abstract: Everyday Arias for soprano and orchestra was composed largely in Arizona and completed in February 2011. The text was taken from a small collection of the composer's own poetry referencing her memories of life in rural Mississippi. Everyday Arias endeavors to elevate these prosaic experiences and settings to art, expressing the everyday as beautiful and worthy of artistic treatment. The primary compositional model for this work was Samuel Barber's Knoxville: Summer of 1915, but other influences included Charles Ives, Aaron Copland, Benjamin Britten, and Dominick Argento. Barber's and Argento's musical treatment of prose style seemed particularly appropriate to the goals of Everyday Arias. Ives and Copland used hymn tunes both to evoke certain associations of worship and as sources of interesting material. The vocal writing of all five composers was influential, but the orchestration techniques for winds are largely a product of studying Ives and Argento, while many string gestures are more obviously tied to Britten and - more historically - Debussy.The primary motive that weaves through the work features an ascending major second followed by a descending perfect fourth, in a long-short-long rhythmic pattern. As a melodic fragment, the motive is often inverted to a descending-ascending pattern, or distorted slightly by expanding the second interval to a perfect fifth, or used in retrograde. The motive was derived from the first measure of the melody "Toplady" (1830) by Thomas Hastings, better known as the hymn "Rock of Ages." In the first movement, the motive is used most frequently in sequences. The second movement treats the motive as a melodic element and as a unit in ostinati. The final movement humorously transforms it into a syncopated gesture to evoke ragtime. / Dissertation/Thesis / D.M.A. Music 2011

This thesis explores the musical world and the song compositions of eighteenth-century Sutherland Gaelic bard Rob Donn MacKay (1714-1778). The principal focus is musical rather than literary, aimed at developing an analytical model to reconstruct how a non-literate Gaelic song-maker chose and composed the music for his songs. In that regard, the thesis breaks new ground in at least two ways: as the first full-length study of the musical work of Rob Donn, and as the first full-length musical study of any eighteenth-century Scottish Gaelic poet. Among other things, it demonstrates that a critical assessment of Rob Donn merely as a “poet” seriously underestimates his achievement in combining words and music to create a whole that is greater than the sum of its parts. The study also illustrates how widely melodic material circulated in eighteenth-century Scotland through aural transmission, easily crossing between languages and between instrumental and vocal music. The thesis includes a musical biography, a review of sources and commentary on Rob Donn, an introduction to relevant theoretical concepts in ethnomusicology and related fields, and a survey of eighteenth-century Scottish music, followed by several chapters analyzing the music of one hundred songs by topic (elegies; social and political commentary; love, courtship and weddings; satire and humor; and praise, nature and sea songs). The study shows that Rob Donn borrowed tunes for 67 of these songs from earlier sources (45% from Gaelic song, 25% from Scots song, 12% from English or Irish song, and 18% from instrumental tunes). It then provides evidence that he composed the melodies of 33 songs, examining in detail how he adapted earlier musical models and created musical settings to reinforce aspects of his poetic message. It also analyzes the musical features of all 100 songs, providing charts summarizing their vocal range, musical meter, scales and tonality. The thesis is accompanied by two appendices, one containing 121 musical settings of the 100 songs, and the other containing their complete texts with English translations (most translated here for the first time).

I denna uppsats undersöks hur ett konceptuellt album skrivs samt produceras med analyser av tre existerande konceptuella album i pop/indiepoprock genre som underlag. I arbetet utforskas hur specifika konceptuella parametrar så som text, struktur samt sound kan appliceras på det egna musikskapandet samt hur det påverkar arbetsprocessen. Det undersöks vilka svårigheter som uppkommer med att arbeta efter specifika konceptuella parametrar samt hur väl låtarna fungerar både i och utanför det konceptuella upplägget. Resultatet blir sju egenskriva låtar till ett konceptuellt album och i diskussionen analyseras konceptualitet som begrepp.

