Cláudio Santoro (1919-1989) compôs, ao todo, quatorze sinfonias ao longo de toda a sua vida. A Primeira Sinfonia para duas orquestras de cordas (1940), além de possuir uma formação instrumental curiosa, também representa uma das obras inaugurais de sua primeira etapa como compositor, procurando ao lado de Koellreutter, novos paradigmas para a composição musical de seu tempo, tendo influenciado uma geração de compositores brasileiros. Este trabalho pretendeu desenvolver uma atenta e inédita análise da Primeira Sinfonia de Cláudio Santoro, procurando demonstrar sobre qual estética atonal, sendo ela dodecafônica ou livre, a obra foi escrita. Além da identificação sugerida, propõe-se também a averiguação de possíveis hibridismos estéticos que podem ter ocorrido na Primeira Sinfonia de Santoro. A análise atenta dos movimentos que constituem essa obra, utilizando métodos como a Teoria dos Conjuntos desenvolvido por Allen Forte, a Teoria dos Contornos Musicais de Robert Morris e a relação parcimoniosa entre diferentes coleções tal como proposto por Dmitri Tymoczko, nos permitiu identificar alguns processos pós-tonais, que indicam influencias de autores como Claude Debussy, Paul Hindemith e Heitor Villa-Lobos no primeiro movimento Allegro Majestoso da Primeira Sinfonia de Santoro. A manutenção de algumas sonoridades como a coleção pentatônica, a escala de tons inteiros e a coleção acústica, são alguns dos indícios que nos permite identificar tais influencias na obra de Santoro. No segundo movimento Andante quasi adagio, podemos observar um processo serial tradicional, que se desenvolveu a partir de duas séries que se relacionam. Tal apontamento foi possível a partir do método da identificação e contagem serial, tal como proposto por autores como Kostka e Francolí. No terceiro movimento, observamos uma estrutura que é engendrada a partir de coleções simétricas como a coleção eneatônica e a escala octatônica paradigmática, além de outras formatações simétricas que ocorrem a partir de sobreposições entre camadas, procedimento que também é encontrado na obra de Villa-Lobos. Nesse sentido, a Primeira Sinfonia para duas orquestras de cordas de Cláudio Santoro, foi engendrada através de procedimentos pós tonais considerados livres e sistêmicos, sendo possível observar hibridismos estilísticos nesta obra. / Cláudio Santoro (1919-1989) composed, in all, fourteen symphonies throughout his life. The First Symphony for two stringed orchestras (1940), in addition to possessing a curious instrumental formation, also represents one of the inaugural works of his first stage as composer, looking alongside Koellreutter, new paradigms for the musical composition of his time, having influenced a generation of Brazilian composers. This work developed a complete, attentive and unpublished analysis of the First Symphony of Claudio Santoro, trying to demonstrate on which atonal aesthetic, being it dodecaphonic or free, had written the work in question. Besides the suggested identification, it is also proposed the investigation of possible aesthetic hybridity that may have occurred in the First Symphony of Santoro. The careful analysis of the movements that constitute this work, using methods such as the Theory of Sets developed by Allen Forte, Robert Morris\'s Theory of Musical Constraints and the parsimonious relation between different collections as proposed by Dmitri Tymoczko allowed us to identify some post Which indicate influences by authors like Claude Debussy, Paul Hindemith and Heitor Villa-Lobos in the first Allegro Majestic movement of the First Symphony of Santoro. The maintenance of some sonorities such as the pentatonic collection, the whole-tone scale and the acoustic collection are some of the indications that allowed us to identify such influences in Santoro\'s work. In the second Andante quasi adagio movement, we can observe a traditional serial process, which developed from two series that relate, such an approach was possible from the method of serial identification and counting, as proposed by authors such as Kostka and Francolí. In the third movement, we observe a structure that is generated from symmetrical collections such as the eneatonic collection and the paradigmatic octatonic scale, as well as other symmetrical formations that occur from overlaps between layers, a procedure that is also found in the work of Villa-Lobos. In this sense, the First Symphony for two chord orchestras by Claudio Santoro was conceived through postural procedures considered free and systemic, being possible to observe stylistic hybrids in this work.

