In the art of song composition, American composer Samuel Barber was the perfect storm. Barber spent years studying under superb instruction and became adept as a pianist, singer, composer, and in literature and languages. The songs that Barber composed during those years of instruction, many of which have been posthumously published, are waypoints on his journey to compositional maturity. These early songs display his natural inclinations, his self-determination, his growth through trial and error, and the slow flowering of a musical vision, meticulously cultivated by the educational opportunities provided to him by his family and his many devoted mentors. Using existing well-known and recently uncovered biographical data, as well as both published and unpublished song juvenilia and mature songs, this dissertation examines the importance of Barber's earliest musical and academic training in relationship to his development as a song composer.

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A canção popular conquistou, desde o início do século XX, uma significativa importância na sociedade brasileira. Sua presença cultural marcante pode ser constatada, atualmente, pela grande quantidade de publicações acadêmicas dedicadas ao assunto, ligadas às mais diversas áreas do conhecimento. Nesta pesquisa, estudaremos a relação entre a composição e a linguagem oral, adotando a abordagem da semiótica da canção desenvolvida por Luiz Tatit (teoria que sistematiza os processos específicos da canção vislumbrando-a como linguagem artística autônoma). Pretendemos, por meio da análise de exemplos (bem como mediante a atividade de recriação linguística e melódica de alguns deles), elucidar os diferentes graus de presença da fala na canção e as diferentes formas de oralização. Examinaremos as suas sutis nuances entoativas a partir de três patamares de análise (a sílaba, a palavra e a frase), tentando esquadrinhar esse misterioso encontro entre a sua letra e a sua melodia. / Popular song has obtained an important role in Brazilian culture since the beginning of the 20th century. Nowadays, it is widely recognised across various disciplines of academia. Based on the song semiotics theory developed by Luiz Tatit (a systematisation of songwriting concepts and practices in which song is considered an independent artistic language, separate from poetry and music), this study intends to analyse the relationship between song composition and oral speech. Drawing on the analysis and re-creation of some examples, we want to study the different levels of oral language in song. The focus of this thesis is to observe these nuances of speech through three linguistic levels: syllable, word and phrase. Results obtained from this inquiry will help us to understand the mysterious combination of lyrics and tunes.

Este trabalho tem como objetivo analisar o rap a partir da perspectiva teórica da semiótica da canção, abordagem desenvolvida por Luiz Tatit em seus estudos desde a década de 1980. Amparado por princípios da semiótica francesa de Greimas e Zilberberg, o autor propõe ferramentas específicas de análise e define o verdadeiro trabalho artístico do compositor popular: a formação de unidades entoativas plausíveis a partir da combinação entre uma melodia e uma letra. No processo de estabilização sonora que o canto produz em contraposição à instabilidade da fala, três procedimentos de compatibilização entre o texto linguístico e a linha melódica estão presentes: a figurativização, a tematização e a passionalização. Estudaremos a linguagem do rap a partir desses três procedimentos, observando de que modo as questões históricas e o seu papel social atual se relacionam com a sua forma estética particular. / This research aims to analyse the genre of rap within the theoretical framework of semiotics of songs developed by Luiz Tatit since the 1980s. Based on principles of Greimass and Zilberbergs French semiotics, Tatit proposes specific theoretical tools to analyse songs and defines the artistic work scope of popular composer: to produce a credible relation between melody and lyric. According to him, through the process of sound stabilization that is produced by chant in opposition to the instability of speech, there are three possible compatibility procedures: figurativização, tematização, and passionalização. The genre of rap has been studied considering this analytics method and its social role and historical questions in relation to its particular aesthetical structure.

