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The Meshuggah Quartet
The Meshuggah Quartet Applying Meshuggah's composition techniques to a quartet. Charley Rose jazz saxophone, MA Conservatorium van Amsterdam, 2013 Advisor: Derek Johnson Research coordinator: Walter van de Leur NON-PLAGIARISM STATEMENT I declare 1. that I understand that plagiarism refers to representing somebody else’s words or ideas as one’s own; 2. that apart from properly referenced quotations, the enclosed text and transcriptions are fully my own work and contain no plagiarism; 3. that I have used no other sources or resources than those clearly referenced in my text; 4. that I have not submitted my text previously for any other degree or course. Name: Rose Charley Place: Amsterdam Date: 25/02/2013 Signature: Acknowledgment I would like to thank Derek Johnson for his enriching lessons and all the incredibly precise material he provided to help this project forward. I would like to thank Matis Cudars, Pat Cleaver and Andris Buikis for their talent, their patience and enthusiasm throughout the elaboration of the quartet. Of course I would like to thank the family and particularly my mother and the group of the “Four” for their support. And last but not least, Iwould like to thank Walter van de Leur and the Conservatorium van Amsterdam for accepting this project as a master research and Open Office, open source productivity software suite available on line at http://www.openoffice.org/, with which has been conceived this research. Introduction . 1 1 Objectives and methodology . .2 2 Analysis of the transcriptions . .3 2.1 Complete analysis of Stengah . .3 2.1.1 Riffs . -
Das Große Alan-Bangs-Nachtsession -Archiv Der
Das große Alan-Bangs-Nachtsession1-Archiv der FoA Alan Bangs hatte beim Bayerischen Rundfunk seit Februar 2000 einen besonderen Sendeplatz, an dem er eine zweistündige Sendung moderieren konnte: „Durch die Initiative von Walter Meier wurde Alan ständiger Gast DJ in den Nachtsession‘s, welche jeweils in der Nacht vom Freitag zum Samstag auf Bayern2 ausgestrahlt werden. Seine 1.Nachtsession war am 18.02.2000 und seit dieser ist er jeweils 3 bis 4mal pro Jahr zu hören – die letzte Sendung wurde am 1.12.2012 ausgestrahlt. Im Jahr 2001 gab es keine Nachtsession, 2002 und 2003 jeweils nur eine Sendung.“ (Zitat aus dem bearbeiteten Alan-Bangs-Wiki auf http://www.friendsofalan.de/alans-wiki/ Ab 2004 gab es dann bis zu vier Sendungen im Jahr, die letzte Sendung war am 1.12. 2010. Alan Bangs‘ Nachtsession- Sendungen wurden zeitweise mit Titeln oder Themen versehen, die auf der Webseite bei Bayern 2 erschienen. Dazu gab es teilweise einleitende Texte zusätzlich zu den Playlisten dieser Sendungen. Soweit diese (noch) recherchierbar waren, sind sie in dieses Archiv eingepflegt. Credits: Zusammengestellt durch FriendsofAlan (FoA) unter Auswertung von Internet- Quellen insbes. den auf den (vorübergehend) öffentlich zugänglichen Webseiten von Bayern 2 (s. die aktuelle Entwicklung dort im folgenden Kasten ) IN MEMORIUM AUCH DIESES SENDEFORMATS Nachtsession Der Letzte macht das Licht aus Nacht auf Donnerstag, 07.01.2016 - 00:05 bis 02:00 Uhr Bayern 2 Der Letzte macht das Licht aus Die finale Nachtsession mit den Pop-Toten von 2015 Mit Karl Bruckmaier Alle Jahre wieder kommt der Sensenmann - und heuer haut er die Sendereihe Nachtsession gleich mit um. -
Music 10378 Songs, 32.6 Days, 109.89 GB
Page 1 of 297 Music 10378 songs, 32.6 days, 109.89 GB Name Time Album Artist 1 Ma voie lactée 3:12 À ta merci Fishbach 2 Y crois-tu 3:59 À ta merci Fishbach 3 Éternité 3:01 À ta merci Fishbach 4 Un beau langage 3:45 À ta merci Fishbach 5 Un autre que moi 3:04 À ta merci Fishbach 6 Feu 3:36 À ta merci Fishbach 7 On me dit tu 3:40 À ta merci Fishbach 8 Invisible désintégration de l'univers 3:50 À ta merci Fishbach 9 Le château 3:48 À ta merci Fishbach 10 Mortel 3:57 À ta merci Fishbach 11 Le meilleur de la fête 3:33 À ta merci Fishbach 12 À ta merci 2:48 À ta merci Fishbach 13 ’¡¡ÒàËÇèÒ 3:33 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 14 ’¡¢ÁÔé’ 2:29 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 15 ’¡à¢Ò 1:33 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 