에서의 연주 해석을 담은 논문이다. 프랑크는 피아니스트이자 작곡가인 동시에 오르가니스트로, 프랑스의 상뜨-끌로틸드 성당에서 일생을 봉직하였다. 상뜨-끌로틸드 성당의 오르간은 낭만주의 시대 오르간 제작자 꺄바이예-꼴이 제작한 것으로, 건반과 스톱, 기타 기계장치적인 측면 등 다방면에서 개혁된 악기였다. 새로운 오르간에서의 음향은 자연스럽게 프랑크 작품에 직·간접적으로 많은 영향을 주었다. 《프렐류드, 코랄과 푸가》는 프랑크의 후기 피아노 작품으로, 갑작스러운 악상의 변화, 저음역대의 선율성 증대, 관악기적 색채, 큰 다이내믹 변화 등이 특징으로 나타난다. 본 논문에서는 프랑크 피아노 작품의 특징들을 새로운 오르간의 개혁점과 결부지어 연관성을 탐구하였고, 이로 말미암은 새로운 관점에서의 연주 해석을 제시하였다. 첫째, 큰 폭의 다이내믹 변화가 악보에 기보된 경우, 악상 변화를 단계적으로 할지, 점진적으로 할지에 대한 연주자의 선택이 악곡의 맥락적인 파악 하에 이루어져야 한다. 둘째, 두꺼운 텍스추어의 패시지를 다룰 때, 연주자는 마치 오르간에서의 독자적 성부 진행과 같이 근본적으로 다른 성격으로 각 성부를 표현해야 한다. 셋째, 연주자는 순식간에 바뀌는 다양한 음색을 마치 오르간에서의 스톱 변화로 인한 음색 변화와 같이 즉각적으로 표현해야 하며, 이때 특정 프레이즈에 대응하는 특정 악기의 음색을 구체적으로 연상하여야 한다. 이와 같이 《프렐류드, 코랄과 푸가》를 꺄바이예-꼴 오르간에서 영향 받은 측면에서 해석한 것은 프랑크의 개인적 배경을 그의 작품 연주 해석에 맥락적으로 적용한 데에 의의가 있다.This study is for the performance interpretation of 《Prélude, Choral et Fugue》 by César Franck(1822-1890) from a new perspective. A French composer of the Romantic period, Franck, as an organist, served his entire life at the St. Clotilde Cathedral in France. The organ of the Cathedral was built by Cavaillé-Coll, who made revolutionary improvements in the organ as a romantic instrument, and expressly for Franck. The new organ allowed the organist to produce the sound of symphonic orchestra without difficulty, due to innovations on manuals, stops, and other mechanical equipments such as coupler and swell box. And these kinds of sounds naturally had a decisive influence on other compositions by Franck, not only for the organ, but for other instruments as well, especially for his late works. 《Prélude, Choral et Fugue》, composed in Franck’s later years, contains remarkable passages; such as sudden dynamic changes, intensification of bass lines, sound that brings up the image of wind instruments, tremendous crescendos or decrescendos, and so on. This appearance supports the assertion that 《Prélude, Choral et Fugue》 was also influenced by the new organ. Since there is an undeniable relationship between St. Clotilde Cathedral’s organ and Franck’s work, the performer who might play the pieces by Franck should consider some points. First of all, if there is an extreme change on dynamic marking, performers should choose the way of expression between organ and piano. Second, performers should treat the thick textures and numerous voices independently like playing on organ. Furthermore, performers should present each section with diverse timbre. Performers may not vaguely imagine some different tones, but they could imagine specific instrument’s timbres corresponding to a particular phrase. Eventually, the late works of Franck, including 《Prélude, Choral et Fugue》 had been affected by new organ at St. Clotilde Cathedral. Thus, this should be considered when the performers have their own interpretation of this piece.Ⅰ. 서 론 1 Ⅱ. 본 론 4 1. 프랑크의 생애 4 2. 꺄바이예-꼴의 오르간 7 3. 상뜨-끌로틸드 성당 오르간과 프렐류드, 코랄과 푸가 11 3.1. 오르간 건반 장치와 프렐류드, 코랄과 푸가 13 3.2. 오르간 스톱 장치와 프렐류드, 코랄과 푸가 26 3.3. 기타 기계 장치와 프렐류드, 코랄과 푸가 37 4. 프렐류드, 코랄과 푸가 연주해석 46 Ⅲ. 결 론 66 참고문헌 69 Abstract 71Maste