Submitted by ELISÂNGELA MARIA OZÓRIO null (profelisma@gmail.com) on 2018-02-26T21:53:59Z No. of bitstreams: 1 Tese A canção de Renato Russo uma poética da utopia e da distopia.pdf: 1212556 bytes, checksum: 870cdc1aef8fc439da97df0b8705bc19 (MD5) / Approved for entry into archive by Elza Mitiko Sato null (elzasato@ibilce.unesp.br) on 2018-02-28T13:27:28Z (GMT) No. of bitstreams: 1 ozorio_em_dr_sjrp.pdf: 1089939 bytes, checksum: 9d64a0f24c386fe1d900a050a9ecc583 (MD5) / Made available in DSpace on 2018-02-28T13:27:28Z (GMT). No. of bitstreams: 1 ozorio_em_dr_sjrp.pdf: 1089939 bytes, checksum: 9d64a0f24c386fe1d900a050a9ecc583 (MD5) Previous issue date: 2018-02-15 / Programa Bolsa Doutorado para Professores da Secretaria de Educação do Estado de São Paulo / As letras das canções escritas por Renato Russo deflagram um olhar crítico e reflexivo para com a existência humana e a vida em sociedade. A voz poética capta os conflitos e mostra, em primeiro plano, a face imperfeita da sociedade e do ser humano: a desigualdade, a ganância, o egoísmo e a falta de liberdade. Como resultado, há o desajuste e a sensação de não pertencimento, gerando no sujeito desconforto. A face imperfeita representada na canção de Renato Russo constrói um tipo de real que se contrapõe à volição do eu poético, que confessa o desejo de edificar uma nova sociedade, na qual haja a reintegração da igualdade, da solidariedade, da compaixão e da liberdade. O desejo despertaria o amor, a partilha e o senso de coletividade e formaria o sonho de perfeição, onde o homem seria plenamente feliz, o que representaria o real perfeito. A partir dessas constatações sobre as canções de Renato Russo, podemos afirmar que as representações de um real imperfeito e de um sonho perfeito corresponderiam à imagem da distopia e à imagem da utopia, respectivamente. Para embasar nosso raciocínio, elegemos como fonte de pesquisa teórica sobre a imagem da utopia Thomas More (2015) e Beatriz Berrini (1997); e sobre a imagem da distopia Russel Jacoby (2007) e Martim Vasques da Cunha (2012). As leituras foram ampliadas com outros autores, como Nelson Levy (2012), Teixeira Coelho (1985), Miguel Abensour (1990) e Fredric Jameson (2005) que também ajudaram a perceber que tais conceitos – de utopia e de distopia – não podem ser compreendidos de modo antagônico e estanque. Neste estudo analítico-reflexivo das canções de Renato Russo, escolhemos o álbum Dois (1986) para verificarmos a coexistência de ambos os conceitos. Além disso, o embasamento crítico-literário e musical esteve atrelado aos ensinamentos, respectivamente, de Paul Zumthor (1997; 2005; 2007) e Octavio Paz (1982), e de Paul Friedlander (2008) e Arthur Dapieve (2004; 2006). / The lyrics written by Renato Russo deflagrate a critical and reflexive look to the human existence and life in society. The poetic voice captures conflicts and shows, in the first place, the imperfect face of society and human being: inequality, greed, egoism and lack of freedom. As a result, there is the misfitting and the feeling of not belonging, generating one’s discomfort. The imperfect face represented on Renato Russo’s songs build a type of real thing that counterposes against the volition of the poetic self, who confesses the desire of building a new society, where there is the reintegration of equality, solidarity, compassion and freedom. The desire would wake loving, sharing and collectivity sense and would form the dream of perfection, in which the man would be fully happy, what would represent the perfect real. From these findings about Renato Russo’s songs, we can affirm that the representations of an imperfect real and of the perfect dream would correspond to the image of the dystopia and to image of the utopia, respectively. To support our reasoning, we chose as a source of theoretical research about the image of utopia Thomas More (2015) and Beatriz Berrini (1997); and about the image of dystopia Russel Jacoby (2007) and Martim Vasques da Cunha (2012). The readings have been enlarged with another writers, like Nelson Levy (2012), Teixeira Coelho (1985), Miguel Abensour (1990) and Fredric Jameson (2005) who also helped realizing that such concepts – utopia and dystopia – can not be understood in an antagonistic and tigh mannner. In this analytical-reflexive studying of Renato Russo’s songs, we have chosen the record Dois (1986) to check the coexistence of both concepts. Besides that, the critical-literary and musical basis was linked to teachings, respectively, from Paul Zumthor (1997; 2005; 2007) and Octavio Paz (1982), and of Paul Friedlander (2008) and Arthur Dapieve (2004; 2006).