16 ¢’ÁàªÕ§ÁÒ 1:36 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 17 à¨éÒ’¡¢Ø’·Í§ 2:07 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 18 ’¡àÍÕé§ 2:23 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 19 ’¡¡ÒàËÇèÒ 4:00 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 20 áÁèËÁéÒ¡ÅèÍÁÅÙ¡ 6:49 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 21 áÁèËÁéÒ¡ÅèÍÁÅÙ¡ 6:23 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 22 ¡ÅèÍÁÅÙ¡â€ÃÒª 1:58 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 23 ¡ÅèÍÁÅÙ¡ÅéÒ’’Ò 2:55 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 24 Ë’èÍäÁé 3:21 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 25 ÅÙ¡’éÍÂã’ÍÙè 3:55 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 26 ’¡¡ÒàËÇèÒ 2:10 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 27 ÃÒËÙ≤˨ђ·Ãì 5:24 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… -
Adam Bradley, Book of Rhymes
MediaTropes eJournal Vol III, No 1 (2011): 151–153 ISSN 1913-6005 Adam Bradley. Book of Rhymes: The Poetics of Hip Hop. New York: Basic Civitas Books, 2009. 272 pages; paper $16.95. ISBN 978-0-4650-0347-1. “Rap is poetry” (xii). To any avid fan of the genre, it is a statement that seems obvious. The words could easily be the musings of a listener first introduced to the art form, not the focal point of an entire work of contemporary criticism. Yet in Book of Rhymes: The Poetics of Hip Hop, Adam Bradley’s primary focus is this very point, the recognition of traditional poetic elements within rap music. With the global cultural and economic phenomenon that hip hop has become, it is easy to forget that the style of music is barely thirty years old, that scholarly criticism of it has existed for only half of that time. When viewed within this relatively new arena of scholarship, the importance of Bradley’s text is clear. He attempts to lay the foundation for future work, to provide a formal language of lyrical and performative analysis. It is for this achievement that we must recognize Book of Rhymes as a landmark text, despite the somewhat surface treatment it applies to its subject. Bradley divides his work into two sections, beginning with the formal or structural elements of rap music, namely, “Rhythm, Rhyme and Wordplay,” and ending with the thematic or representational components, classified as “Style, Storytelling and Signifying.” The first section is the decisively stronger of the two, based around carefully chosen examples and meticulously broken down lyrics. -
Notes from the Underground: a Cultural, Political, and Aesthetic Mapping of Underground Music
Notes From The Underground: A Cultural, Political, and Aesthetic Mapping of Underground Music. Stephen Graham Goldsmiths College, University of London PhD 1 I declare that the work presented in this thesis is my own. Signed: …………………………………………………. Date:…………………………………………………….. 2 Abstract The term ‗underground music‘, in my account, connects various forms of music-making that exist largely outside ‗mainstream‘ cultural discourse, such as Drone Metal, Free Improvisation, Power Electronics, and DIY Noise, amongst others. Its connotations of concealment and obscurity indicate what I argue to be the music‘s central tenets of cultural reclusion, political independence, and aesthetic experiment. In response to a lack of scholarly discussion of this music, my thesis provides a cultural, political, and aesthetic mapping of the underground, whose existence as a coherent entity is being both argued for and ‗mapped‘ here. Outlining the historical context, but focusing on the underground in the digital age, I use a wide range of interdisciplinary research methodologies , including primary interviews, musical analysis, and a critical engagement with various pertinent theoretical sources. In my account, the underground emerges as a marginal, ‗antermediated‘ cultural ‗scene‘ based both on the web and in large urban centres, the latter of whose concentration of resources facilitates the growth of various localised underground scenes. I explore the radical anti-capitalist politics of many underground figures, whilst also examining their financial ties to big business and the state(s). This contradiction is critically explored, with three conclusions being drawn. First, the underground is shown in Part II to be so marginal as to escape, in effect, post- Fordist capitalist subsumption. -
