Made available in DSpace on 2016-12-08T17:06:42Z (GMT). No. of bitstreams: 1 113289.pdf: 1053134 bytes, checksum: 9927653fda0bb011605fa720b589c1db (MD5) Previous issue date: 2013-04-02 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The consolidated public concerts during the nineteenth century remained the same size, which led to the crystallization of the performer-audience relationship to the present. With the autonomy gained by the composer, its function is separated from the figures performer and the listener, which established a new configuration under the musical season. However, despite the legacy of nineteenth-century tradition in the twentieth century, the Canadian pianist Glenn Gould pointed out new aspects in the unfolding of this relationship. His intense relationship with the studio recording, radio and television, has proposed a different positioning in respect to the figure of the interpreter in relation to his own art and the public. This research is focused on addressing these new designs proposed by Gould, in order to rethink the artistic practice of contemporary pianist. The work is divided into three parts. Chapter 1 is a plot of the historical tradition of concerts, from the end of the eighteenth century to its emergence during the nineteenth century. It also parallels Gould with public concerts and his preference for media (recording studio, radio and television). In chapter 2, is presented in depth about the prospect of Gould presentations in public and also the relationship of the spectator with his interpreter. The last chapter is reflecting about the interpretive process of Gould as an aid to a rethinking of the interpreter today. / Os concertos públicos consolidados durante o século XIX permaneceram com o mesmo formato, o que suscitou a cristalização da relação intérprete-público até a atualidade. Com a autonomia adquirida pelo compositor, sua função se separou das figuras do intérprete e do público, o que estabeleceu uma nova configuração no âmbito musical da época. Contudo, apesar da herança da tradição oitocentista, no século XX, o pianista canadense Glenn Gould apontou novos aspectos no desdobramento dessa relação. Seu vínculo intenso com o estúdio de gravação, o rádio e a televisão, propôs um posicionamento diferente em respeito à figura do intérprete na relação com sua própria arte e com o público. A presente pesquisa tem como foco a abordagem destes novos delineamentos propostos por Gould, com o intuito de repensar a prática artística do pianista contemporâneo. O trabalho está dividido em três partes. No capítulo 1 é um traçado histórico da tradição dos concertos, a contar do final do século XVIII até sua eclosão durante o século XIX. Também é feito um paralelo de Gould com os concertos públicos e sua preferência pelas mídias (estúdio de gravação, rádio e televisão). No capítulo 2, é apresentada de forma aprofundada a perspectiva de Gould acerca das apresentações em público e também da relação do intérprete com seu espectador. O último capítulo reflete acerca do processo interpretativo de Gould, como auxílio para um repensar da prática do intérprete na atualidade.

Made available in DSpace on 2014-12-17T15:06:53Z (GMT). No. of bitstreams: 1 JoseMTJR_DISSERT.pdf: 1250053 bytes, checksum: 1c2730a4bd584ab86c235050f38b5f11 (MD5) Previous issue date: 2011-09-23 / This dissertation aims at investigating the book Ariel (1965), written by Sylvia Plath, as a kind of performative and ritual poetry that fragments and reconstructs the personal experience, manipulating the memory of the autobiographical body as a way to rehearse and restore subjectivity. We propose that, in Ariel, the hyperbolic, transcendent and parodic transfiguration of real episodes, used as literary substance, corrupts and subverts the specular idea of a confessional truth usually related to the writer s work. Our objective is to examine signs of confluence between Sylvia Plath s poetry and performance art, departing from de idea that the spectacularization of the self, the exhibition of private rituals, the theatricalization of autobiographical circumstances and the undressing of one s craziness and vulnerability are mutual procedures to the poet and the perfomer. Simultaneously unfolding between the inside and the outside of the poem, Sylvia Plath s real suicide and the death and rebirth rituals performed in the literary text appear as symbolic elements that might reveal the performer s liminal space, where reality and representation coexist, and where the performative testimony does not frame only the real subject s body but also his/her infinite possibilities of being restored through art. / Esta disserta??o prop?e investigar a escritura do livro Ariel (1965), de Sylvia Plath, como um tipo de poesia perform?tica e ritual que fragmenta e reconstr?i a experi?ncia privada, manipulando a mem?ria do corpo autobiogr?fico como forma de ensaiar e restaurar a subjetividade. Nossa proposta assume que, em Ariel, a transfigura??o hiperb?lica, par?dica e transcendente de epis?dios reais, utilizados como mat?ria liter?ria, subverte e corrompe a id?ia especular de uma verdade confessional habitualmente relacionada ? obra da escritora. Nosso objetivo ? examinar pontos de conflu?ncia entre a poesia de Sylvia Plath e a performance art, partindo da id?ia de que espetaculariza??o do self, a exibi??o de rituais ?ntimos, a teatraliza??o de circunst?ncias autobiogr?ficas e o desnudamento da loucura e da vulnerabilidade do sujeito, s?o procedimentos comuns ? poeta e ao performer. Desdobrando-se simultaneamente entre o dentro e o fora do poema, o suic?dio real da poeta e os ritos de morte e ressurrei??o performados no texto liter?rio afiguram-se como elementos simb?licos capazes de revelar o espa?o liminar do performer, onde o real e a representa??o coexistem, e onde o testemunho perform?tico n?o emoldura apenas o corpo real do sujeito mas suas infinitas possibilidades de restaura??o atrav?s da arte.

