Orientador: Denise Bértoli Braga / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-26T23:42:54Z (GMT). No. of bitstreams: 1 Gribl_Heitor_D.pdf: 5355564 bytes, checksum: e759ff99c896cdf85a02156ac41c3cc3 (MD5) Previous issue date: 2014 / Resumo: O presente trabalho apresenta um estudo de caso com alunos de Ensino Fundamental e Médio a partir da elaboração de uma proposta de ensino interdisciplinar destinada à produção de uma Radioblog. Visando o processo de geração de dados, a pesquisa propõe e descreve em detalhes uma atividade pedagógica que foi implementada em dois estudos empíricos consecutivos, envolvendo alunos de escola uma pública e de uma particular. Durante a pesquisa empírica, os participantes da pesquisa foram orientados a refletirem a respeito de seus gostos musicais e das relações existentes entre a influência da mídia e a formação de suas identidades culturais. Além disso, os jovens participantes tiveram a oportunidade de discutir questões relativas à diversidade cultural e a maneira pela qual os jovens se relacionam com diferentes linguagens e tecnologias em suas práticas culturais e durante atividades de leitura, de escuta e de produção escrita e oral. Os resultados empíricos indicam que a produção de podcast é uma alternativa promissora para incorporar um trabalho educativo com música em sala de aula. Os dados obtidos revelam que esse tipo de atividade oferece espaços interessantes para uso de tecnologias digitais em práticas de ensino, oportunidades novas para estímulo de leitura e produção de texto, além de instigar reflexões sobre critérios estéticos de apreciação artística e proporcionar vivências e trocas entre a diversidade cultural que é constitutiva do contexto de sala de aula / Abstract: This work presents a case study with students of primary and secondary education from the elaboration of a proposal for interdisciplinary teaching for the production of a radioblog. Support the process of data generation, the research proposes and describes in detail an educational activity implemented by two consecutive empirical studies, involving students from a public school and a private. During the empirical research, the researcher asked the participants to reflect about their musical tastes and the relationship between media influence and the formation of their cultural identities. In addition, young participants had the opportunity to discuss issues relating to cultural diversity and the way young people relate to different languages and technologies in their cultural practices and during reading, listening, written composition and oral production activities. The empirical results indicate that the production of podcast is a promising alternative to incorporate educational work with music in the classroom. The data show that this type of activity provides for interesting use of digital technologies in teaching practices, new opportunities for stimulating reading and text production spaces, besides instigating reflections on aesthetic criteria of artistic appreciation and provide experiences and exchanges between cultural diversity that constitutes the context of the classroom / Doutorado / Linguagem e Tecnologia / Doutor em Linguística Aplicada

In spite of an increasing interest in the analysis of Renaissance music by contemporary theorists, few analyses of lute music exist. It is hoped that this thesis will serve to open a new area of analysis to scholars of Renaissance music. Chapter I deals with the background information necessary for the analysis, including Dowland's biography, lute history, technique, and notation, and the practice of modality on the lute. An overview of Dowland's music, especially the solo lute music, ends the chapter. Chapter II traces the form and development of the fantasia and surveys Dowland's seven fantasias. In Chapters III-V, the works are divided according to mode and analyzed in terms of counterpoint, dissonance, motivic development and modality. Chapter VI provides concluding remarks.

This study focuses on temporal aspects of the music of Krzysztof Penderecki and deals with these on the level of textural activity. The analyses are based on a referential idea called a "discrete sound event," defined as an occurrence of a sound or collection of sounds which, as a unit, is distinct from the surrounding texture. These sound events are then used to appraise textural activity from layer fluctuation and composite density. The pieces selected for applying these techniques are the Threnody to the Victims of Hiroshima, from 1960, the Fluorescences, from 1961, and the 1965 Capriccio for oboe and strings.

Charles Valentin Alkan (1813-1888), one of the great genii in music history, was widely misunderstood by his contemporaries because of his highly idiosyncratic ideas. From the perspective of the late twentieth century, his innovations can be better understood, and his music is now gaining wider appreciation. Yet, today many musicians still do not know even his name, much less his achievements. The year 1988 marks the one hundredth year since his death. In commemoration of this centennial anniversary, this thesis is presented as a plea for a greater awareness of the achievements of this important figure in the development of piano music.

These four sonatas of William Flackton (1709-1798) are probably the earliest collection of sonata literature written for the viola. They exist with a few other string sonatas from the Baroque period in England. It is essential to establish their place in English baroque music and to develop a performance milieu or stylistic preference that leads up to and lasts through the time span of Flackton's sonatas. The final tool to establish an interpretive plan will be to present a general analysis of the four sonatas with special emphasis on the D major sonata (opus 2, no. 4).