Catch Thirty-Three - Style: Cyber Thrash Metal NB 27361 13112 YX VÖ: 23.05.05
- Catch Thirty-Three - Style: Cyber Thrash Metal NB 27361 13112 YX VÖ: 23.05.05 FACTS „Ein 47-minütiges Meisterwerk, das alle bisher nur angekratzen Stärken der Band in ein neues Licht rückt und gleichzeitig in Einem vereint. Meshuggah verstehen es gekonnt Widersprüche, sowohl musikalischer als auch lyrischer Natur, zu vereinen. Wozu bewusstseinserweiternde Drogen wenn es Musik gibt, die meschugge genug ist und gewissermassen effektiver sein kann?? Perfektion hat einen Namen: Meshuggah.“ 10,5 von 10 Punkte!!! METAL HEART E inmal mehr können die schwedischen Godz of Math-Thrash alle Register ihrer unfaßbaren Kreativität voll ausleben. Kanalisiert wird diese in einem 47- minütigen Monstersong, der von extremer Brachialität, über fricklige Jazzparts ¦ ¦¥ ¦ ¦¥ ¦ ¦¥ ¦ ¦¥ bis hin zu soundtrackartigen Sphere-Passagen alles auffährt! Genial! 12 von 12 Punkte / HEAVY ODER WAS !? Ein Meisterwerk! Norman / Metal.de 10 von 10 Punkte ¢¡¤£¦¥ ¢¡¤£¦¥ § § ¨ ©¨ © ¢¡¤£¦¥ § § ¨ ©¨ © 'Auf der neue neuen Scheibe erforschen wir wirklich neues Territorium und ¢¡¤£¦¥ haben damit quasi unseren Heiligen Gral erschaffen . 'Catch 33 ' ist ein einziger ,sich im Fluß befindlicher schizophrener Soundtrack ' Mike Borrink / Rock Hard Limit. Erstauflage im Digipak Videoclip zu dem Song ‚Shed’ Song ‚Shed’ evt. auf CD-Beilage von Metal Hammer TITELSEITE Guitar Magazin Anzeigen im Rock Hard, Metal Hammer, E.M.P., Metal Heart, Heavy, oder was?!, Legacy, Visions Jens Kidman - Vocals A 1 Poster Gustaf Hielm - Bass Flyer in 250.000 Metal CDs Tomas Haake - Drums Listeningsession Reports in Legacy, Rock H., M. Hammer und Metal Marten Hagström - Guitar Heart Frederick Thordendal - Guitar Interviews, Reviews, Soundchecks in allen Metal Magazinen Live auf dem Rock am Ring / Rock im Park Open Air 03.-05.06. -
Book of Condolence, but I Don't Know How, Exactly, at This Moment
About 24 hours after the accident, I removed the website from our servers and replaces all the pages with black... Date: Sun Nov 14, 2004 8:41:54 PM Subject: Re: [coil] threshold house Tribute to ODB? or hopefully the Dublin download? anyone know what the black page is about at threshold house? Pete Planning on living forever - so far, so good Date: Sun Nov 14, 2004 8:40:49 PM Subject: RE: [coil] threshold house Peter having fun with GoLive ? "I don't ever want to be alone. With all my darkest dreaming. Hold me close. The sky is breaking." At about 9,15am the next day I put up the first announcement.... Date: Mon Nov 15, 2004 9:27:57 AM Subject: [coil] Balance dead? Please say it aint so... Oh, man if true this really sucks. Date: Mon Nov 15, 2004 9:37:21 AM Subject: This is a sad day. Learned the bad news coming back from work. I'll just go to bed and pretend it was a dream. All my deepest condolences to Jhonn's family, he was a great individual and i am sure you all know it. Take good care, there will be a lot of people mourning with you. Sandrine. Date: Mon Nov 15, 2004 9:41:51 AM Subject: Re: [coil] condolences accepted I... no words... Date: Mon Nov 15, 2004 9:49:00 AM Subject: Re: [coil] condolences accepted I count among the most miraculous experiences of my life seeing Jhonn Balance perform with COIL in New York City on August 18, 2001, which coincidentally (?) fell on the day of my 23rd birthday. -
MESHUGGAH - I (Special Edition)- Genre: Metal Digipak 2736134020, LP 34021 VÖ: 26.09.2014