Orientador: Profa. Dra. Martha Herr / Banca: Prof. Dr. Ângelo José Fernandes / Banca: Profa. Dra. Adriana Giarola Kayama / Banca: Prof. Dr. Luiz Ricardo Basso Ballestero / Banca: Profa. Márcia Aparecida Baldin Guimarães / Resumo: Este trabalho defende a valorização da canção brasileira como material para ensino do canto no Brasil, procurando eliminar preconceitos associados a este repertório, que é por vezes considerado inadequado por professores de canto para a abordagem da técnica vocal no canto lírico. A argumentação demonstra que a canção brasileira pode ser, para os falantes de português brasileiro, como língua materna, o veículo mais apropriado para o ensino de procedimentos técnicos vocais, seja para alunos de nível básico, intermediário ou avançado. A pesquisa fundamenta-se em bibliografia específica da área de fisiologia da voz e pedagogia vocal, bem como em textos relacionados a processos cognitivos e diferentes modelos de emissão vocal. Um conjunto de 40 canções brasileiras de diversas épocas e autores é coligido com o objetivo de demonstrar seu potencial pedagógico, sendo este organizado por critério de crescente dificuldade técnica, visando contemplar todas as faces do desenvolvimento técnico do cantor. Os textos das canções recebem traduções formais e literais para o inglês, para facilitar o acesso a estas canções por cantores falantes de outros idiomas. As partituras das canções são acrescentadas de transcrições fonéticas, que têm o intuito de demonstrar possíveis caminhos de organização poética e de pronúncia dos textos, baseados na experiência artística e pedagógica do autor. Informações complementares e indicações interpretativas acompanham cada canção / Abstract: This study aims to defend the use of Brazilian song as material for the teaching of singing in Brazil, seeking to eliminate biases associated with this repertoire which is sometimes considered inappropriated by singing teachers to teach the vocal technique. The argument shows that Brazilian song can be, for native speakers of Brazilian Portuguese, the most appropriate vehicle for the teaching of vocal technical procedures for students at basic, intermediate or advanced levells. The study is based on bibliographic research in the area of the vocal physiology and pedagogy of singing, as well as in texts related to cognitive process and different models of vocal production. A total of 40 Brazilian songs from various eras and authors is selected in order to demonstrate the pedagogical potential, organized by gradual increasing of thechnical difficulty, and aiming to address of technical development of the singer. The texts of the songs receive formal and literal translations into English, to facilitate access to these songs by singers who speak other languages. The scores of the song are include phonetic transcriptions, which demonstrate possible ways of organization and phonetic pronunciation of the texts, based on the artistic and pedagogical experience of the author. Additional information and interpretive guidelines accompany each song / Doutor

The diploma thesis is focused on dealing with young learners in children choirs, it targets on problems that can appear within the work with choirs and how to solve these problems. The first chapter offers historical overview for reader's idea of what did the chorister look like from Middle Ages to present. I deal with the causes why children don't sing in the second part nowadays. The third chapter is aimed at chorister of České Budějovice. The inteviews with choirmasters of the most famous children choir of this city are added to this part. The fourth, wide chapter is dedicated to the work in choir and is divided into couple of parts, which bears on the contents of the thesis. I allude to necessities the child has to pass if wants to devote to chorister, and I addict on problems connected with chorister. I analyse the factors which from my point of view affects basic and other activities of choirs in the final part.

abstract: The Concerto for Oboe and String by Ralph Vaughan Williams is often described as a pastoral work without any consideration for what makes that an accurate description. This paper outlines the connections to English folk song that create what are considered the pastoral qualities in the work. Vaughan Williams' relationship with English folk song, as collector and arranger, is well-documented, as is his advocacy for their use in compositions. By the time he wrote the Oboe Concerto at the end of his career, folk song elements had completely infused his compositional style. The Oboe Concerto shares many stylistic traits with English folk song. These stylistic elements: mode, melodic structure, form, and rhythm and meter are first analyzed in terms of English folk song, then how these features are utilized in the Oboe Concerto. Another connection to English folk song is in the manner of accompanying the Concerto. Vaughan Williams had firm opinions on how to accompany folk songs and wrote many sample accompaniments, which bear a marked resemblance to the accompaniment for the Oboe Concerto. The same is true for the accompaniment he wrote for a specifically folk song-inspired work, the Six Studies in English Folk Song for Violoncello and Pianoforte. Specific examples from both works are compared to the Concerto accompaniment. Finally, several motives and melodic figures found in folk songs included in the Penguin Book of English Folk Songs, which was edited by Vaughan Williams, are also found in the Oboe Concerto. An understanding of the use of English folk song elements and specific quotes in the Oboe Concerto, as well as the folk song-style treatment in accompaniment provide concrete evidence of the pastoral quality prevalent in many works of Vaughan Williams. Not only can this support a well-informed and more rewarding performance of the Oboe Concerto, but the same analysis can be applied to many of his other works as well, in addition to the works of a generation of English composers whose style he influenced. / Dissertation/Thesis / D.M.A. Music 2013

O trabalho propõe uma leitura da obra de Paulinho da Viola à luz da tradição da lírica ocidental, da Filosofia e da Literatura. / This dissertation is about the relation between the songs of Paulinho da Viola and the tradition occidental, the philosophy and literature.

