Thesis (D.M.A.)--University of Texas at Austin, 1999. / Vita. Includes bibliographical references (leaves 295-299). Available also in a digital version from Dissertation Abstracts.

Diss.--Cologne, 1995. / Bibliogr. p. 470-486.

Thesis (D.M.A.)--University of Maryland, College Park, 2006. / Compact discs.

The purpose of this study is to define the French sonatina of the twentieth century, to expose those works which are most suitable for concert performances, and to provide a resource for teachers and performers. Of the seventy-five scores available to the writer, five advanced-level piano sonatinas of the twentieth century were chosen as the best of those by French composers, in attractiveness and compositional craftsmanship: Maurice Ravel's Sonatine (1905), Maurice Emmanuel's Sonatine VII (1926), Noel Gallon's Sonatine (1931), Alexandre Tansman's Troiseme Sonatine (1933), and Jean-Michel Damase Sonatine (1991). The five works were analyzed, with a focus on compositional techniques used to create unity in the work.

"Composing for the pianotrio" is Anton Dromberg’s degree project at the jazz institution of the Royal College of Music in Stockholm, where his field of study is jazz piano. The text is centered around the composing process, specifically focused on the harmonic aspects of his music, with the purpose of developing his composing abilities as well as his artistic voice in general. For inspiration and as a manner of improving his general harmonic knowledge he has been studying two books: "Romantikens harmonik" written by music theorist Jörgen Jersild and "The theory of harmony" written by the great 20th century composer Arnold Schönberg. The way of examining the degree project was to record the songs he written in the studio of The Royal College of Music. In the text’s introduction Anton explains his musical background and the purpose of this degree project. After that he explains his method of composing in general and why he chose the particular way of composing. He then goes on to talk about the two books he chose to study and explains their contents briefly. The next section is the largest section of the degree project, in which he explains the specific compositional process of each individual song. Here he goes into detail regarding the harmonic, rhythmic and melodic structure of his songs, illustrated with examples from the sheet music. After that section Anton explains the rehearsal process and the general planning that went into preparing for the recording session. He then talks about the recording itself and reflects on each song individually. The last section of the degree project is his reflections on the project as a whole, explaining what he learned and his general thoughts on how he followed up on the projects original purpose.

