Debilidades en la edición de J. Segura de los «Elementos» de Walras

Editada en la Universidad Carlos IIIPublicad

Un himno, una historia: 100 años del Himno Antioqueño

Within the framework of this debate, the validity of the so-called “anti-age” and its symbols are questioned. One of them, the Antioquia Anthem was made at the beginning of the 20th century by a composer of great value and presence in the city, on the verses of a Yarumanian poet, sick of freedom. It is possible that the Caucasian musician Gonzalo Vidal is hardly remembered by Colombians as the creator of a few works. Perhaps it has been officially presented and for the common people only as the composer of the famous Stations of the Viacrucis, on a text by the Jesuit Tomás de Villarraga, which is sung unfailingly in the Colombian Holy Weeks, and several noble anti-Quechian works Epic breath, like the Antioquia Anthem, about a popular poetic text by Epifanio Mejía. This text takes a tour of various moments, inquiring about the configuration of the Antioquia anthem, from the publication of the poem by Epifanio Mejía in 1868, to the version we know today with music by Gonzalo Vidal.En el marco de este debate se llega a poner en duda la vigencia de la llamada “antioqueñidad” y de sus símbolos. Uno de ellos, el Himno Antioqueño fue confeccionado a principios del siglo XX por un compositor de gran valía y presencia en la ciudad, sobre los versos de un poeta yarumaleño, enfermo de libertad. Es posible que el músico caucano Gonzalo Vidal apenas sea recordado por los colombianos como creador de unas pocas obras. Tal vez haya sido presentado oficialmente y para el común de las gentes sólo como el compositor de las famosas Estaciones del Viacrucis, sobre un texto del jesuita Tomás de Villarraga, que se cantan indefectiblemente en las Semanas Santas colombianas, y de varias obras antioqueñistas de noble aliento épico, como el Himno Antioqueño, sobre un popular texto poético de Epifanio Mejía. El presente texto realiza un recorrido por diversos momentos, indagando sobre la configuración del himno antioqueño, desde publicación del poema de Epifanio Mejía en 1868, hasta la versión que conocemos hoy con música de Gonzalo Vidal

The music of war and politics: Some data for the history of the Colombian case in the 19th century

El presente texto está dedicado a las expresiones musicales que se dieron en la vida militar y política colombiana, durante el siglo XIX, desde las llamadas Guerras de la independencia Española hasta la guerra de los Mil días.This text is dedicated to the musical expressions that occurred in Colombian military and political life during the 19th century, from the so-called Wars of Spanish Independence to the Thousand Days War

El objeto sonoro popular y su papel en la composición electroacústica. Análisis de expresiones de música popular en el repertorio electroacústico y su uso en la creación musical

The academic composition has always looked for ways to nourish the music of popular tradition and it is possible to trace, in the history of Western music, many composers who have resorted to their use. It is important to continue observing and studying the creative processes that keep both musical practices alive and artistic expressions that continue to explore different ways of establishing relationships between academics and the popular. My intention is to show different ways to include sound elements that make reference to popular music or contexts in the composition of electroacoustic music and see its impact on musical discourse. Categories will be established for the identification and analysis of what I will call 'popular sound object' and the way in which it has been used and manipulated by different composers in Latin America and, in particular, in Colombia will be noted.La composición académica siempre ha buscado la manera de nutrirse de las músicas de tradición popular y es posible rastrear, en la historia de la música occidental, muchos compositores que han recurrido al uso de ellas. Es importante seguir observando y estudiando los procesos creativos que mantienen vivas ambas prácticas musicales y las expresiones artísticas que continúan explorando diversas maneras de establecer relaciones entre lo académico y lo popular. Mi intención es mostrar deferentes vías para hacer inclusión de elementos sonoros que hagan referencia a músicas o contextos de tradición popular en la composición de música electroacústica y ver su incidencia en el discurso musical. Se establecerán categorías para la identificación y análisis de lo que llamaré `objeto sonoro popular´ y se notará la manera en que el mismo ha sido utilizado y manipulado por diferentes compositores en Latinoamérica y, en particular, en Colombia

