RCAAP Repository

O feijão frade, como cultura leguminosa apresenta elevado teor de proteína vegetal e capacidade de se adaptar a diferentes ambientes, nomeadamente, ao stress hídrico. Em 2019, instalou-se um ensaio em S. Pedro, Santarém, com o objetivo de avaliar o crescimento, a produtividade e o teor de proteína de duas variedades de feijão frade (V1 e V2) sujeitas a duas dotações de rega, de acordo com a evapotranspiração (D1) e rega com 50% da dotação do tratamento anterior (D2). O ensaio, bifatorial, foi instalado em blocos casualizados, tendo-se considerado o fator principal a variedade e o secundário o regime hídrico. O tratamento V2D2 apresentou maior eficiência hídrica (1,44kgMSgrão/m3). A variedade V2 apresentou maior potencial produtivo de grão (3 269kg/ha). A produtividade a 12% de humidade foi de 2 027kg/ha em V1D2, 2 782kg/ha em V1D1, 2 502 kg/ha em V2D2 e 4 037kg/ha em V2D1. V1 apresentou maior adaptação ao regime hídrico com menor dotação de rega, apresentando maior número de vagens por planta (28,7Vagens/Plt.) embora de menor tamanho. O tratamento V1D2 foi o que apresentou o menor peso de mil grãos (190g/1000grãos).

Este trabalho teve por objetivo a avaliação do impacto da hiperoxigenação do mosto da casta Fernão Pires no perfil aromático do vinho obtido. Após a prensagem, o mosto foi hiperoxigenado, durante 6 horas, com o auxílio de um micro-oxigenador Vivelys, com 7 mg/L e 14 mg/L de oxigénio. O mosto controlo apenas foi sulfitado. As fermentações decorreram à temperatura controlada de 15 °C. Após a extração líquido-líquido com diclorometano das amostras de vinho, os extratos obtidos foram analisados por CG-MS. Os vinhos obtidos foram também submetidos a analise sensorial. Com o aumento da quantidade de oxigénio aplicado, verificou-se aumento do teor de acetato de etilo, acetato de isoamilo, 3-hidroxibutirato de etilo, decanoato de etilo, monosucinato de etilo e hexadecanoato de etilo, e da maioria dos álcoois com o aumento da dose de oxigénio aplicada, destacaram-se os álcoois isoamilicos e o 2-feniletanol. A hiperoxigenação afetou negativamente os terpenos (linalol e α-terpineol) e os compostos benzénicos tais como o álcool benzílico e o 4-vinilguaiacol, contrariamente ao observado para a maioria dos ácidos gordos. A análise sensorial não revelou diferenças significativas entre as modalidades dos vinhos para os atributos olfativos e os atributos gustativos. Apenas para a qualidade global se verificaram diferenças significativas. Os provadores consideraram que o vinho sujeito à dose mais elevada de oxigénio e o vinho controlo apresentaram melhor qualidade global.

In this paper, we explore the interrelationships between knowledge construction in the field of Vocal Pedagogy and compositional forms of the academic music of the 20th century. We propose that research logics within Vocal Technique contributed to the thinking of the time providing a matrix to consider the vocal instrument from an objectivist position. The importance of the inquiries presented lies on the slow expansion that contemporary vocal music acquired in the last years, and in the absence of a Vocal Technique teaching method that considers the particular characteristics of this repertoire. As a current challenge, we consider necessary to chart a new model in Vocal Technique that favors the interpretation of the vocal repertoire of the 20th Century, and to establish a corpus of knowledge about (i) which are the new required skills and abilities, (ii) how they are produced, and (iii) how they should be taught.

The theater and the capitalist interest, framed on the prospect of obtaining profit and remuneration of a professional activity, have a common history. In this article we intend to account for their relationship, considering the historical dynamics lived in Portugal.

The Brazilian numismatics brings back many important values and aspects of Brazilian society. Thus, we believe that the banknotes have a great potential to be used by teachers in Science and Biology teaching. Because of the lack of papers relating the banknotes to teaching, this study for the first time, aimed to review on wich Brazilian banknotes can be used in Science and Biology teaching. For this it was carried out an investigative research in the Brazilian homepage: http://cedulasbrasileiras.blogspot.com.br/, in the year of 2016. Through the banknotes presented here, Science and Biology teachers can discuss various aspects with their students, such as botanical, zoological, geographical, political, cultural, religious, historical, economic, environmental, technological, health (medical and sanitary importance), musical, ecological and dietary. It is hoped that this study has awakened and inspired the creativity of science and biology teachers to innovate their teaching practices. It is also aimed that other banknotes can be studied and associated not only to the Science and Biology teaching, but also the History and Geography teaching.