Submitted by Luiza Kleinubing (luiza.kleinubing@udesc.br) on 2018-03-08T17:27:06Z No. of bitstreams: 1 RAÍSA FARIAS SILVEIRA.pdf: 5235146 bytes, checksum: 50251aba3821222a74c2433a01184120 (MD5) / Made available in DSpace on 2018-03-08T17:27:06Z (GMT). No. of bitstreams: 1 RAÍSA FARIAS SILVEIRA.pdf: 5235146 bytes, checksum: 50251aba3821222a74c2433a01184120 (MD5) Previous issue date: 2016-06-22 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / In general, mediation is a recurrent issue when talking about Radamés Gnattali, even if it is not directly referred to. In this study the issue has been called into the foreground, in an intent to recognize the ways in which this mediatorial trait is expressed in the choros for solo piano entitled Manhosamente, Canhoto and Negaceando, all of them composed in the 1940s. Considering that Radamés is not an isolated case in Brazilian music, nor in music produced in the West as a whole, this study proposes a discussion about the impact of the development of mass media in the transition from the 19th to the 20th century, using Jacques Attali’s “Noise: The Political Economy of Music” (2003 [1977]) and Jesús Martín-Barbero’s “Dos meios às mediações: comunicação, cultura e hegemonia” (2009 [5ªedição]) as main references. Roberto Schwarz’s studies on national identity in the work of the Brazilian writer Machado de Assis have also been used as reference. His studies present an alternative to recurrent concepts of Brazilian nationalism, particularly that of musical nationalism coined within the modernist movement in the beginning of the 20th century, whose main mentor was Mário de Andrade. Whilst on the one hand romantic nationalism was characterized through the choice of nationalistic themes and modernist nationalism in the assimilation of material derived from folklore, the kind of nationalism which we identified in Radamés refers primarily to processes of cultural mediation. / Em linhas gerais, a temática da mediação está sempre presente quando o assunto é Radamés Gnattali, mesmo que de forma indireta. Nesta investigação propomos colocar o tema em primeiro plano, buscando reconhecer de que forma este caráter mediatório se manifesta no repertório por ele composto, mais especificamente nos choros para piano solo, Manhosamente, Canhoto e Negaceando, datados da década de 1940. Partindo do princípio de que Radamés não seria um caso isolado dentro da música brasileira, tampouco dentro dos fluxos de produção musical a nível do ocidente como um todo, a pesquisa coloca em diálogo as leituras sobre o impacto do desenvolvimento dos meios de comunicação massivos na transição do século XIX para o século XX propostas por Jacques Attali no livro Noise: The Political Economy of Music (2003 [1977]), e por Jesús Martín-Barbero, no livro Dos meios às mediações: comunicação, cultura e hegemonia (2009 [5ªedição]). Soma-se a estas duas referências a proposta de identidade nacional reconhecida pelo crítico Roberto Schwarz em análises sobre obra de Machado de Assis. Seus estudos nos interessam como alternativa aos conceitos correntes de nacionalismo, particularmente o de nacionalismo musical cunhado no âmbito do movimento modernista do início do século XX, cujo principal mentor foi Mario de Andrade. Enquanto, por um lado, o nacionalismo romântico caracterizava-se pela escolha da temática e o nacionalismo modernista na assimilação de materiais oriundos do folclore, o tipo de nacionalismo que identificamos em Radamés refere-se prioritariamente a processos de mediação cultural.

Submitted by Luiza Kleinubing (luiza.kleinubing@udesc.br) on 2018-03-15T16:47:08Z No. of bitstreams: 1 LUCAS FARIAS SILVANO.pdf: 3001093 bytes, checksum: 464ecef816f89c03209f6728d3c51053 (MD5) / Made available in DSpace on 2018-03-15T16:47:08Z (GMT). No. of bitstreams: 1 LUCAS FARIAS SILVANO.pdf: 3001093 bytes, checksum: 464ecef816f89c03209f6728d3c51053 (MD5) Previous issue date: 2016-03-21 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This work investigates the process of learning and memorizing the repertoire by four young students from the extension program “Piano Excellence Center” from the University of Santa Catarina´s State. The research aims to evaluate the applicability of performance cues, proposed by the cognitive science and music psychology researcher Dr. Roger Chaffin, as a teaching resource in the instrument´s education. The subjects were divided in a control group and another experimental group which used the performance cues as a musical mapping tool. The teenagers attended to piano classes during the semester taught by the author of this research with the goal of learning a musical piece and perform it by memory in a public recital. Through the classes observation, analysis of the interviews and the assessment of the recital performed by the subjects, it´s possible to affirm that the performance cues had a positive role in the organization and categorization of the musical elements, contributing with a better awareness and fluency in the performance. / O presente trabalho investiga o processo de aprendizado e memorização do repertório por quatro jovens estudantes do projeto de extensão ?Núcleo de Excelência Pianística? da Universidade do Estado de Santa Catarina. A pesquisa visa avaliar a aplicabilidade dos guias de execução, propostos pelo pesquisador da área das ciências cognitivas e psicologia da música, Dr. Roger Chaffin, como recurso didático no ensino do instrumento. Os sujeitos foram divididos em um grupo de controle e outro experimental que utilizou os guias de execução como uma ferramenta de mapeamento musical. Os jovens participaram de aulas de piano ao longo do semestre ministradas pelo autor da pesquisa com o objetivo de aprender uma obra e executá-la de memória em uma apresentação pública. Através da observação das aulas, análise das entrevistas e avaliação do recital realizado pelos sujeitos, é possível afirmar que os guias tiveram um papel positivo na organização e categorização dos elementos musicais, contribuindo para uma maior conscientização e fluência na performance.