Este estudo é uma aproximação ao processo de criação da obra solo de ator. Pretende chamar a atenção acerca do potencial que envolve esse percurso como caminho para a constituição do ator em um sujeito/criador, artista pleno, que participa da criação teatral posicionando-­-se com seu corpo/voz e sua Voz. Partindo de uma experiência, a investigação é um estudo comparativo de cinco casos, experiências de criação de obras solo desenvolvidas na Costa Rica. Vale-­-se de entrevistas em retrospectiva e documentos de processo. Em um primeiro momento proporciona um breve panorama do contexto teatral costarriquenho atual. Apresenta a experiência disparadora e identifica a presença de obras solo nos âmbitos pedagógico, espetacular e de festivais. Apresenta outras abordagens da obra solo e estabelece um diálogo com os principais aportes. No seguinte capítulo examina a experiência disparadora à luz de princípios do Pensamento Complexo e da Crítica do Processo Criador, mostrando as dinâmicas internas e identificando seus elementos constitutivos. Na sequência são expostos os procedimentos de criação identificados como os mais recorrentes e sua presença na experiência gatilho. Os quatro processos restantes são examinados em seguida, com foco nas motivações, procedimentos e ressonâncias. Expõem-­-se ainda as tendências que caracterizam a experiência de criação de um solo de ator. Por fim, uma reflexão sobre o processo solo como experiência do sujeito é proposta como indício de mudanças no teatro costarriquenho contemporâneo e como ponto de partida para repensar a formação do ator. / This study is an approach to the creation process of the solo work of the actor. Intended to raise awareness about the potential that surrounds this resource as a way for the constitution of the actor in a subject/creator, full artist, who participates in the theatrical creation positioning himself as his body/voice and his Voice. From an experience, research is a comparative study of five cases, experiences of creating solo works developed in Costa Rica. Draws on interviews with hindsight and process documents. At first provides a brief overview of the current Costarrican theatrical context. Presents the triggering experience and identifies the presence of solo works in teaching, festivals and spectacular areas. Presents other approaches to solo work and establishes a dialogue with key contributions. The next chapter examines the triggering experience in the light of principles of Complex Thinking and the Critique of the Creator Process, showing the internal dynamics and identifying its constituent elements. Following are exposed creation procedures identified as the most applicants and their presence in the trigger experience. The remaining four cases are then examined, focusing on motivations, procedures and resonances. Still expose trends that characterize the experience of creating a solo actor. Finally, a reflection on the solo process as an experience of subject is proposed as an indication of changes in contemporary Costarrican theater and as a starting point for rethinking the training of the actor.

