Valor nutricional do mel e pólen de abelhas sem ferrão da região Amazônica

Avaliou-se os constituintes nutricionais de amostras do mel e pólen das espécies Melipona seminigra merrillae (jandaíra), Melipona compressipes manaosensis (jupará), Melipona rufiventris paraensis (uruçu boca de ralo), provenientes do meliponário da Fazenda Poranga no município de Itacoatiara - AM e Meliponário Abelhudo em Manaus - AM. Os resultados demonstraram o potencial do mel como fonte de energia, particularmente a M. rufiventris com 305,3±2,4 kcal em 100g. O pólen da espécie M. compressipes apresentou a maior concentração de proteína 15,7±0,0% e energia 309,8±0,8 kcal. Tais constatações sugerem a implementação de novos estudos visando à incorporação destes produtos na dieta dos amazônidas, possibilitando uma nova fonte alternativa de alimento potencialmente nutritivo e saudável.<br>We evaluated the nutricional constituent of honey and pollen samples of the Melipona species seminigra merrillae (jandaíra) Melipona compressipes manaosensis (jupará), Melipona rufiventris paraensis (uruçu boca de ralo), proceeding from the Poranga Honey Farm in Itacoatiara - AM, and Meliponário Abelhudo in Manaus, AM. The results demonstrated the potencial of honey as a source of energy, particularly the kcal M. rufiventris with 305.3±2.4 kcal in 100g. The compressis pollen of species presented the highest concentration of protein 15.7±0.0 % and energy 309.8±0.8 kcal. Thus we suggest the implementation of new studies aiming at the incorporation of these products in the diet of the Amazon population, making possible a new potentially nutritional and alternative healthful food source

Musings on computer music perennity

open access articleIt should come as no surprise that, at more than sixty years of age, the computer music field starts to ponder its legacy: what started almost as a ‘challenge’ is now a well-established academic practice which has had a profound impact over the whole music and entertainment industries. More often than not, breakthroughs in our field were initially established through pursuing musical or aesthetical, rather than purely technical, goals: this is especially the case in ‘early’ computer music. Clearly, it is now time to reflect on the numerous techniques (many of which make the foundations of current music software) that have been initiated over the years. Perhaps one of the best ways of examining these is through in-depth multimodal analyses of computer music works: this approach would constitute an initial effort towards a critical evaluation of computer music history