The aim of this work was to assess the effects of N levels and intercropping of two common bean (Phaseolus vulgaris) varieties (Carioca and Rio Tibagi) with maize (Zea mays) on accumulated N, grain yield and biomass of both crops, and nodulation of common bean inoculated or not with Rhizobium. Two field experiments were conducted simultaneously: common bean-maize intercropping and common bean in sole cropping. Intercropping increased common bean nodulation and biomass, mainly with Rhizobium, but mineral N was deleterious to nodulation. Inoculation also increased the Carioca cultivar yield most in sole cropping (+72 %), but N levels did not affect common bean yield in either cultivar. Although intercropping reduced maize grain yield by 17 %, the equivalent yield increased by 31 %, whilst Rhizobium increased it by 11 %. Despite the reduction of maize yield in intercropping, this system was shown to be more economically viable, in particular when common bean was inoculated with Rhizobium.
Dentre as correntes estéticas da música de concerto que surgiram no início do Século XXI, o Saturismo se destaca tanto por propor novos modelos de organização do material sonoro quanto por dar continuidade à pesquisas de sonoridades que vinham se desenvolvendo na música de tradição escrita desde os anos de 1960. Nesse artigo, buscaremos compreender quais são os recursos técnicos e os preceitos estéticos que sustentam a obra Graphein (2014) de Raphael Cendo, um dos principais compositores dessa corrente estética. Para tal, na primeira parte do artigo, iremos contextualizar historicamente o surgimento do Saturismo; na segunda iremos expor os principais conceitos e técnicas elaboradas no Saturismo; e para finalizar, apresentaremos uma proposta de análise das forças de organização que determinam o desenvolvimento de Graphein. A metodologia utilizada na análise consistiu no aprofundamento das ideias conceituais e das ferramentas composicionais do Saturismo através da leitura de textos e transcrição de entrevistas; análise da partitura; análise do fonograma – a partir dos conceitos de análise aural de Lasse Thoresen –; e análise do fonograma a partir de descritores de áudio.
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