Submitted by Juliana Tregnago (julianatregnago@gmail.com) on 2018-06-25T15:06:33Z No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) TESE. ELIAS SOUZA FARIAS. Versão Final.pdf: 2063828 bytes, checksum: 5e7ec5344e439625315bb8194f9bb470 (MD5) / Approved for entry into archive by Divisão de Documentação/BC Biblioteca Central (ddbc@ufam.edu.br) on 2018-06-26T14:17:40Z (GMT) No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) TESE. ELIAS SOUZA FARIAS. Versão Final.pdf: 2063828 bytes, checksum: 5e7ec5344e439625315bb8194f9bb470 (MD5) / Approved for entry into archive by Divisão de Documentação/BC Biblioteca Central (ddbc@ufam.edu.br) on 2018-06-26T14:30:21Z (GMT) No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) TESE. ELIAS SOUZA FARIAS. Versão Final.pdf: 2063828 bytes, checksum: 5e7ec5344e439625315bb8194f9bb470 (MD5) / Made available in DSpace on 2018-06-26T14:30:21Z (GMT). No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) TESE. ELIAS SOUZA FARIAS. Versão Final.pdf: 2063828 bytes, checksum: 5e7ec5344e439625315bb8194f9bb470 (MD5) Previous issue date: 2017-06-29 / CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The song is formed by a fabric of sounds, words, images and rhythms that stimulates the experience of beauty and propitiates the construction of knowledge. Through these threads and webs, listening to the song makes the imagination flow, opens streams of aesthetic perceptions, and raises the thought to the highest degree of poetic sensibility. Chains of emotional reactions are opened in each context of listening. The dialogue between the songwriter, the song and the listener form a web of meanings. The principles of complex thinking are essential references for understanding this process. They sharpen the capacity for understanding the dialogical circularity inherent in knowledge and its relations. To think of complexity requires the assumption of coexistence between existential dimensions that are apparently disconnected, such as reason and emotion, body and mind. The poetic thinking of the songwriters and the representations and transcendences of their songs are subtleties that only the multidimensionality of art can offer. Precisely for this reason, a thinking capable of perceiving the complex whole of the human being is indispensable for the understanding of the intercurrences that affect the relations and associations between the real and the imaginary, and the rational and the poetic. Based on the assumption that all the complexity inherent in man and his connections with life and world fit poetically in the song, this research proposed to reflect on the Amazonian conception present in the poetic thought derived from the sonority and the poetic text of the songs produced in the Amazon. The study presupposes the existence of a man, a place, a context and an imaginary created to reflect on their interconnections. Nature, man, society and the contours of its cultural complexity in the Amazon are the scene of the reflection presented here. From the work and the artistic trajectory of the composers Adelson Santos and Celdo Braga and the analysis of the lyrics and the musical constitution of their songs, we sought the understanding of the perceptions and the created imaginary about the region, through a study that considers the production process, the creative process, the incidental musical genres, and the types of poetic-musical narratives proposed by the songwriters. The set of information, ideas and concepts about the song, the Amazon and the complexity of their interactions aim to subsidize the understanding of the poetic thought created on the Amazonian culture through music. / A canção é formada por um tecido de sons, palavras, imagens e ritmos que estimula a experiência da beleza e propicia a construção de saberes. Por meio desses fios e teias, a escuta da canção faz fluir a imaginação, abre fluxos de percepções estéticas e eleva o pensamento ao mais alto grau sensibilidade poética. Abrem-se cadeias de reações emocionais em cada contexto da escuta. O diálogo entre o cancionista, a canção e o ouvinte formam uma trama de significados. Os princípios do pensamento complexo são referenciais essenciais para o entendimento deste processo. Eles aguçam a capacidade de compreensão da circularidade dialógica inerente aos saberes e suas relações. Pensar a complexidade exige a assunção da coexistência entre dimensões existenciais que aparentemente estão desconectadas, tais como a razão e a emoção, o corpo e a mente. O pensamento poético dos cancionistas e as representações e transcendências de suas canções são sutilezas que só a multidimensionalidade da arte pode oferecer. Exatamente por isso, um pensar que seja capaz de perceber o todo complexo do ser humano é indispensável para a compreensão das intercorrências que incidem nas relações e associações entre o real e o imaginário, entre o racional e o poético. Partindo do pressuposto de que toda a complexidade inerente ao homem e suas conexões com a vida e com o mundo cabem poeticamente na canção, esta pesquisa propôs-se a refletir sobre a concepção de Amazônia presente no pensamento poético proveniente da sonoridade e do texto poético das canções produzidas no Amazonas. O estudo pressupõe a existência de um homem, um lugar, um contexto e um imaginário criado para refletir sobre suas interconexões. A natureza, o homem, a sociedade e os contornos de sua complexidade cultural na Amazônia são o cenário da reflexão que aqui se apresenta. A partir da obra e da trajetória artística dos compositores Adelson Santos e Celdo Braga e da análise das letras e da constituição musical de suas canções, buscou-se o entendimento das percepções e do imaginário criado sobre a região, por meio de um estudo que considera as condições de produção, o processo criativo, os gêneros musicais incidentes e os tipos de narrativas poético-musicais propostas pelos cancionistas. O conjunto de informações, ideias e conceitos sobre a canção, a Amazônia e a complexidade de suas interações têm por finalidade subsidiar o entendimento do pensamento poético criado sobre a cultura amazônica por meio da música.