[pt] O cangaço lampiônico, considerado aqui de 1920 a 1940, se deu entre os vestígios de um sertão arcaico e a incipiência de um sertão moderno. Viveu intensamente a tensão desta transição. Nalguns momentos, paradoxalmente, mostrou-se agarrado ao passado, noutros se lançou sem receios ao futuro e, entre essas investidas guiadas pela violência, pilhagem e vingança da honra maculada, criou uma estética exuberante, afirmativa da vida e moderna. Realizaram uma transgressão de fisionomia arcaizante e transcriaram no sertão os impulsos apolíneos e dionisíacos. Remixaram o arcaico lhe dando ares modernos, e através de intervenções estéticas conferiram a objetos comuns aura e autenticidade. Nos trajes e acessórios, criaram uma moda que ultrapassou os umbrais da indumentária. Na música, incorporaram novas batidas à ritmos tradicionais e criaram o xaxado. Na dança, inovaram com a criação da pisada, dança guerreira e festiva, hoje denominada xaxado. Os cangaceiros se tornaram performáticos de si mesmos. A estética do cangaço influenciou e influencia diversas manifestações artísticas, além de ter se tornado marca cultural da região nordeste do Brasil. / [en] The Lampion cangaço, considered here from 1920 to 1940, it took place between the vestiges of an archaic sertão and the beginnings of a modern sertão. He lived intensely the tension of this transition. At times, he stands himself out clinging to the past, at others he fearlessly launched himself into the future and, among these onslaughts guided by violence, plunder and revenge of the tarnished honor, he created an exuberante, life-affirming and modern aesthetic. They carried out a transgression of archaic physiognomy and transcribed the apollonian and dionysian impulses into the sertão. They remixed the archaic, giving it a modern look, and through aesthetic interventions they gave common objects an aura and authenticity. In costumes and accessories, they created a fashion that went beyond the threshold of clothing. In music, they incorporated new beats to traditional rhythms and created xaxado. In dance, they innovated with the creation of footsteps, a warrior and festive dance, today called xaxado. The cangaceiros became performers of themselves. The cangaço aesthetic has influenced and influences various artistic manifestations, in addition to having become a cultural mark of the northeast region of Brazil.

Master of Landscape Architecture / Department of Landscape Architecture/Regional and Community Planning / Laurence A. Clement / Street musicians and performers attract people to public spaces. These performers, or ‘buskers’ as they are commonly referred, typically congregate along specific streets, parks, plazas, and transit stops in a city. The term pitch describes the place buskers perform. Pedestrian flow, visibility, and acoustics are just some of the factors that street performers consider when selecting a pitch. While performers resourcefully adapt to the challenges of different pitches, public spaces often do little to accommodate performers and their audiences. William Whyte observed how street performances facilitate social interactions between strangers and give character to cities and neighborhoods. Relative Pitch explores where performances occur and how they benefit public places. Case studies of popular busking locations establish a typology of squares, streets, and transit stops. Video clip analysis of street performances demonstrates the spatial relations between performer and audience. Dimensions and observations from these case studies provided insight and information for the application of the typology to proposed sites in Wichita, Kansas. Buskers adapt pitches relative to their physical environment. Point, linear, planar, and volumetric elements define and articulate temporary stages, audience space, and circulation paths during performances. Design proposals for the typology sites in Wichita illustrate how flexible performance spaces can be incorporated in squares, streets, and transit stops. This project looks at ways to activate public spaces by encouraging street performance.

When it comes to the entertainment industry and the live performers these artists are in need of valuable communication strategies in order for them to reach the consumers they would like to reach and gain the success that they want. Although this is a known fact, it is difficult for the artists to know which marketing communication strategies to use and how to use them.  The purpose is to identify international marketing communication strategies for live performers within the entertainment industry. The objective is to demonstrate how the strategies can be used to reach international success. The focus is to look at marketing communication strategies from an artist/company’s point of view and therefore feedback from the consumers will not be covered in this thesis. We have found two alternative strategies for development of international marketing communication for a live performer in the entertainment industry. In both of these strategies it is important to start with creating a valuable network in order to set up clear goals for the marketing communication. The difference between the two strategies is based on whether the live performer is adapted to the target group or if the target group is adapted to the live performer