A new strategy based on adaptive mixture of Gaussians for real-time moving objects segmentation

Here, a new and efficient strategy is introduced which allows moving objects detection and segmentation in video sequences. Other strategies use the mixture of gaussians to detect static areas and dynamic areas within the images so that moving objects are segmented [1], [2], [3], [4]. For this purpose, all these strategies use a fixed number of gaussians per pixel. Typically, more than two or three gaussians are used to obtain good results when images contain noise and movement not related to objects of interest. Nevertheless, the use of more than one gaussian per pixel involves a high computational cost and, in many cases, it adds no advantages to single gaussian segmentation. This paper proposes a novel automatic moving object segmentation which uses an adaptive variable number of gaussians to reduce the overall computational cost. So, an automatic strategy is applied to each pixel to determine the minimum number of gaussians required for its classification. Taking into account the temporal context that identifies the reference image pixels as background (static) or moving (dynamic), either the full set of gaussians or just one gaussian are used. Pixels classified with the full set are called MGP (Multiple Gaussian Pixel), while those classified with just one gaussian are called SGP (Single Gaussian Pixel). So, a computation reduction is achieved that depends on the size of this last set. Pixels with a dynamic reference are always MGP. They can be Dynamic-MGP (DMGP) when they belong to the dynamic areas of the image. However, if the classification result shows that the pixel matches one of the gaussian set, then the pixel is labeled static and therefore it is called Static-MGP (SMGP). Usually, these last ones are noise pixels, although they could belong to areas with movement not related to objects of interest. Finally, pixels with a static reference that still match the same gaussian are SGP and they belong to the static background of the image. However, if they do not match the associated gaussian, they are changed either to SMGP or DMGP. In addition, any pixel can maintain its status and SMGP can be changed to DMGP and SGP. A state diagram shows the transition schemes and its characterizations, allowing the forecasting of the reduction of the computational cost of the segmentation process. Tests have shown that the use of the proposed strategy implies a limited loss of accuracy in the segmentations obtained, when comparing with other strategies that use a fixed number of gaussians per pixel, while achieving very high reductions of the overall computational cost of the process

Propiedades psicométricas del Cuestionario de violencia Escolar: revisado (CUVE-R)

Los dos objetivos principales de este trabajo han sido disear una versin revisada y ampliada delCuestionario de Violencia Escolar (CUVE) (lvarez et al., 2006) y contrastar empricamente su validezde constructo. El Cuestionario de Violencia Escolar-Revisado (CUVE-R) fue aplicado a 646 estudiantesde Educacin Secundaria Obligatoria. Mediante anlisis factoriales confirmatorios, se pusierona prueba dos posibles modelos explicativos de la estructura factorial de la prueba. Los resultadosobtenidos sealan que ambos pueden representar aceptablemente bien la estructura del CUVE-R, sibien algo mejor el denominado modelo de ocho factores (Violencia de profesorado hacia alumnado,Violencia fsica directa entre estudiantes, Violencia fsica indirecta por parte del alumnado,Violencia verbal entre estudiantes, Violencia verbal del alumnado hacia el profesorado, Exclusinsocial, Disrupcin en el aula y Violencia a travs de las Nuevas Tecnologas de la Informacin y dela Comunicacin)

Violencia a través de las tecnologías de la información y la comunicación en estudiantes de secundaria