In the following lines we will raise an analysis of the relationship established between the souvenir objects, understood as design objects whose meaning lies in its symbolic and conceptual, as containers of the idea of memory, and the cultural context in which They offer and intended to communicate a number of meanings attached to their identity. The analysis will be based on a definition bounded to the idea of culture and cultural identity as a dynamic conceptual construct contingent in the context of post-modernity and therefore will be decisive in generating categories on which to propose a classification or organization of these objects.

This article tackles issues of Metaphor for piano and ensemble performance of the piece A bell against the time. Based on Lakoff and Johnson’s statement that metaphor unites reason and imagination and the requirement of a compelling and coherent performance construction, this paper presents a performance analysis and constitutes a case study on those assumptions. The bond between reason and imagination, for the pianist as for the to the ensemble, is unremitted and established through the reasoning and practice of several sections. The performer’s semiotics orientation, based on his own inner truth and constructed by the interrelation of meanings crossover, is determined by a main focus on the poetic sentence generative for this musical work. Due to the close cooperation with composer, the depth knowledge of his ideas and the circumstantial sharing of cultural patrimony between intervenients, one demonstrates the collaboration with composer as a prime factor of performer’s metaphorical construction. However, a guideline provided by Cook’s views is adopted, which defends the primacy of the performer’s imagery upon the work compositional assumptions.

This article describes two scenes of Spontaneous Theatre carried out with students from the University Vale do Acaraú, Ceará State, Brazil. The action was part of a research that aimed to investigate and develop the creativity of the college students. The method used was the experience report, with a qualitative approach. Thirty individuals was involved in the action and was divided into two groups. The main result was that in those scenes all the themes were metaphorically summarized such as believe in yourself, conquer fear, overcome obstacles, to choose and find solutions. In the end, it was concluded that: the activity provided interaction between students from various courses; Creative scenes were represented, reaching the goal of the exercise; the Spontaneous Theatre performed as significant space for the development of sensitivity and creativity of academics.

EDITORIAL

Better known as Firmament to the general public, the Celestial Dome is defined as the visible celestial hemisphere, whose study belongs to the specific field of astronomy. However this study aims to understand the concept outside the scientific field, through a symbolic reading very singularized, contextualized and interpreted within a discrete society, such as Freemasonry. This work was based on the review of the literature on the subject, the level of symbolic elements, manuals of ritual and historical character of publications, served as the basis for the development of a pictorial composition that came to be performed on the roofs of the two temples Ancient and Accepted Scottish Rite of the Grand Lodge of Portugal Regular / Grand Lodge Legal Portugal, in Oporto, in august 2016.

This article aims to demonstrate how the chord symbols used by the Brazilian composer Antonio Carlos Jobim (Tom Jobim) were often linked to the desired sonority of the piece as to the reading facilitation for the interpreters, therefore ensuing principles musical identity. We believe that such an approach, with respect to harmony, can contribute to future investigations, as well as to a better understanding of the work and the creative process of one of the most important composers of popular music of the 20th century. The examples were taken from the songs Corcovado (Tom Jobim), Por toda a minha vida (Tom Jobim e Vinicius de Moraes), Por causa de você (Tom Jobim e Dolores Duran), Dindi (Tom Jobim e Aloysio de Oliveira), Brigas nunca mais (Tom Jobim e Vinicius de Moraes), Ela é carioca (Tom Jobim e Vinicius de Moraes) and Caminhos cruzados (Tom Jobim e Newton Mendonça), with reference to the publications Songbook Tom Jobim, edited by Chediak, and Cancioneiro Jobim, by Tom and Paulo Jobim, Jobim, in addition to the manuscripts and the composer's original recordings. In terms of harmonic analysis, the procedures and the methodology are based on Guest analysis construct.

The article focuses on understanding certain processes of the artistic occupation from the return of the democracy in 1983 in the Republic Argentina cutting the study away to the City of Buenos Aires. The methodological work was of qualitative ethnographic cut (primary and secondary sources) on artists who compose the cultural field self-managed.

The aim of this study is to characterize representative performances of pianists, by assessing essential lines and main trends in performative practice, referred to as National Piano Schools. Studies and previous research demonstrate the existence of national traditions of specific interpretative practices of defined communities of pianists who share similar characteristics, of an aesthetic, technical, historical and repertoire nature. Primary sources were analyzed, namely, piano pedagogy literature, articulated as a methodology for empirical analysis of audio examples and the application of a qualitative evaluation grid. The main National Piano Schools are divided into three main groups: the Russian School, the French School and the German School. Its systematic identification and study protect and value the heritage of the intangible heritage of music of European origin in the understanding of processes of identification, mediation and hybridization in musical practice and communication.