Undergraduate students who double major in music performance and music education often face issues with identity perception unlike those of their single-major counterparts. As they simultaneously develop both identities, double majors cope with additional challenges as they determine who they are and who they hope to become. Some easily adapt to both identities--incorporating values of both majors to create a well-rounded persona--while others struggle to find balance between the two identities. The purpose of this study was to investigate the early stages of performer-teacher identity by examining double majors in various stages of their programs of study who aspire to become a performer and music educator. Using individual and focus-group interviews and e-mail prompts, I investigated the experiences of five undergraduate students majoring in music education and music performance. Participants were asked to describe influences that led them to the double major. They were also asked to consider which of their majors they felt to be more prominent, and how they intended to utilize each major in their future. Participants also described qualities of ideal performers and teachers. They responded to questions regarding training received and perceptions of superiority and inferiority within the school of music. Six themes emerged from the analysis. I found that participants were enveloped in varying degrees of blended musician identity depending on the length of their experience. Participants had been socialized primarily by family and teachers, and secondarily by applied professors and practical experiences. They felt most like performers or teachers when involved in hands-on experiences, and those experiences that were considered in real-life situations were the most helpful in identity development. Participants expressed concerns regarding heavy workloads and their ability to develop adequate skills for success. I also discovered a tendency of participants to cater to the perceptions of those within their environment. Concern for the opinions of others often led to a superiority/inferiority conflict between performance majors and music education majors both within and across applied studios. Implications for music school faculty and music students are included.

Per pastaruosius 5-10 metų Lietuvos kultūrinė rinka susiduria su kaip niekad daug probleminio pobūdžio uždavinių. Tai kultūrinės veiklos ir verslo jungčių bei kultūrinių mainų su kitomis Europos ir pasaulio šalimis pasekmė, kuri smarkiai įtakoja Lietuvos muzikinį gyvenimą. Šiame tiriamajame darbe pristatoma asmeninės vadybos tema, atskleidžiant jos vaidmenį profesionalių muzikos atlikėjų veikloje. Iškeliama dviejų profesijų – muzikos atlikėjo ir vadybininko - jungties, vaidmenų pasiskirstymo problematika. Analizuojami giluminių interviu, anketinės apklausos duomenys, Lietuvos muzikos atlikėjų bei kūrėjų praktikos Lietuvoje ir Europos šalyse, apžvelgiami literatūros šaltiniai šia tema, pristatomos vadybininko pareigybės, agentų darbo savitumai. Darbo tikslas – atskleisti asmeninės vadybos vaidmens profesionalių muzikos atlikėjų veikloje reikšmingumą. Šiam tikslui pasiekti išsikelti uždaviniai: 1. pristatyti asmeninę vadybą teoriniu aspektu – apžvelgti literatūrą asmeninės vadybos tema, išskirti pagrindinius asmeninės vadybos dėsnius; 2. apžvelgti vadybos ir muzikinių įgūdžių derinimo aktualumo apraiškas Lietuvos muzikinėje rinkoje; 3. išaiškinti vadybininko pareigybes, agento darbo savitumą; 4. pristatyti Lietuvos menininkų praktikas, taikant asmeninės vadybos žinias profesionalaus muzikos atlikėjo, kūrėjo veikloje Lietuvoje ir Europos šalyse; 5. pateikti prielaidas, optimalaus santykio tarp vadybos ir meno įgūdžių modelio sukūrimui. Remiantis atliktų tyrimų medžiaga... [toliau žr. visą tekstą] / The Lithuanian cultural market, as never before, has faced many various problematic tasks over last five to ten years. This is a result of ties between cultural activities and businesses as well as cultural exchange with countries in Europe and elsewhere in the world, which is considerably influencing the musical life in Lithuania. This research presents the subject of self-management demonstrating its role in the activities of professional music performers. The issues of the link and the role division between two professions – music performer and manager – are raised. The data obtained from in-depth interviews and questionnaires are analysed, as well as the experience Lithuanian music performers and creators gained inside the country and in European countries; literature about the subject is surveyed; the job of the manager and the peculiarities of the agents’ work are presented. The goal of the study is to demonstrate the importance of the role of self-management in the activities of professional music performers. To achieve this goal the following tasks were undertaken: 1. To present self-management from the theoretical aspect – to survey literature about the subject, and to formulate the main laws of self-management; 2. To survey the importance of the conformity between the expression of management and musical skills in the Lithuanian musical market; 3. To explain the job of management and the peculiarities of the agents work; 4. To present the experience applying... [to full text]