The aim of this paper was to analyze violence through Informa- tion and Communication Technologies (ICT) in Compulsory Secondary Education students. To achieve this objective, the School Violence Question- naire-Revised was applied to 638 Compulsory Secondary Education stu- dents, from six high schools in Asturias (Spain). Results show that vio- lence through ICT occurs with a remarkable frequency, although less than some kinds of traditional school violence. Statistically significative differ- ences were found among grades of Compulsory Secondary Education and between rural and urban centers. Violence through ICT is more frequent in second grade and in urban high schools. However, statistically significa- tive differences were barely found between genders. Also, a strong correla- tion between violence through ICT and some kinds of traditional school violence was found. These outcomes are compared with the results of the main previous works about this subject. Some educative implications of these results are discussed.El objetivo de este estudio fue analizar la violencia a través de las Tecnologías de la Información y la Comunicación (TIC) en estudiantes de Educación Secundaria Obligatoria. Para ello, se aplicó el Cuestionario de Violencia Escolar-Revisado (CUVE-R) a 638 estudiantes de 1º a 4º de ESO, pertenecientes a seis centros educativos de Asturias (España). Los resultados obtenidos muestran que, a pesar de ser menos habitual que otros tipos más tradicionales de violencia escolar, la violencia a través de las TIC aparece con una frecuencia que la hace digna de atención. Se han encontrado diferencias estadísticamente significativas en función del curso y del entorno -rural o urbano- del centro: la violencia a través de las TIC aparece con mayor frecuencia en 2º de ESO que en los demás niveles educativos, y en los centros urbanos que en los rurales. En cambio, apenas se han encontrado diferencias en función del género. Se ha hallado, asimismo, una fuerte correlación entre la presencia de violencia a través de las TIC y de otros tipos de violencia escolar más tradicionales. Estos resultados se contrastan con los obtenidos por los estudios previos más relevantes sobre esta temática. Se discuten algunas implicaciones educativas de estos resultados

Collection, cataloguing and edition of the musical works of the Antioquian composer Ramón Jaramillo Jurado

RESUMEN: Este trabajo busca rescatar la vida y la obra del compositor, director y pedagogo musical Ramón Jaramillo Jurado (Rionegro, 1906-Bogotá, 1961), a través de la recopilación, la catalogación, el análisis musicológico y la edición crítica de sus obras musicales, muchas de las cuales se encuentran bajo el cuidado de la Casa de la Cultura de su ciudad natal, en el Oriente antioqueño. Se trata de un músico casi desconocido por el público colombiano, y cuya labor lo muestra como un artista muy interesado en contribuir con obras de importancia al patrimonio musical del departamento y del país: una ópera; una sinfonía; un concierto para piano y orquesta; un poema sinfónico; un trío para violín, violonchelo y piano; tres cuartetos de cuerdas; veintidós intermezzi, así como algunas piezas de música sacra, varias canciones de intención popular y piezas para piano.ABSTRACT: This work seeks to document the life and work of the composer, conductor and music educator Ramon Jaramillo Jurado (Rionegro,1906 - Bogotá, 1961), through the collection, cataloging, musicological analysis and critical edition of his musical works, many of which are under the care of the Casa de Cultura (House of Culture) of his hometown, in eastern Antioquia. He is a musician little-known by the Colombian public, and whose work shows him to be very interested in contributing to important works of musical heritage of the state and country: an opera; a symphony; a concerto for piano and orchestra; a symphonic poem; a trio for violin, cello and piano; three string quartets; twenty-two intermezzi and some pieces of sacred music, many popular songs and piano pieces

Simulation of Marine Towing Cable Dynamics Using a Finite Elements Method

A numerical model to study the towing maneuver for floating and submerged bodies has been developed. The proposed model is based on the dynamic study of a catenary line moving between two bodies, one body with imposed motion, and the other free to move. The model improves previous models used to study the behavior of mooring systems based on a finite element method by reducing the noise of the numerical results considering the Rayleigh springs model for the tension of the line. The code was successfully validated using experimental results for experimental data from different authors and experiments found in the literature. Sensitivity analysis on the internal damping coefficient and the number of elements has been included in the present work, showing the importance of the internal damping coefficient. As an example of the application of the developed tool, simulations of towing systems on a real scale were analyzed for different setups. The variation of the loads at the towed body and the position of the body were analyzed for the studied configurations. The reasonable results allow us to say that the proposed model is a useful tool with several applications to towing system design, study or optimizationThe authors are grateful to the Spanish Ministry of Economy, Industry and Competitiveness for funding ACOPLE- Analysis of the dynamic behavior of floating wind platforms for design optimization in deep waters (ENE2017-89716-R), within the National Programme for Research, Development and Innovation Aimed at the Challenges of Society (Call 2017). Raúl Guanche also acknowledges financial support from the Ramon y Cajal Program (RYC-2017-23260) of the Spanish Ministry of Science, Innovation and Universities