MESHUGGAH - I (Special Edition)- Genre: Metal Digipak 2736134020, LP 34021 VÖ: 26.09.2014 FACTS Anlässlich ihres 25jährigen Jubiläums bringen die schwedischen Extrem- Metal-Koryphäen MESHUGGAH am 26. September 2014 eine Neuauflage ihrer 2004er EP »I« via Nuclear Blast raus. Der 21minütige Titeltrack zu »I« wurde remastert, zudem gibt es zwei Livetracks, die während der Ophidian Trek World Tour2012 – 2013 mitgeschnitten wurden, sowie einen bisher unveröffentlichten Studiotrack, der im Juli 2003 in MESHUGGAH ’s bandeigenem Fear & Loathing Studio in Stockholm, Schweden aufgenommen wurde. # Parallel erscheint am 26. September die neue Live 2CD+DVD / 2CD+Blu-ray # Einbindung in den Anzeigen in Metal Hammer, Rock Hard, Legacy und Digipak 2736134020 YX Visions # Reviews in den Oktober Ausgaben von: Rock Hard, Metal Hammer, Planet, Rock It, Legacy, RCN, Rocks, Guitar, Hard Times, Classic Rock, Hardline, Breakout, Piranha und EMP # Online Banner Schaltungen auf metalflirt (de), summer breeze (de), LP 2736134021 H metalnews (de), allschools (de) , rock harz (de), metal4bremen (de), music-scan (de), twilight-magazin (de), dosenmusik (de), gestromt (de), hard-times (de), medicine-mag (de), new-metal-media (de), metalmessage (de), stormbringer (at), darkscene (at), medazzarock (de+ch), negativewhite (ch) # Online reviews : Metalnews.de, Metal.de, Powermetal.de, Laut.de, Myrevelation.de, Vampster, Whiskey-Soda.de, Label # E-mail Versand an 125.000 Metalfans in D/CH/A TRACKLISTS: CD-DIGI 01. I (remastered) Bonus: Line - Up 02. Bleed (live) 03. Dancers -
Univerza V Mariboru Filozofska Fakulteta Oddelek Za Anglistiko in Amerikanistiko
Univerza v Mariboru Filozofska Fakulteta Oddelek za anglistiko in amerikanistiko MAGISTRSKO DELO Jožef Kolarič Maribor 2017 University of Maribor Faculty of Arts Department of English and American Studies Master Thesis: Intertextuality of Literature in Billy Woods’s Lyrics Mentor: Professor Victor Kennedy Co-Mentor: Assistant Professor Dr. Janko Trupej Jožef Kolarič Maribor 2017 Acknowledgments: I would like to thank my mentors for their open-mindedness regarding the selection of the topic of the thesis. Thank you, Professor Victor Kennedy, for all the support and encouragement you gave me throughout the years of my studying, in my progression as a writer, intellectual development and the creation of this thesis, and thank you, Assistant Professor Janko Trupej for all the feedback and support in the writing of this thesis. I would like thank Billy Woods for his time, help, permission to use the song lyrics and willingness to give me insight into his writing. This thesis would not be the same without his cooperation. I would like to thank my family for supporting my studies. Disclaimer: All Billy Woods’s lyrics are used with the artist’s permission granted via email. Abstract The thesis analyses how literature has been integrated into rap lyrics. It looks at how allusion and intertextuality are the main stylistic techniques to integrate literature into rap lyrics. The thesis is divided into two parts: the theoretical and empirical. The theoretical part explains the concept of genre, allusion, text and intertextuality. The second part of the theoretical part analyses post-colonialism and its four main concepts: imperialism, colonialism, post-colonialism and neo-colonialism. -
Montana Kaimin, March 12, 2004 Students of the Niu Versity of Montana, Missoula
University of Montana ScholarWorks at University of Montana Associated Students of the University of Montana Montana Kaimin, 1898-present (ASUM) 3-12-2004 Montana Kaimin, March 12, 2004 Students of The niU versity of Montana, Missoula Let us know how access to this document benefits ouy . Follow this and additional works at: https://scholarworks.umt.edu/studentnewspaper Recommended Citation Students of The nivU ersity of Montana, Missoula, "Montana Kaimin, March 12, 2004" (2004). Montana Kaimin, 1898-present. 4791. https://scholarworks.umt.edu/studentnewspaper/4791 This Newspaper is brought to you for free and open access by the Associated Students of the University of Montana (ASUM) at ScholarWorks at University of Montana. It has been accepted for inclusion in Montana Kaimin, 1898-present by an authorized administrator of ScholarWorks at University of Montana. For more information, please contact [email protected]. MONTANA KAIMIN Friday, March 12, 2004 V olume CVI, Issue 78 Another student reports assault Cops make Kristen Cates Neumayer. “We’re going to go after the man was driving a black Honda assistant director of Public Safety. Montana Kaimin it aggressively.” or Nissan car. Neumayer said the woman left The 21-year-old woman gave The report indicates that the for Three Forks because she was arrest in A woman Man tried to police a description of a white male woman was walking to her car after upset. reported to force woman with no facial hair who was wearing leaving the Rec Center at approxi- The report was then handed over police into his car a dark baseball cap and dark cloth- mately 11 p.m. -