The aim of the thesis is to present the legal framework of the copyright and rights related to copyright to authors and performers of musical work. As a relatively complex issue, in my opinion, it is important for authors and performers as artists to have at least a basic idea of what rights and obligations arise in the process of creation and exploitation of musical works and what legal framework of protection the law provides to them. Moreover, this topic is very close to me because I am myself author and performer of musical works. The first chapter deals with the musical work in terms of its individual components, both from legal and music theory point of view. Considering that the criterion of uniqueness of the copyright work does not exclude the use of parts of other works, I also examine the issue of legal uses of foreign works in the process of the creation of copyright works and the issue of plagiarism. At the end of the first chapter I mention the creation of a copyright work by collaboration of multiple authors (which is typical for musical works). In the second chapter, I introduce to the authors the catalogue of their moral and property rights, focusing on those areas that are relevant to musical works, including the duration of their rights and post-mortal protection. The third...

Por meio da mútua colaboração, compositores e intérpretes sempre buscaram novas maneiras de explorar as possibilidades sonoras, tímbricas e técnicas dos instrumentos. Na música contemporânea, essa busca revela-se principalmente no que chamamos de técnicas estendidas. Este estudo tem como objetivo investigar, sob a ótica da cooperação compositor-intérprete, as técnicas estendidas aplicadas nas obras Vitrais, para fagote, cordas e percussão, composta por Nelson Almeida, e Fantasia, para fagote e piano, composta por Ricardo Brafman. Traça-se um panorama histórico da parceria entre o compositor e o intérprete ao longo da história da música, no qual se discute a importância de todo esse processo colaborativo. Em se tratando da música composta a partir do século XX, como é o caso das peças em questão nesta pesquisa, a metodologia utilizada baseia-se, principalmente, nos trabalhos do compositor italiano Bruno Bartolozzi e do fagotista italiano Sérgio Penazzi, que desenvolveram trabalhos colaborativos nas pesquisas relacionadas às técnicas estendidas. Além disso, por meio dos diálogos, das comunicações pessoais e das entrevistas realizadas pelo autor deste trabalho com os compositores Nelson Almeida e Ricardo Brafman, relatamos todo o processo composicional que envolveu as referidas peças. Ao focar na interpretação das obras, este trabalho traz a análise em duas partes. A primeira, sob o prisma das particularidades individuais das técnicas estendidas aplicadas, tece considerações acerca de dedilhados e das maneiras de execução. A segunda parte destaca os aspectos da forma, do ritmo, do timbre e textura e dos materiais musicais usados. Pela cooperação, obtiveram-se resultados satisfatórios na aplicação das técnicas estendidas utilizadas tanto em Vitrais quanto na Fantasia. Dessa forma, o processo colaborativo mostra-se eficiente como uma ferramenta importante no auxílio da busca do material sonoro esperado pelos compositores. / In their collaborations, composers and performers have always sought to find new ways of exploring musical instruments sonic, timbral and technical possibilities. In contemporary music today, that exploration is noticeable above all in what are called extended techniques. The present study\'s objective is to investigate, from the perspective of composer-performer collaboration, the use of extended techniques in the following works: Vitrais, for bassoon, strings and percussion, composed by Nelson Almeida, and composer Ricardo Brafman\'s Fantasia for bassoon and piano. The study offers a historical view of collaborations between composer and performer throughout the history of western music, and the importance of all this joint work is discussed. The present study focuses on works from the twentieth century; for that reason the methodology employed is based principally on the work of the Italian composer Bruno Bartolozzi, as well as that of the Italian bassoonist Sergio Penazzi. Both undertook collaborative projects in their research relating to extended techniques. In addition, the present study describes the compositional process involved in the aforementioned compositions, by means of dialogue, personal communications and interviews undertaken by the researcher with composers Nelson Almeida and Ricardo Brafman. The interpretation of these works is also discussed here, being analyzed from two perspectives. The first of these involves the specific details of the extended techniques employed; fingerings and means of execution are discussed. The second part highlights those elements of form, rhythm, timbre and texture and musical materials that were used. The collaboration that took place led to satisfactory results in the employment of extended techniques both in Vitrais and in the Fantasia. The collaborative process can thus be seen to be effective as an important tool, aiding in the search for the sonic results desired by the composers.