Orientadores: Adriana Giarola Kayama, Paulo Mugayar Kuhl / Tese (doutorado) - Universidade Estatual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-05T15:00:49Z (GMT). No. of bitstreams: 1 Carvalho_FlavioCardosode_D.pdf: 7361269 bytes, checksum: a46fed24412891effe729848f5313b2e (MD5) Previous issue date: 2005 / Resumo: Apresentamos um estudo da ópera "Abul" de Alberto Nepomuceno, analisando sua inserção no universo do nacionalismo musical brasileiro da Primeira República. Para tanto, buscamos entender o histórico da criação e montagem da obra na Argentina, Uruguai, Brasil e Itália, e a recepção da obra pela imprensa e público desses locais. Para uma avaliação da crítica relativa ao sucesso ou não da ópera, foi feita uma apreciação da obra em seus aspectos dramatúrgicos e musicais (sua estrutura composicional motívica e linha do canto). . Um CD-Rom com documentos referentes à obra e ao compositor segue anexado a este trabalho / Abstract: In this thesis we present a study of the opera "Abul", composed by the Brazilian composer Alberto Nepomuceno, analyzing its insertion in the universe of Brazilian musical nationalism during the period of the First Republic. To do so, we investigated the history of the composition and production of the work in Argentina, Uruguay, Brazil and Italy, and its reception by the press and public. To evaluate the criticism related to the successfulness or unsuccessfulness of the opera's performances, we looked into its dramaturgical and musical aspects (motivic structure and vocal line). A CD-Rom containing documents related to the opera and its composer is inc1uded. / Doutorado / Praticas Interpretativas / Doutor em Música