Thesis (Ph.D.)--Boston University / PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis or dissertation. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you. / This dissertation introduces the solo songs of two major Finnish composers, Toivo Kuula and Leevi Madetoja, and their position in Finland's living tradition of song. That this last may be understood, a survey of the song in Finnish history has been made. Of the many composers who have made significant contributions to modern Finnish solo song literature, Toivo Kuula and Leevi Madetoja have been chosen because their lives were parallel in many respects. They were both born in the same geographic area, Ostrobotbnia, Kuula in 1883 and Madetoja in 1887. They both studied in France at the beginning of this century and were influenced to some extent by French impressionism, and through the years their lives and music had many points of contact. This study begins with an overview of the lives and styles of the two composers. This is followed by a review of Finnish history and literature, a knowledge of which will give the reader more understanding of the development and significance of the country's music. The information concerning Finnish history and literature has been taken largely from secondary Finnish sources, many of which have not previously been available in English translation. For the study of the music, all of the songs were obtained fran the library of the Sibelius Academy in Finland and from private sources [TRUNCATED] / 2031-01-01

Este trabalho tem como objetivo analisar o rap a partir da perspectiva teórica da semiótica da canção, abordagem desenvolvida por Luiz Tatit em seus estudos desde a década de 1980. Amparado por princípios da semiótica francesa de Greimas e Zilberberg, o autor propõe ferramentas específicas de análise e define o verdadeiro trabalho artístico do compositor popular: a formação de unidades entoativas plausíveis a partir da combinação entre uma melodia e uma letra. No processo de estabilização sonora que o canto produz em contraposição à instabilidade da fala, três procedimentos de compatibilização entre o texto linguístico e a linha melódica estão presentes: a figurativização, a tematização e a passionalização. Estudaremos a linguagem do rap a partir desses três procedimentos, observando de que modo as questões históricas e o seu papel social atual se relacionam com a sua forma estética particular. / This research aims to analyse the genre of rap within the theoretical framework of semiotics of songs developed by Luiz Tatit since the 1980s. Based on principles of Greimass and Zilberbergs French semiotics, Tatit proposes specific theoretical tools to analyse songs and defines the artistic work scope of popular composer: to produce a credible relation between melody and lyric. According to him, through the process of sound stabilization that is produced by chant in opposition to the instability of speech, there are three possible compatibility procedures: figurativização, tematização, and passionalização. The genre of rap has been studied considering this analytics method and its social role and historical questions in relation to its particular aesthetical structure.

Stress has long lasting effects on physiology, development, behavior, reproductive success and survival. These effects are mediated by glucocorticoids, such as corticosterone (Cort), via glucocorticoid receptors (GR), though the exact mechanisms underlying these effects are unknown. Early developmental stress affects the size of the avian song control nuclei (particularly HVC; proper name) and song quality in many songbirds, suggesting a direct link between brain and behavior. HVC is required for song learning and production. The complexity of the male zebra finch (Taeniopygia guttata) courtship song is important in female mate choice. Although the mechanisms behind the effects of developmental stress on song nuclei size and song quality are unknown, it is likely that elevated levels of Cort via GR within brain song nuclei play a significant role. We investigated the distribution, quantity, and subcellular-localization of GR- immunoreactive (GR-ir) neurons in the brains of male zebra finches 10 days post-hatch and in adulthood using immunohistochemistry. There was wide distribution of GR-ir neurons including two song nuclei HVC and robust nucleus of the arcopallium (RA). Distribution did not vary between the two ages but there were significant differences in the overall number of GR-ir neurons and their subcellular localization. We hypothesized that early Cort treatment would reduce song quality and HVC size in adult males. We inserted Cort implants in males at four days post-hatch and quantified the effects of early Cort treatment on adult song quality. Early Cort treatment decreased song similarity between the tutor and tutee’s songs and resulted in poorer copies of tutor song, but did not alter mean amplitude or song duration. Early Cort treatment reduced the HVC size in both juvenile and adult birds. This result suggests that the effect of developmental stress on the HVC size may be mediated through Cort via activation of GR within HVC as a mechanism by which HVC size and song quality are altered in developmentally stressed birds. These results suggest a potential role for Cort in mediating adverse effects of developmental stress in adult male zebra finches and highlight the developmental plasticity of the zebra finch brain.

Dissertation (D.M.A.)--The University of North Carolina at Greensboro, 2010. / Directed by Carla LeFevre; submitted to the School of Music. Title from PDF t.p. (viewed Jul. 14, 2010). Includes bibliographical references (p. 29-30).

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