Resumo: Esta pesquisa tem a finalidade de determinar um modo de pensar, a preparação e a performance de canções para voz e piano, conforme a metodologia proposta por Deborah Stein e Robert Spillman em Poetry into Song: Performance and Analysis of Lieder. A preparação da canção "Alma minha gentil" de Glauco Velásquez, com dois cantores diferentes, teve como base o estudo da poesia, da música e dos aspectos relacionados especificamente à performance. O compositor e sua contextualização histórica são estudados, incluindo um catálogo de suas 32 canções para voz e piano. São estudados a forma e o conteúdo do poema, assim como os aspectos musicais, incluindo análise formal, a melodia, a harmonia e o ritmo musical. São discutidos aspectos interpretativos para ambos os intérpretes, incluindo nuances de dinâmica, timbre e estilos vocal e pianístico. A performance da canção "Alma minha gentil" é apresentada, em formato de CD, como resultado dos aspectos discutidos. Mesmo que aplicado especificamente a uma canção, o método desenvolvido pode ser aplicado ao estudo de qualquer outra. Em anexo encontram-se cópias manuscritas e digitalizadas da canção "Alma minha gentil" e o CD que apresenta duas versões da canção em performance. / Abstract: This study seeks to determine a study method for reflections about the preparation and performance of songs for voice and piano. Following the suggestions proposed by Deborah Stein and Robert Spillman in Poetry into Song: Performance and Analysis of Lieder. Through study of the poetry, the music and aspects related specifically to performance, the preparation of the song "Alma minha gentil" by Glauco Velásquez with two different singers was used the basis of study. The composer and his historical context are studied, including a catalogue of his 32 songs for voice and piano. The form and content of the poem are studied at length. Musical aspects, including formal analysis, melody, harmony and musical rhythm, are investigate. Interpretative aspects for both permormes are discussed, including dynamics and their nuances, vocal timbre, vocal and pianistic style. A performance of the song "Alma minha gentil" is presented in CD format as a result of the aspects discussed above.Although applied apecifically to one song, the method developed can be applied to the study of any other song. Attached are copies in manuscript and digital form of "Alma minha gentil" and CD which presents the two versions of the song in performance. / Orientador: Martha Herr / Coorientador: André Rangel / Banca: Giacomo Bartoloni / Banca: Ricardo Ballestero / Mestre

No description available.

abstract: In addition to his many other works, Russian-American composer Leo Ornstein (1893-2002) contributed a substantial body of literature for cello and piano, including Sonata No. 1 (1915-1916), Sonata No. 2 (circa 1920), Composition No. 1 (date unknown), Two Pieces (date unknown), and Six Preludes (1930-1931). His cello music is an eclectic mix of twentieth-century Neoromantic and atonal styles. This study includes a recording of the complete works for cello and piano by Leo Ornstein and a description of the music that details the formal procedures and how the cello and piano relate to one another. The discussion offers extensive musical examples in support of the descriptions. The recording was completed at the Banff Centre for the Arts in Alberta, Canada (October 2009), with R. Nicolas Alvarez, cello, in collaboration with pianist Keith Kirchoff. Andre Shrimski produced and edited the recording. / Dissertation/Thesis / Six Preludes, Prelude III / Six Preludes, Prelude IV / Six Preludes, Prelude V / Six Preludes, Prelude VI / Composition No. 1 / Sonata No. 1, Mvt.1 / Sonata No. 1, Mvt.2 / Sonata No. 1, Mvt.3 / Sonata No. 1, Mvt. 4 / Sonata No. 2 / Two Pieces, No.1 / Two Pieces, No.2 / Six Preludes, Prelude I / Six Preludes, Prelude II / D.M.A. Music 2013