Made available in DSpace on 2014-07-29T15:10:33Z (GMT). No. of bitstreams: 1 Tese - Flavio Marques Lopes.pdf: 1637206 bytes, checksum: 95899c1fbc6b76141c229cf07f0d9d1b (MD5) Previous issue date: 2008-10-23 / In this research, open ground samples (Brazilian Savannah Cerrado) proceeding from treated cultures of soy with Opera® (epoxiconazol and piraclostrobin) had been used as source of resistant microorganisms to fungicide. The sample were collected in July 2006, in three points of planted area and two depths, 0 to 20 cm, and from 80 cm to 1m, next to the state highway GO-139, in the towns of São Miguel do Passa Quatro, in a producing farm model of soy seeds, where Opera® was used since its launching in 2002. The collection point was characterized as a risk place for ecological accidents, presenting area with extensive agriculture activity, intense use of pest management, soil with good level of infiltration and storage of water, and areas of declivity. The microorganism s selection was carried through using selective solid J.E. supplemented with 0.1% of Opera® with microorganisms collected in depth of 80cm. In a previous selection, 9 microorganisms were isolated, and from these, the one that showed a better growth within the selective J.E. liquid supplemented with 0.03% of Opera® (1805) was chosen for the development of this research. The analysis for coloration of Gram-negative showed that the isolated microorganism is one bacillococcus Gram-negative with poliphormic characteristics, being sensible to all the tested antibiotics. Biochemical identification made through the method of Bactray®, presented a correlaction of 99% with the genus Klebsiella. Through molecular identification by the gene 16S rDNA, it was possible to find a correlaction of 99% of similarity with the species K.pneumoniae and K. oxytoca. The proteins released by the Klebsiella in a supplemented environment with 0.03% of Opera had been precipitated with acetone, obtaining two proteinic fractions, a soluble (FS) and the other insoluble (FI) in a 0,1 mol L-1 phosphate buffer, pH 6.0. In the soluble solution (FS), it was found an oxirredutase from the peroxidases family, which uses hydrogen peroxide as an agent and several substrates as reducing agents, presenting greater activity for pyrogallol, TMB, o-dianisidine and catechol. In a chromatogram obtained through separation by molecular exclusion in Sephadex G- 100, two peaks with peroxidasic activities had been observed. Peak 1 presented two bands in SDS-PAGE, one with39.3 kDa and another one with 24.6 kDa. In the FI, it was possible to determine the presence of one hydrolysis with capacity to break the bonds between the ester molecule, from the family of carboxylesterases esterase B. The esterase B presented activity against casein substrates (9.3 UE), BApNA (1.31 UE), pNPP (0.01), presenting 5,4% activity of inhibition after incubation with E64, 6.5% activity of inhibition after incubation with protease inhibitors cocktail containing AEBSF and 7.5% of inhibition after incubation with TLCK. The electrophoreses of FI presented two protein bands with molecular mass of approximately 61.7 kDa for superior band and 60.7 kDa for the inferior band. The enzymatic characterization using pNPP showed high activity in pH 5.0 and pH 7.0. Esterase B kept 100% of activity after 120 minutes of incubation at 60oC. The presence of ZnCl2, EDTA, MgSO4 and CuSO4 had presented an inhibition effect of 16%, 16%, 23.2% and 40.8% respectively, within the enzyme activity. Esterase B slightly presented higher activity in the presence of DMSO and acetone, and a reduction of up to 87% comparing to isopropyl alcohol (lower polarity). The vale of Km using pNPP as substratum was of 3.4 mmol L-1, with a Vmax of 0.019 UE. When the selective J.E. supplemented with 0.03% Opera was treated with Klebsiella for 120 h, it had a reduction of 43.7% in the absorbance of the compounds with a peak of 200 nm, 55.7% - 220 nm and 28.7% - 260 nm. Using released enzymes by Klebsiella for treatment of the epoxiconazol standards in the reduction of the absorbance 200, 220 and 260 nm the observed results were 99.7%, 95.7% and 99.5% respectively. Whereas for the pyraclostrobin, the observed reduction were 95.5% and 80.2% for the wave lengths 200 and 260 nm respectively / Neste trabalho amostras de solo de cerrado provenientes de culturas de soja tratadas com Opera® (epoxiconazol e piraclostrobin) foram utilizadas como fonte de microrganismos resistentes ao fungicida. A coleta foi realizada no mês de julho de 2006, em três pontos de área plantada e em duas profundidades, 0 a 20 cm e de 80 cm a 1 m, próximo à rodovia estadual GO-139, no município de São Miguel do Passa Quatro, em uma fazenda modelo produtora de sementes, em que o Opera® foi utilizado desde o seu lançamento em 2002. O ponto de coleta foi caracterizado como um local de risco a acidentes ecológicos, apresentando área com atividade agrícola extensiva, uso intenso de defensivos agrícolas, solos com boa taxa de infiltração e armazenamento de água e áreas de declividade. A seleção dos microrganismos foi feita com meio seletivo J. E. sólido - suplementado com 0,1% de Opera®, com microrganismos coletados na profundidade de 80 cm. Na primeira etapa 9 microrganismos foram isolados e, destes, o microrganismo 1805 foi o que apresentou melhor crescimento em meio seletivo J. E. líquido - suplementado com 0,03% de Opera® sendo escolhido para o desenvolvimento deste trabalho. A análise por coloração de Gram mostrou que o microrganismo isolado é um bacilococco Gram-negativo com características polimórficas, sendo sensível a todos os antibióticos testados. A identificação bioquímica pelo método de Bactray® apresentou correlação a nível de 99% com o gênero Klebsiella. Através de identificação molecular pelo gene 16S rDNA foi possível encontrar uma correlação de 99% de similaridade com as espécies K. pneumoniae e K. oxytoca. As proteínas secretadas pela Klebsiella em meio suplementado com 0,03% de Opera® foram precipitadas com acetona, obtendo duas frações protéicas, uma solúvel (FS) e outra insolúvel (FI) em tampão fosfato 0,1 mol L-1, pH 6,0. Na FS foi encontrada uma oxirredutase da família das peroxidases, que utiliza o peróxido de hidrogênio como agente oxidante e vários substratos como agentes redutores, apresentando maior atividade para pirogalol, TMB, o- ianizidina e catecol. No cromatograma obtido na separação por exclusão molecular em Sephadex G-100 foram observados dois picos com atividade peroxidásica. O pico 1 apresentou duas bandas em SDS-PAGE, uma mais forte com 39,3 kDa e outra com 24,6 kDa. Na FI foi possível determinar a presença de uma hidrolase, com capacidade de degradação de ligações éster, da família das carboxilesterases esterase B. A esterase B apresentou atividade contra os substratos caseína (9,3 UE), BApNA (1,31 UE), pNPP (0,01 UE), apresentando 5,4% de inibição com E64, 6,5% de inibição após incubação com coquetel de inibidores contendo AEBSF e 7,5% de inibição após incubação com TLCK. A eletroforese da FI apresentou duas bandas de proteínas com massa molecular de aproximadamente 61,7 kDa para a banda superior e 60,7 kDa para a banda inferior. A caracterização enzimática utilizando pNPP mostrou atividade alta em pH 5,0 e em pH 7,0. A esterase B manteve 100% de atividade após 120 minutos de incubação a 60 ºC. A presença de ZnCl2 aumentou a atividade em 14,2%, FeCl3 e MnSO4 não tiveram efeito significativo sobre a atividade e os demais sais, CaCl2, EDTA, MgSO4 e CuSO4 apresentaram um efeito inibitório de 16%, 16%, 23,2% e 40,8% respectivamente, na atividade da enzima. A esterase B apresentou atividade ligeiramente mais alta na presença de DMSO e acetona, e uma redução de até 87% frente ao isopropanol (solvente com menor polaridade). O valor de Km encontrado utilizando pNPP como substrato foi de 3,4 mmol L-1, com uma Vmáx de 0,019 UE. Quando o meio seletivo J. E. suplementado com 0,03% de Opera foi tratado com a Klebsiella por 120 h, houve uma diminuição 43,7% na absorvância dos compostos com pico a 200 nm, 55,7% a 220 nm e 28,7% a 260 nm. Usando as enzimas secretadas pela Klebsiella para tratamento do padrão epoxiconazol a redução da absorvância observada em 200, 220 e 260 nm foi de 99,7%, 95,7% e 99,5% respectivamente. Para o piraclostrobin a redução observada foi de 95,5 e 80,2% nos comprimentos de onda 200 e 260 nm respectivamente