The musical developments of the 20th century have expanded the role of the accompanist. As the compositional output of our time increases, and the opportunity to perform as soloist with an orchestra diminishes, piano reductions of an orchestral score are becoming the most frequent vehicle for concerto performances of twentieth and twenty-first century instrumental literature. While the current state of research provides solid support to many accompanists, it is in the area of instrumental accompanying, especially with regard to the challenges of playing a reduction of an orchestral score with an instrumental soloist, that the lack of discourse becomes strikingly evident. It is the goal of this study to provide the instrumental accompanist with concrete, practical approaches and considerations in order to perform an orchestral reduction in a manner consistent with the integrity of the score. Problems such as identifying the represented orchestral instruments, delineating importance of musical lines, and basic uses and misuses of pedal, articulation, and rubato are discussed. The pianist is led through ways of deciphering and negotiating specific passages, in order to guide the accompanist through the possible pitfalls and challenges unique to many orchestral reductions. By focusing on twentieth century reductions, providing examples of problems and discussing ways to solve them, the pianist will able to apply these to any reduction encountered, not just those specifically illustrated here. These basic principles of discerning common problems and appropriately reconciling them are then applied in a more advanced form to Robert Nelson's Concertino for Baritone Saxophone (1996). Through commentary from the composer, and a comparison of the orchestral score to the reduced piano score, the accompanist will explore detailed techniques of performing this work in a manner that upholds the original “orchestral” intent of the music.

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This thesis is a critical analysis and creative commentary providing research and insight into my 150-minute multimedia exhibition, "Femininity: Ownership and Power," that premiered October 23, 2021. All of my research, composition, and collaboration efforts seek to recontextualize the semiotics of ‘femininity' through ownership and empowerment from varying intersections and identities. The titles of the eight works composed and premiered as part of the exhibition include: a beautiful reckoning; Dust; Moirai; Gaia; Portrait of the American Woman; Shared, In Balanced Contrast; At My Intersection; and I See You. Also included was #pinkcode, an exhibit that features a fuschia graphic user interface for an interactive modulation synthesis application built in Csound designed to bring femininity into computer music spaces. The musical compositions vary in instrumentation including flute, alto flute, voice, guitar, viola, harp, cajon, vibraphone, live electronics, and fixed media. They also vary in medium including live performance, virtual reality video, music video, audio-reactive TouchDesigner video, immersive text projections, light show, and live dance. Feminist texts by women poets and authors recited by women personally connected to me are also included in the fabric of the musical fixed media of multiple pieces in the thesis exhibition. Collaborators of artistic media including film, digital art, music, and dance include Eboni Johnson, Hannah Ottinger, Cami Holman, Miranda Zapata, and Elijah J. Thomas.

Hendrik Hofmeyr is considered one of the most important and influential living composers in South Africa. His music for solo saxophone is not well-known in the classical saxophone repertoire. His four works for solo saxophone (Concerto per saxofono contralto e orchestra, Concerto per saxofono baritono e orchestra, Partita canonica, and Necromancer) are substantial and terrific repertoire for the instrument. This study is intended to inform a saxophone performer's understanding of these compositions through analysis of form, melodic, and harmonic content relevant to performance; and, demonstrate through example the conclusions determined by the analysis about apparent compositional techniques in the music.

This dissertation is concerned with the relationship between the trumpet and organ in twentieth-century music for this ensemble and how that relationship effects performance with regard to organ registration and synchronization. The compositions discussed include "The Other Voices of the Trumpet," by Daniel Pinkham (1971); "Jericho: Battle Music," by William Albright (1976); "Three Pictures of Satan," by Jere Hutcheson (1975); and "Okna," by Petr Eben (1980). The theoretical writings of Pierre Boulez, Robert Erickson, and Donald Cogan deal with developing a contemporary concept of texture. This dissertation applies their theory that texture exists in two dimensions: vertical and horizontal. Stratification and blending of timbres comprise the vertical dimension. The succession of textures, governed by tempo, creates the second dimension. Chapter I provides an historical setting for the genre, introduces the theory of Boulez, Erickson, and Cogan, and supplies the programmatic content of the four works chosen for analysis. In Chapter II , the vertical elements of texture in these four works are isolated and examined. Chapter III deals with Pierre Boulez's theory that the succession of textures, governed by tempo, shapes the work. Each work is examined with regard to tempo, either mobile (fluctuating) or fixed. In Chapter IV the analysis is related to performance. Stratified textures, fused ensemble timbres, and their horizontal progression present problems for the ensemble in organ registration and synchronization. There are general guidelines given for registration as well as specific registration problems encountered in stratified textures and fused ensemble timbres. Synchronization, or coordination of events is the second challenge presented by the horizontal progression of textures.