The organ symphonies of Louis Vierne

Louis Vierne stood in an exceedingly favorable position in the matter of the influences which were at work upon him. Though he profited immeasurably by his study with both Widor and Guilmant, he himself possessed an advantage which was not given to either of these two men. For almost two years Vierne was in the organ-class of César Franck; and in that time he was able to add his own share to the almost legendary love, respect, and admiration that Franck's students bore him. There are, in fact, many points of similarity between the careers of Franck and of Vierne. Each spent a goodly portion of his life in the service of the church: Franck at Ste. Clothilde, Vierne at Notre-Dame. Each man devoted his entire life to music; each was a devout believer with a keen sense for beauty and the creation of it; both were superb improvisers; the students of both were avid disciples of their masters; both suffered the results of intrigue at the hands of others, and both had the necessary fortitude to rise above their troubles, taking refuge in their art. As the assistant and close friend of both Wider and Guilmant, Vierne came to know the esthetic creed of each artist in an intimate fashion. Vierne modeled his own compositions upon the general lines of the work of these two men. With the added impetus and the inspiration that came to him through his contact with Franck, be was able to advance in scope, in grandeur, and in emotional content to that point which places his works in the forefront of modern organ composition. Vierne was perhaps more fortunate than bis contemporaries, for he was able to profit greatly by bis association both with Franck and with Wider and Guilmant. His greater point of advantage lay in the fact that he was in such close personal relationship with the latter two men. Vierne had the inestimable advantage of an ability to produce a long melodic line, the intensity of which he was able to modify at will. The short-breathed phrases of Franck do not appear in the work of his student. Vierne used a widely-varied phraseology. In countless movements the phrase organization is quite regular, with perfect balance of periods. In other instances, there are phrases of all degrees of length and of very odd balance. He possessed a fine ability for the building of tremendous climaxes. In this connection must be mentioned his use of chain-phrases and his intriguing manner of extending phrases so that the moment of cadence of resolution is delayed, to the end that climaxes seem more impressive by reason of their delayed entrances. One device in particular contributes to his ability for constructing a stunning climax. The ostinato, the effectiveness of which he may have learned from Widor's use of it in the Toccata of the Fifth Symphony, is used with carillon-like results in many movements in which the effect is gained almost by monotony--much in the manner of Ravel's Bolero. It is true that Vierne exhausted nearly all of the contrapuntal and harmonic devices in the course of writing his symphonies. It is possible that many of these tricks of the musician's trade will remain to be appreciated only by those who have the knowledge and the will to examine the scores themselves. Vierne's use of cyclic construction seems for the most part to be valuable in its strictest sense only to the practiced organist. The paces of the movements where there is identity of thematic material are usually too slow or too rapid to afford the unaided ear any opportunity of grasping the essential cyclic meaning. It remains for the eye to appreciate the tremendously skilful manipulation of the themes. There seems to be no excellence of one type of writing over another in Vierne's work, unless it be in his writing of scherzi. Some of the most charming pages) of the symphonies are to be found in these swift, light-footed movements. The grandeur of some of the dramatic passages is notable. Especially to be commended is the jagged, Gothiclike beginning of the Second Symphony, and the final summing up of the themes which occurs at the end of the first movement. The succeeding Choral and the Romance of the Fourth Symphony contain passages of lyrical loveliness. The training of Franck appears nowhere more noticeably than in the Fourth Symphony with its extreme chromatic style, unless it be in the last two symphonies with their cyclical structure. To Widor's influence can be credited the use of the symphonic form itself, as well as the tremendously difficult passages with which some of the symphonies are filled. It is possible that these bristling technical difficulties would never have been written had it not been for the thorough schooling in organ technique that Vierne received at the hands of Widor. The purist may be comforted by the fact that Vierne’s symphonic writing comes closer to the classical ideal than does that of Widor. The variety and unity achieved by Vierne in the symphonies is not far removed from that demanded by the thorough-going classicist. Vierne has truly built upon the foundation provided by the Widor symphonies, and his own personal manner of expression has given his work an individuality and a breadth of vision that are lacking in the Widor works. The organ symphonies of Louis Vierne represent a substantial and valuable contribution to modern organ literature because of their own intrinsic value; because they are the well-considered works of one of the preeminent members of the modern French organ school, and because they represent the vision and the work of an organist directly descended through one of the finest lines of schooling. As for their permanence in the repertoire, it remains for time and for capable organists to say.--Conclusion