Meshuggah: Une Formation De Métal Atypique
1 MESHUGGAHMESHUGGAH :: UneUne formationformation dede MétalMétal atypiqueatypique Esthétique et technique de composition 2 RemerciementsRemerciements Nous tenons tout d'abord à remercier notre directeur Benoît Aubigny pour l'intérêt, la rigueur, « l'ouverture d'esprit et d'oreille » dont il a fait preuve et qui nous ont permis de mener a bien cette étude. Nous tenons aussi à remercier Espen T. Hangård ainsi que tous les protagonistes des sites internationaux et français consacrés à Meshuggah pour leur enthousiasme, et Françoise Metzger et Patrick Le Mortellec pour leur lecture attentive, drôle et critique. Enfin, nos remerciements vont aussi à notre famille et tout le « réseau des résistants » et résistante(s) : Collectifs Klonosphere et Terra Incognita, Association Limace et Phonolab et leurs multiples ramifications musicales. 3 Université de Poitiers, UFR Sciences Humaines & Arts Département de Musicologie Matthieu METZGER MESHUGGAH : Une formation de Métal atypique Esthétique et technique de composition Juin 2003 Mémoire préparé sous la direction de Monsieur Benoît Aubigny, M-C à l'Université de Poitiers 4 Avant-proposAvant-propos Le genre musical présenté dans ce mémoire peut paraître trop violent, inaudible pour certains. Une écoute prolongée est certes fatigante, voire dangereuse en concert sans protection auditive. La violence y est présente, et en est même un des moteurs ; mais ce n'est pas pour autant une musique contre l'humain. Elle redéfinit les notions d'agression existantes pour mieux les utiliser. En cela elle est un miroir et une catharsis ô combien actuelle. Comme tous les amoureux (dont nous faisons aussi partie) de la musique « savante » contemporaine, du Free-jazz, du Rock, comme les Modernes faisant le pied de nez aux Anciens, nous défendons une culture récente mais déjà aboutie, capable de susciter plaisir et intérêt intellectuel. -
SAMPLE HUNTERS: Uma Netnografia Sobre As Práticas Comunicacionais Da Subcultura Dos Fãs Da Música Sampleada Nas Comunidades Virtuais Whosampled E Sample Spotters
UNIVERSIDADE FEDERAL DE GOIÁS FACULDADE DE INFORMAÇÃO E COMUNICAÇÃO PROGRAMA DE PÓS-GRADUAÇÃO EM COMUNICAÇÃO LUCAS ALVES DE BRITO SAMPLE HUNTERS: uma netnografia sobre as práticas comunicacionais da subcultura dos fãs da música sampleada nas comunidades virtuais WhoSampled e Sample Spotters Goiânia 2019 LUCAS ALVES DE BRITO SAMPLE HUNTERS: uma netnografia sobre as práticas comunicacionais da subcultura dos fãs da música sampleada nas comunidades virtuais WhoSampled e Sample Spotters Dissertação apresentada ao Programa de Pós- Graduação em Comunicação, nível Mestrado, da Faculdade de Informação e Comunicação da Universidade Federal de Goiás, para a obtenção do título de Mestre em Comunicação. Área de Concentração: Comunicação, Cultura e Cidadania. Linha de Pesquisa: Mídia e Cultura. Orientador: Prof. Dr. Ricardo Pavan. Goiânia 2019 AGRADECIMENTOS Agradeço a minha família pelo incentivo às minhas escolhas profissionais e por todo o suporte, especialmente a Thátilla pela grande ajuda, carinho, companheirismo e paciência ao longo desses anos. Aos meus amigos de mestrado Bruna, Dayane, Luiz e Thiago pelas dicas, parcerias nas apresentações e artigos e pelas conversas descontraídas. A João Henrique pelos livros. A Felipe e à Karol pela grande ajuda. A meu orientador Ricardo Pavan por ter aceitado meu projeto de mestrado, pelas orientações, sugestões, revisões e pelo interesse a minha pesquisa. Aos professores Adriana Amaral e Daniel Christino por comporem minha banca de qualificação e defesa, pelas correções e recomendações que transformaram meu trabalho. À professora Nélia em sua dedicação na árdua tarefa de me ajudar a construir um projeto de qualificação bem feito. Ao professor Alexandre pelas ótimas e divertidas aulas. Aos professores Marcilon e Raquel pelas dicas de livro e construção de projetos.