The overall purpose of this study is to elucidate Wilhelm Peterson-Berger’s perception of gender and how it is manifested in his philosophy of art. His perception of gender also incorporates conceptions of history, music and nationality. The research question is analysed primarily by reviewing Peterson-Berger’s writings from 1896 to 1913. The research is intended to shed new light on a previously overlooked area of research, using gender theory and discourse analysis. Peterson-Berger and his work have not been examined previously from a gender theory perspective.  The research shows that Peterson-Berger was influenced in large measure by the prevailing ideals of his time, although he was in some ways more innovative than many of his contemporaries. Around the turn of the 20th century there was a great deal of focus on biology, with  a clear distinction drawn between femininity and masculinity[1] . Masculinity was held up as an ideal, in contrast to femininity and effeminacy. Peterson-Berger advocated this distinction, and emphasized the biological  distinction between [2] masculinity and femininity. However, a man need not always have all the characteristics that were considered typically masculine for his time, nor was it necessary for a woman to possess all the feminine characteristics typical of the female gender. According to Peterson-Berger, a woman could have a masculine soul, and vice versa. And although he often took a negative view of women, he granted musical recognition to singers who realized music in what was, to him, a masculine way. Moreover, the majority of Peterson-Berger’s close friends were women, and he dedicated many of his works to women. Theories of race and human evolution were circulating at the turn of the century, and clearly influenced Peterson-Berger. This study has shown that he pursued the writings of [3]  Chamberlain[4]  and Nietzsche. Incorporating elements of old Gothicist theories with ideas from the two aforementioned thinkers, Peterson-Berger constructed his own racial theory. He asserted that all peoples originated from the Nordic region, which he believed to be the birthplace of the entire human race. According to his theory, southern peoples were inferior[5] , with one exception, the Greeks, towards whom he was very positively disposed. This had to do with the ancient music drama, which Peterson-Berger believed had been created by inhabitants from the north who had migrated to Greece. Peterson-Berger’s notions about peoples from the north versus peoples from the south were interwoven with theories of sexuality. He believed that Germanic peoples were more sexually abstemious than southern Europeans, and that peoples who lived in the south were sexually dissolute. To indulge one’s sexuality was, in his view, a character flaw. Conversely, Peterson-Berger viewed asexuality as a masculine ideal, and believed it to be more common in the north.  A number of contradictions have emerged in his perceptions of race and sexuality. A number of his perceptions with respect to gender roles, sexuality, nationalism and philosophy[6]  are portrayed in his opera Arnljot, as are the contradictions inherent in them. For instance, the character Arnljot has many of the typical masculine characteristics held up as ideal, but nevertheless exhibits both weaknesses and deficiencies. This is reflected in both the music and the opera libretto. / Wilhelm Peterson-Berger var en av de mest framstående tonsättarna kring sekelskiftet 1900. Han var inte bara kompositör utan även aktiv skribent i daglighetspressen. Många av hans uppfattningar om kön, nationalitet, filosofi och konst återspelglas i hans skriftställeri men kan även tydas i de musikaliska verken. Peterson-Berger var till stor del påverkad av dåtidens rådande ideal, men på vissa sätt var han mer nydanande än många andra i sin samtid. Omkring sekelskiftet sattes mycket fokus på biologi och en tydlig uppdelning gjordes mellan kvinnligt och manligt. Manlighet ställdes upp som ett ideal i kontrast till kvinnlighet och omanlighet. Peterson-Berger förespråkar en sådan uppdelning och gör skillnad mellan biologisk manlighet och kvinnlighet. Dock behöver inte alltid en man förfoga över egenskaper som ansågs tidstypiskt manliga eller en kvinna inneha endast de tidstypiska kvinnliga egenskaperna. Enligt honom kunde en kvinna vara innehavare av en manlig själ och vice versa. Peterson-Berger tangerade således en modern syn på kön som pekar fram mot dagens genus teorier. I Peterson-Bergers opera Arnljot konkretiseras flera av hans uppfattningar av både könsroller, sexualitet och filosofi – liksom de motsägelser som fanns. Karaktären Arnljot förfogar exempelvis över flera av de idealtypiska manliga egenskaperna men uppvisar trots det både svagheter och brister. Det återspeglas såväl i text som i musik. Peterson-Bergers egen sexualitet har upprepade gånger varit omdiskuterad. Knyter vi an till hans musikaliska verk och skriftställeri kommer vi närmare ett svar på hur det kan ha förhållit sig.

