Orientador: José Eduardo Fornari Novo Junior / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-26T09:39:14Z (GMT). No. of bitstreams: 1 Maior_GilberCesarSouto_M.pdf: 4570844 bytes, checksum: a39fee03bfd2e3d21d8559746a53d208 (MD5) Previous issue date: 2014 / Resumo: A música armorial é à vertente musical do Movimento Armorial, termo cunhado por Ariano Suassuna que se refere ao fenômeno de origens e dimensões multiculturais, surgido na região Nordeste do Brasil e que promoveu a criação de um gênero musical singular, através da recriação de elementos da música popular e erudita, contidos nas músicas tradicionais ibéricas, dos cantos religiosos introduzidos por jesuítas, da influência africana e indígena. O Movimento apresentou uma sonoridade única que pode ser percebida tanto pelo ouvinte perito quanto pelo ouvinte leigo. Pretendeu-se, com este trabalho, por meio da análise musical e computacional, considerando a evolução histórica que culminou com o evento, identificar os aspectos que são característicos à música armorial mediados pelos princípios da Gestalt. A metodologia utilizada foi a análise musical de peças armoriais e a análise computacional de aspectos acústicos dessa sonoridade amparadas por princípios gestálticos. Os resultados obtidos permitem concluir que a utilização de tais princípios gestálticos correlacionando a análise musical com a computacional aponta para a possibilidade de novas investigações sobre aspectos musicais característicos onde a utilização de descritores musicais apresentam resultados interessantes que abriram perspectivas para novos meios de análise da sonoridade característica de gêneros musicais peculiares, como é o caso da música armorial / Abstract: The Armorial music refers to the musical aspect of the Armorial Movement, a term coined by Ariano Suassuna, which refers to the phenomenon of multicultural origins and dimensions, appeared in Northeastern Brazil and promoted the creation of a singular musical genre, by rebuilding elements of popular and classical music, contained in the Iberian traditional music, the hymns introduced by the Jesuits, the African and Indian influence. The Movement presented a unique sound that can be perceived both by the expert listeners as the lay listener. It was intended with this work, through musical and computational analysis, considering the historical developments that led to the event, identify the aspects that are characteristic to the music armorial mediated by Gestalt principles. The methodology used was the musical analysis of armorial pieces and a computational analysis, supported by the Gestalt principles studied. The results indicate that the use of these principles shows the possibility of new way of looking for musical aspects, and the use of computational descriptors gave us some satisfactory results and opened new perspectives for verifying means of audio files / Mestrado / Processos Criativos / Mestre em Música

Nocturnal op. 70 is one of the most important large-scale works written for guitar in the twentieth century. Brief biographical data and some background information on Nocturnal show how it exemplifies Britten's compositional approach. The focus of the analysis is on three structural aspects: the rhythmic, the intervallic, and the aspect of underlying pitch patterns. The rhythmic analysis discusses the distortion of rhythmic patterns by the use of compression, expansion, elisions, syncopation, and rhythmic dissonance. The pitch set analysis discusses the intervallic character of the work, identifying and correlating set types as they form networks of relationship. The reductive analysis discusses the underlying connections of focal pitches in the linear material of Nocturnal. The conclusion then correlates the results of the preceding analyses, discussing the large-scale unfolding of the form in Nocturnal.

Several late eighteenth-century keyboard composers indicated that some of their works were written specifically for the clavichord, as opposed to the harpsichord or pianoforte. This demand was indicated by a composer's commentary, remarks made by a contemporary, or by Bebung and Tragen der Tone indications in the music. The thesis examines selected works of C.P.E. Bach, Johann Eckard, Nathanael Gruner, Johann Hassler, Christian Neefe, F.S. Sander, and Daniel Tt*rk, and discusses elements of the music that seem particularly suited to clavichord performance. These elements are Bebung, Tragen der TOne, finely nuanced dynamic indications, certain types of melodic writing, and a thin textural composition.

In comparing oratorio traits across history, three aspects of oratorio were found to be particularly applicable to the creation of "Deborah: A Chamber Oratorio in One Act." These aspects were: the selection of topic and the creation or adaptation of text; the differences between recitative and aria, in form and function; and the level of stylistic diversity within a given work.

The lecture was given on September 25, 1989. The discussion dealt with the stylistic characteristics of music for clarinet by Ernesto Cavallini and included a performance of four romanzas: La Calma, Un Pensiero, L'Incudine, and Lontano dalla Patria. Cavallini was the foremost clarinet virtuoso of the nineteenth century as well as a prolific composer of music for his instrument. The works presented in the lecture represent Cavallini's proclivity for a performance style combining virtuosity with lyrical expression. Copies of the original publications of Cavallini's romanzas were obtained from the Biblioteca del Conservatory, "Giuseppi Verdi," Milan, Italy. In addition to the lecture recital, three other recitals for solo clarinet were given. The first recital was given on October 29, 1984, and included works by Carl Maria von Weber, Leslie Bassett, Halsey Stevens, and Carl Reinecke. The second recital was given on July 29, 1985, and included works by Bernard Heinrich Crusell, Halsey Stevens, and Johannes Brahms. The third recital was given on October 3, 1988, and included works by Saviero Mercadante, Eugene Bozza, and John Ireland. All four recitals were recorded on magnetic tape and are filed, along with the written version of the lecture materials, as a part of the dissertation.

This research is an investigation of how the lullaby, which is often viewed as purely a simple and pretty song, is a multifaceted vocal tradition that carries historical and cultural significance. As an exploration of how sociocultural factors impact the emotions expressed and the stories told in lullabies, this research encourages deeper examinations of lullaby texts in relation to the historical, cultural, and social aspects reflected in their textual themes. Through the close analysis of text and music of folk and art song lullabies, I propose that the lullaby's function extends beyond putting a baby to sleep; the further roles of the lullaby encompass cultural connections and therapeutic functions for both the parent and child. As a result of these sociocultural considerations, dialogue exists between the lullaby text and its music that do not always match the song's primary intent to provide peace and comfort.

The purpose of this thesis is to isolate the techniques presently being used by composers and to define and explain these techniques. The thesis concludes with a series of studies based on these twentieth-century compositional techniques for high school students in the form of warm-up and technique materials. The purpose of this study was to devise a sequence of studies designed to acquaint band members with twentieth-century composition techniques found in contemporary band literature.

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