Nanostructured thermosetting systems modified with poly (isoprene-b-methyl metacrylate) diblock copolymer and polyisoprene grafted carbon nanotubes

Nanostructured thermosetting composites based on an epoxy matrix modified with poly(isoprene-b-methyl methacrylate) (PIb-PMMA) block copolymer were prepared through PI block segregation. Morphological structures were examined by means of atomic microscopy force microscopy. As epoxy/pristine multi-walled carbon nanotubes (MWCNT) systems were found to present big agglomerations, with a very poor dispersion of the nanofiller, epoxy/PI-b-PMMA/MWCNT systems were prepared by using polyisoprene-grafted carbon nanotubes (PI-g-CNT) to enhance compatibility with the matrix and improve dispersion. It was found that the functionalization of MWCNT with grafted polyisoprene was not enough to totally disperse them into the epoxy matrix but an improvement of the dispersion of carbon nanotubes was achieved by nanostructuring epoxy matrix with PI-b-PMMA when compared with epoxy/MWCNT composites without nanostructuring. Nevertheless, some agglomerates were still present and the complete dispersion or confinement of nanotubes into desired domains was not achieved. Thermomechanical properties slightly increase with PI-g-CNT content for nanostructured samples, whereas for nonnanostructured epoxy/PI-g-CNT composites they appeared almost constant and even decreased for the highest nanofiller amount due to the presence of agglomerates. Compression properties slightly decreased with block copolymer content, while remained almost constant with nanofiller amount.Fil: Espósito, Leandro Hernan. Consejo Nacional de Investigaciones Científicas y Técnicas. Centro Científico Tecnológico - CONICET - Mar del Plata. Instituto de Investigación en Ciencia y Tecnología de Materiales (i); Argentina;Fil: Ramos, José A.. Universidad del Pais Vasco; España;Fil: Mondragon, Iñaki. Universidad del Pais Vasco; España;Fil: Kortaberria, Galder. Universidad del Pais Vasco; España

Method for in-solution, high-throughput T1 relaxometry using fluorescent nanodiamonds

Fluorescent nanodiamonds (FNDs) have been exploited as sensitive quantum probes for nanoscale chemical and biological sensing applications, with the majority of demonstrations to date relying on the detection of single FNDs. This places significant limits on the measurement time, throughput and statistical significance of a measured result as there is usually marked inhomogeneity within FND samples. Here we have developed a measurement platform that can report the T1 spin relaxation time from a large ensemble of FNDs in solution. We first describe a refined sensing protocol for this modality and then use it to identify the optimal FND size for the detection of paramagnetic targets. Our approach is simple to set up, robust and can be used for rapid material characterisation or a variety of in-situ quantum sensing applications.Comment: 8 pages, 3 figure