This study examines questions about the opera singer’s learning techniques. What happens when I, as a singer, only focus on the text or only on the music in the early stages of learning new material? Through interviews with other stage performers and my own experience, I developed two extreme methods of learning, one text-based and one music-based. To test them, I learned parts of two different Händel-roles, and examined how my methods changed my work in portraying the characters. I discovered the importance of joy while learning and practising, as well as pros and cons with separating the text and music from one another in such an extended part of the process.

The purpose of the present edition of Albert Lortzing's Die Opernprobe is to restore and clarify the composer's original intentions, which were often obscured or altered by the first published version, which appeared in 1899. This thesis is divided into two parts. Part One contains an introduction which discusses Lortzing's place in the history of German opera, the details surrounding the composition of Die Opernprobe, the musical and dramatic structure of the opera, and the sources used in the preparation of this edition. Part Two consists of a critical edition of the orchestral score, with the complete text of the spoken dialogue and stage directions. Critical notes and an English translation of the full text are included in two appendixes.

The present thesis proposes a deconstructive analysis of Czech television oratorio Genesis (director Pavel Hobl, music Zbigniew Wiszniewsky, Czechoslovak Television and Zweites Deutsches Fernsehen, 1969). Using concepts of voice-object and acousmêtre, this study examines music of the oratorio as an important narrative feature of the audio-visual object. The text interprets the narrative of the oratorio as a crituque of logocentrism and rationalism of modern society. Beside the interpretative part, the study duscusses history and preception of the genre of television opera in Czechoslovakia from early 60s to 1989. Two concepts of the production of television opera are introduced: first, a concept of television opera as a mediator of an existing operatic work, or as means of cultural education of "mass audience"; secondly, television opera is called to represent a new art form using specific television means. These concepts are found in texts by Czech music theorists and journalists of 60s, when the disputation about television opera in Czech journals culminated. A list of television operas produced by Czechoslovak television until 1989 is attached.

This study examines questions about the most effective ways how to learn an operatic role in a relatively short time. The study consists of my own experiences and observations as I was learning the stage cover role of Donna Elvira for the Finnish National Opera in March 2020.  I am reflecting my observations of the learning process towards a theoretical framework that is based on literature and interviews of the director Jussi Nikkilä and assistant director Anna Kelo.

The connection between music and architecture was a field of many people all over the world throughout history. Attitude is different in every single way. Someone feels music in architecture through the feelings someone uses exact methods. My way led through the many formal analysis to design my own composing method on the basis of music patterns. The idea for designing my opera house in the capital Prague on the bank of the Vltava river was a symphonic poem written by Bedřich Smetana – Vltava. The tones of the music flow gracefully like a river, from the soft lines of flutes to the orchestra pother. And this is the story of the template for my design, where the river bank escalates to the opera theatre. And this space of opera is curious in some way. It can be changed between performances from opera to the Philharmonie purpose.

Conductors are oftern associated with a specific body of work in their repertoy. Gustav Mahler's conducting repertory contained some major Wagnerian works, including Tristan und Isolde. Mahler's first performance of Tristan took place during his tenure at the Stadttheater in Hamburg (1891-1897). It remained an integral part of his repertory through his tenure at the Vienna Hofoper (1897-1907), and was one of eight works he conducted at New York's Metropolitan Opera (1907-1910). This study includes a brief history of Mahler's education and a description of his conducting style characteristics. It traces the reception of Mahler's production of Tristan from Hamburg to New York, and focuses on his performances at the Hofoper and at the Metropolitan Opera. Sources used to determine performance changes he made include letters, personal reminiscences of friends and critics, and newspaper and journal reviews.

The significance of this opera, Le Devin du Village, lies not in the fact that it is great music, but in the fact of its historical importance. Its appearance in 1752, with its revolutionary ideas, heralds the coming of what we consider today as native French comic opera; i. e., native in the sense that it is composed by Frenchmen, although adapted from the Italian style in many respects. Another claim of uniqueness that might be made for this work is that its composer was no recognized musician, but one of the greatest pre-Revolution philosophers. His open-minded ness and eagerness to break loose the bonds of the traditional French "Chauvinism" and musical isolationism, brought forth this musical effort on his part, clothed in native atmosphere, yet embodying the spirit of Italian music. From the private library of Isaac Lloyd Hibberd, the writer was fortunate in having access to a first edition of Le Devin du Village, which has added greatly to an appreciable understanding of the music of this work.