A questão da identidade é um dos temas mais estudados e debatidos no mundo globalizado. Neste cenário, a discussão em torno da identidade nacional ocupa lugar de destaque. Na pesquisa de doutorado intitulada \"A Questão Identitária Alemã Refletida Em Canções\", partimos da constatação empírica de que o tema identitário é algo recorrente nas letras de canções alemãs. Com base nesta observação, elaboramos a tese de que a presença da relação \"identidade x alteridade\" na canção alemã é reflexo de uma problemática identitária manifestada na própria sociedade daquele país, em decorrência das inúmeras transformações observadas em dois séculos de sua história. Para investigar o fenômeno, montamos um corpus constituído de 100 canções alemãs, compostas no período entre 1810 e 2010. A análise do corpus foi dividida em quatro grupos, cada um deles fazendo referência a um espaço de tempo específico da História alemã, a saber: a Alemanha entre 1810 e 1933, a Alemanha durante do regime nazista (1933-1945), a Alemanha do pós-guerra e, por fim, a Alemanha reunificada. Iniciamos a análise de nosso corpus detectando o modo como a relação identidade x alteridade era abordada nos textos das canções, de modo a que viéssemos a detectar padrões identitários característicos. De posse dos dados obtidos pela análise do corpus do estudo, estabelecemos a comparação com a narrativa histórica alemã do mesmo período. A comparação nos mostrou haver correlações entre os padrões manifestados nos textos das canções e ocorrências históricas, de modo a concluirmos que eles possuem origem em aspectos políticos, culturais e sociais da Alemanha. O resultado de nossas análises foi a constatação de que a presença do tema nas canções se deve ao fato de que o discurso identitário alemão precisar ser constantemente reforçado e comunicado aos sujeitos, uma vez que, ao longo do espaço de tempo analisado, a própria ideia de nação alemã sofreu inúmeras transformações. Como base teórica da pesquisa, adotamos os modelos e as ferramentas de análise da Semiótica, em especial a Semiótica do Discurso, assim como elementos da musicologia, como o conceito de paisagem sonora (Murray Schafer) / The question of identity is one of the most studied and debated issues in the globalized world . In this sense, the discussion about national identities occupies a prominent place. In the research entitled \"A Questão Identitária Alemã Refletida Em Canções\" (The Question of German Identity Reflected In Songs \" we start from the empirical observation that the identity is a recurring theme in the lyrics of German songs . Based on this observation, we developed the thesis that the presence of the relationship \"identity x otherness\" in German song reflects an identity problem manifested itself in the society of that country, due to the many changes observed in two centuries of its history . To investigate this phenomenon, we set up a corpus of 100 German songs , composed in the period between 1810 and 2010. The analysis of the corpus was divided into four groups, each one referring to a specific time of the German history, namely Germany between 1810 and 1933, Germany during the Nazi Regime (1933-1945), Germany postwar and, finally, the reunited Germany. We begin the analysis of our corpus detecting how the relationship \" identity x otherness \" was addressed in the texts of the songs , so that we were to detect patterns characteristic of identity . Having the data obtained by analysis of the corpus, we establish a comparison with the German historical narrative of the same period. The comparison showed us that there are correlations between the patterns manifested in the texts of the songs and historical events, in order to conclude that they have origin in political , cultural and social aspects of Germany. The result of our analysis was the finding that the presence of the theme in songs is due to the fact that German identity discourse needs to be constantly reinforced and communicated, because German nation has undergone numerous transformations . As theoretical basis of the research , we adopt the models and analysis tools of semiotics, in particular of the Discourse Semiotics, as well as elements of musicology, as the concept of soundscape ( Murray Schafer )