Orientador: Stelamaris Rolla Bertoli / Dissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Engenharia Civil, Arquitetura e Urbanismo / Made available in DSpace on 2018-08-23T06:13:27Z (GMT). No. of bitstreams: 1 Maiorino_AlexandreVirginelli_M.pdf: 20810001 bytes, checksum: 874af06d3cad4ebebbbda0ac07b75cd5 (MD5) Previous issue date: 2013 / Resumo: A construção de Teatros para Múltiplo uso tem se tornado cada vez mais comum devido à necessidade de abrigar diversos tipos de espetáculos em um único espaço. Para adequar à acústica destes espaços para a música orquestral é necessário o uso de elementos que possibilitem a variação acústica do espaço como é o caso de conchas de orquestra. O principal objetivo das conchas de orquestra é melhorar a acústica no palco para os músicos e para o maestro, melhorando a sensação de conjunto e fazendo com que os músicos ouçam melhor seus instrumentos e o grupo em geral. Entretanto, a concha de orquestra pode também melhorar o desempenho acústico da área da platéia. A hipótese deste trabalho foi o de analisar a diferença do desempenho acústico percebido na área da platéia devido à inclusão de uma concha de orquestra no palco de um teatro de múltiplo uso. Medições acústicas foram realizadas em cinco diferentes tipos de montagem da concha de orquestra no palco. As medições foram feitas de acordo com a norma ISO 3382-1 (2009). Os parâmetros acústicos medidos foram o Tempo de Reverberação, Tempo Inicial de Decaimento e Índice de Clareza. Os resultados mostraram que a concha de orquestra pode de fato mudar o desempenho acústico na área da platéia, modificando a percepção acústica subjetiva do ambiente / Abstract: The construction of multiple use theatres is becoming more common due to the need to accommodate different kinds of performances at the same space. In order to acoustically adequate this space to concert music, the inclusion of an orchestra shell becomes necessary. The main objective of an orchestra shell is to improve the acoustic quality on stage, both for musicians and for the conductor. The goal is to improve balance of the group allowing musicians to hear themselves and the orchestra better. However, the orchestra shell can also improve the acoustic quality for the audience. The objective of this study was to analyze the difference of the acoustic performance perceived at the audience area with the inclusion of a lightweight orchestra shell with diffuse surface in a proscenium theatre. Acoustic measurements were done in five different assembles of the orchestra shell. Measurements were done using the impulse response technique according to ISO3382-1 (2009). Measured parameters were Reverberation Time, Early Decay Time and Clarity index. Results showed that the orchestra shell can in fact modify the acoustic performance at audience area, changing the subjective acoustic perception of the space / Mestrado / Arquitetura e Construção / Mestre em Engenharia Civil

In the Old Testament there are many references to musical instruments and each one performs its own specific function. Especially in the Psalms we come across quite a few musical instruments. What is very obvious is the vast amount of references to musical instruments in Psalm 150. In the entire Psalms the most references are made to musical instruments in Psalm 150. The question of this study is: What role did the musical instruments play in the composition of the Psalms? The many references to musical instruments in the Psalms are compared to the other references made to them in the rest of the Old Testament. The psalms in which the musical instruments are mentioned, are discussed and sheds light on how the musical instruments are dispersed in the Psalms’ composition. Recent studies on the composition of the Psalms are also discussed. Every musical instrument that occurs in the Psalms is discussed and with the help of iconographic illustrations it is shown how the musical instruments might have looked. A literary analysis of Psalm 150 helps to argue that this psalm is the final doxology and grand finalé of the Psalms. The studies about the musical instruments’ role in the Psalms shows that the musical instruments build up to a crescendo in the Psalms. The Psalms end with a tremendous grand finalé in Psalm 150. The Psalms is regarded in this study as a great musical composition (a symphony) and the entire symphony orchestra is spread throughout the whole of Psalms. At the end of Psalms the whole symphony orchestra plays together and every one and everything that is created by God is called upon to praise and worship the Lord. / Dissertation (MA (Ancient Languages))--University of Pretoria, 2005. / Ancient Languages / unrestricted

Robert Schumann's D-minor Symphony endured harsh criticism during the second half of the nineteenth century because of misunderstandings regarding his compositional approach to the genre of the symphony; changes in performance practices amplified the problems, leading to charges that Schumann was an inept orchestrator. Editions published by Clara Schumann and Alfred Dörffel as well as performing editions prepared by Woldemar Bargiel and Gustav Mahler reflect ideals of the late nineteenth century that differ markedly from those Schumann advanced in his 1851 autograph and in the Symphony's first publication in 1853. An examination of the manuscript sources and the editions authorized by Schumann reveals that he imbued the Symphony with what he called a "special meaning" in the form of an implied narrative. Although Schumann provided no written account of this narrative, it is revealed in orchestrational devices, particularly orchestration, dynamics, and articulation, many of which have been either altered or suppressed by later editors. A reconsideration of these devices as they are transmitted through the authorized sources permits a rediscovery of the work's special meaning and rectifies long-standing misperceptions that have become entrenched in the general literature concerning Schumann in general and the D-minor Symphony in particular.