This paper discusses the Harmonization as an essential tool in the Group Piano discipline in order to reinforce the importance of harmonic practice in collective piano lessons and presents several harmonizations steps as cadences and chord functions in the song "Sambalelê". It also presents the results of this experiment performed within the action research in three classes and two higher educational institutions in Brazil.

In artistic discourse, musical phenomena have tended to be described in an abstract way, both in technical terms and in terms of their terminology, reflecting the transition from the analogue and concrete world to the digital and abstract universe. This article explores mixed music creation and performance processes. The manipulations of the sound allows an extension of expressive and compositional possibilities, as well as a fluidity between these two fields. Through the analysis of interactivity, of the use of electronics in real time and deferred time, as well as of issues related to perception and notation, it is concluded that such processes configure an assemblage in which musical technology has a mediating role.

Reginaldo Carvalho (Guarabira-PB, 1932 - João Pessoa-PB, 2013) composed vocal, orchestral and incidental music for cinema and theater. One of his most productive phases in the field of incidental music was in Rio de Janeiro, between the late fifties and the early sixties, and later, when he returned from France, between the end of the sixties and the early seventies. Reginaldo Carvalho worked for a long time for the Tablado, under the direction of Maria Clara Machado. Some of the originals of the composer's theatrical compositions were recently found in his private collection, including O Embarque de Noé (1957), A Bruxinha Que Era Boa (1958), O Cavalinho Azul (1960), Andrócles e o Leão and As Interferências (1966). The objective of this research is to catalog these works, to edit them and to analyze them, evidencing the relation between music and text in the construction of the scenic-theatrical narrative

This paper portrays the practice of Supervised Internship in the Degree in Visual Arts of the Federal University of Roraima (Brazil), from the creation of the Degree to its organization of the Teaching Plan, planning for the practice during the Internship, the relationship between “students and teacher regent” and the difficulties found by the absence of Arts teachers in the regular schools of the State of Roraima. The questions raised have based on authors such as FREIRE (2010); ZABALA (2010), LIMA & PIMENTA (2012), the Brazilian legislation for formation of teacher. The discussions and reflections regarding the teaching of art in Roraima are still recent and need attention from public administrators, but all are fundamental for the improvement of the teaching practice in Art in the State, as a bad teacher training can affect an entire community medium and long term.

considered a regionalist writer, he expresses an universal order of questions and conflicts. In the short story "São Marco" a disbeliever in witchcraft ends up blinded by João Mangalô incantations. The article proposed here wants a study of the plant species mentioned, trying in this way contribute to the understanding of the universe of literature produced by João Guimarães Rosa. The common names were identified based on dictionaries and specialist literature. The adopted classification system is APGIII. 102 plants citations were recorded, corresponding to 79 different common names, and 38 of these were identified to species level. The proportion of native species (92%) is higher than that of exotic species to the flora. The family with the highest number of citations identified to species level was Fabaceae with 13 species (c. 16%), followed by Poaceae family with six species (c. 8% of citations). The botanical genus with the highest number of species was Erythrina (Fabaceae), with four species (c. 5%). The most cited species in the story was the Bamboo (Bambusa sp.). The short story "São. Marco" reveals a great knowledge of Guimarães Rosa on the floristic composition of the Brazilian hinterland. It includes the flora attributing human characteristics to the species, giving the narrative a high poetic level without being implausible. By using mainly native Guimarães Rosa species is consistent with the nationalist discourse advocated by supporters of Brazilian modernism.

Tanto en la música como en la danza los aspectos expresivos suelen ser reconocidos como inefables y su comprensión como dependiente de la experiencia kinestésica del performer. Este trabajo indaga en los procesos psicológicos a través de los cuales la experiencia de la performance musical puede ser transferida al aprendizaje de los aspectos expresivos del movimiento en la danza a través de la práctica metacognitiva aplicada a la performance musical y kinetica en paralelo. Para ello, la investigación se aborda desde una metodología autoetnográfica colaborativa por la cual se indaga en la experiencia personal de uno de los autores y se construye una narrativa que permite visibilizar y analizar ciertos aspectos cruciales a nivel de la construcción de conocimiento en ella.

The street theater is one of the oldest theatrical manifestations, awakened through artistic expressions in primitive civilizations. It is a phenomenon that invokes us for our cultural identity. This bond is reflected in street performances and street theater, although renewed through postmodern and innovative presentations. Unconventional streets, squares and theaters require different approaches, actors need to adapt and define a diverse analysis of the preparation process across disciplines. In this article we intend to develop and structure the design of the corporal work distinct from the actor, required in the various scenic spaces. We will highlight two important aspects: body perception and composition, and the importance of mastery of body language.