This study explores Sibelius's last and, perhaps, most enigmatic Symphony from historical (source-critical), Schenkerian, and transtextual perspectives. Through a detailed study of its genesis, musical architecture, and meaning, the author maintains that the Seventh, its composer, and its generative process, can best be understood as a series of verges: conceptual points of interaction between two or more forces. Verges between Sibelius's nature mysticism and the dramatic biographical circumstances of the period (1914-1924), between inspired and reasoned modes of composition, between genres (symphony and fantasy), between various form types, between tragic despair and hopeful yearning, between innovation and classicism, and between a host of other seeming oppositions, all define the Seventh Symphony and illuminate various facets of the composer's life and thought.

Since the 18th century, composers have utilized the symphony to communicate thoughts and ideas through the vehicle of a large ensemble composed of a variety of instrumental colors. Though the structure of the symphony has understandably been subject to the varied interpretations of composers over the past 300 years, several characteristics of the traditional symphony do seem to have stood the test of time. In this document, the recent developments of the American symphony for wind band is discussed, focusing on the ways in which recent works both adhere to and divert from the traditional understanding of the classical symphonic form and highlighting the resurgence of the form by wind band composers. For the purposes of this study, David Dzubay's Symphony No. 2: Through a Glass Darkly, James Stephenson's Symphony No. 2: Voices, Donald Grantham's Symphony No. 2: After Hafiz, and Kevin Walczyk's Symphony No. 4: Unforsaken are used to demonstrate how each composer writes in their own unique style using contemporary techniques, while still appearing to maintain traditional aspects of the symphonic form, whether consciously or subconsciously. For each of the four works, a structural analysis is conducted using a rubric of standard symphonic norms. Additionally, interviews were conducted with each composer, providing insight on their compositional process, the commissioning process, and their thoughts on the symphonic form for wind band. The responses each composer gave during their interviews is incorporated into the analysis of each work, allowing the composer's own voice to supplement the findings.

Paul Robert Fauchet's Symphonie pour Musique d'Harmonie, known in the United States as Symphony in B-flat, is a four-movement composition spanning nearly thirty minutes in length and written in the style of the late romantic composers. Despite its place as one of the first symphonies for wind band, a performance of the piece that represents the composer's 1926 orchestration is difficult due to the inclusion of instruments that are no longer in common practice, including bugles, alto horns, and saxhorns. Later American editions of the work by James Robert Gillette (1933) and Frank Campbell-Watson (1948/1949) replaced these instruments, but also took several other liberties with orchestration and voicing. The primary purpose of this study was the creation of a performance edition of the Symphony for modern wind band that is accessible to a larger audience of performers and listeners. The method involved in creating the modern edition eliminates errors of extant editions and clarifies a number of the discrepancies surrounding the symphony's multiple publications. This edition attempts to retain the composer's voicing and orchestration choices. To accomplish this, the present project considered where modern instrumentation differed from the original sources and attempted to balance timbral similarities between those instruments, while also considering ease of comprehension for a modern ensemble to perform the work. Sources used to create this edition included all published editions of scores and parts, as well as a newly created full score of the 1926 printed parts. The study concludes with the inclusion of the full score of the new performance edition.

Muzio Clementi's symphonies were first performed in London between 1786 and 1796. After an extended hiatus from 1796 to 1813, his symphonic works appeared on programs again from 1813 to 1824. Clementi's career as a symphonist corresponds closely with trends in London's concert life. The reception of Clementi's symphonies during his lifetime has frequently been misinterpreted by scholars who oversimplify the use of "science" in musical discourse of the day and fail to consider the positive connotations of this adjective, so frequently applied to Clementi. Musical discourse at the time addressed the science and art of music emphasizing a composition, or its composer's, science, harmony, effects, genius, and the audience's response. Though an unstated ideal, reviews evince a preference for balancing scientific and artistic display. Reviews of Clementi's symphonies suggest he initially struggled to balance the technical and artistic qualities of his compositions but succeeded, according to reviews, in finally doing so in 1796. After his early efforts, Clementi was consistently praised as worthy to stand among the current and most prestigious composers of the continent: Haydn and Mozart initially, and Beethoven and Rossini later.

Theme of diploma thesis is „Music scene“ - a concert hall for city of Brno. Thesis consists of architectural study of concert hall including foyer, functional and service spaces. Capacity of Hall is 724 spectators divided in three floors of auditorium and can host up to 85 of orchestral musicians and 50 members of choir. Concept makes architectural study, which respect surrounding buildings but creates interesting space.

This thesis is focused on choral traditions in the city of Karlovy Vary. It maps music and social life in the city from the 19th century to the present, including some of the major personalities in music. It also concentrates on all the important choir bodies that were or still are active and which were important for the cultural life of the city. Emphasis is placed primarily on the Karlovy Vary Choir, the longest-performing choir in the city, including all choirmasters who participated in the running and artistic leadership of the choir. Memories of the oldest members of the choir, emeritus or still active, are also incorporated. At the end of the thesis, the repertoire of the choir and the pictorial attachment are presented.