Orientador: Ricardo Goldemberg / Anexos: 2 CD-ROM / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-15T15:27:49Z (GMT). No. of bitstreams: 1 Pinto_AntonioCarlosNeves_M.pdf: 43661879 bytes, checksum: d02ee94a1f66e452dcc09ceeab02c203 (MD5) Previous issue date: 2004 / Resumo: Este projeto tem por principal objetivo apresentar uma possibilidade de execução para a música sinfônica de influências afro-brasileiras, muito pouco explorada pelos nossos intérpretes. Para tanto foi escolhida, especificamente o "Batuque" da Suíte "Reisado do Pastoreio" do compositor Oscar Lorenzo Fernândez, uma das obras brasileiras de maior riqueza musical e reconhecimento no cenário internacional. Esta pesquisa tem como justificativa a contribuição para o enriquecimento da bibliografia técnica brasileira em práticas interpretativas e também da discografia, através de dois Cds que acompanham esta dissertação, uma vez que faltam materiais de suporte disponíveis para o estudo deste gênero musical. A metodologia constou de: leitura de bibliografia especifica para um estudo das origens do termo batuque, as características das práticas musicais e de danças dos negros afro-brasileiros desde o período colonial, suas transformações até as primeiras décadas do século XX, em seguida um paralelo com a trajetória do compositor e sua produção musical, uma análise formal, uma análise interpretativa e comparativa com mais duas execuções distintas desta peça. Entre os resultados obtidos, contam-se a aplicação de conhecimentos teóricos na prática interpretativa; a contribuição para maior entendimento deste repertorio especifico assim como abertura para uma nova perspectiva à pesquisa musical; além de fornecer material útil para o ensino de música de câmara e de prática orquestral / Abstract: This research had the main object to present a possibility of performing the Brazilian symphonic music formed by afro-Brazilian influences, very little explorered by our performers. For that, was chosen particularly the "Batuque" from Suite "Reisado do Pastoreio" composed by Oscar Lorenzo Fernandez, one of the Brazilian woks full of musical richness and recognition at the international environment. This research had as justification, the contribution for the enrichment of the Brazilian technical bibliography in performing practices and discography through two CDs which join the dissertation, once that there is a lack of support material for the study of this kind of music. The methodology, at first, has consisted of the reading of particularly bibliography about the genesis of the term batuque and the characteristics of the musical practices and the dances of the afro-Brazilian Negroes since the colonial period until their changes during the first decades of the twentieth century. After that a parallel was described between the composer's path and his musical production. At last one formal analysis was made of Lorenzo Fernandez's batuque and one performing and comparative analysis was made between our performance and two different others of this piece. The results of this research showed that the theoretical knowledges were applicable at the performance practice and the contribution for the greatest comprehension of music with afro-Brazilian influences; opening a new perspective for musical research besides making available useful material for teaching chamber music and orchestral music / Mestrado / Mestre em Artes

Orientador: Silvio Ferraz Mello Filho / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-25T18:26:19Z (GMT). No. of bitstreams: 1 Copini_GuilhermedeCesaro_D.pdf: 51797264 bytes, checksum: d20707e4a2222a83fda9ddeed6fbcefd (MD5) Previous issue date: 2014 / Resumo: A presente Tese é resultado de pesquisas realizadas desde 2008. Em 2010 foi concluído Mestrado junto ao Programa de Pós-Graduação em Música da UNICAMP, cujo tema principal foram as reflexões de Gérard Grisey acerca do tempo musical, apresentadas segundos as ideias e conceitos registrados pelo próprio compositor em seus escritos. Após a imersão no seu pensamento composicional viu-se necessário verificar como ele traduziu em música tais estruturas. Assim, o objetivo principal do presente trabalho é averiguar como o compositor construiu suas estruturas musicais, procurando as ressonâncias com sua produção teórica. Para isso foram escolhidas três peças de distintas fases composicionais de Grisey: Tempus ex machina (1979), Talea (1986) e Vortex Temporum (1994-96). Outro objetivo foi encontrar elementos do processo criativo do compositor que tivessem sido influenciados por teorias vigentes na década de 1970, especialmente a Teoria da Informação. A metodologia consistiu no estudo de bibliografia especializada, e na quantificação e análise dos principais elementos estruturais das peças escolhidas. Como resultados podem-se destacar: 1) elaboração de ferramenta de análise segundo taxa de entropia e informação; 2) identificação das estruturas fundamentais das três peças analisadas; 3) composição de peças originais a partir do estudo conceitual. Após o estudo detalhado das três peças verificou-se que as mesmas técnicas de manipulação dos materiais são preservadas ao decorrer da obra do compositor. A novidade se restringe especialmente à maneira como ele organizou formalmente os processos de transformação, atitude motivada pela necessidade de introduzir maior imprevisibilidade em sua música / Abstract: This thesis is the result of a research conducted since 2008. In 2010 was completed a Master Degree at UNICAMP, whose main theme was Gérard Grisey's reflections on musical time, presented according to ideas and concepts by the composer himself in his writings. After immersion in his compositional thinking it became necessary to check how he translated into music such structures. Thus, the main objective of this work is to investigate how the composer has built his musical structures, looking for resonances with his theoretical production. For this three pieces from Grisey¿s distinct compositional phases were chosen: Tempus ex machina (1979), Talea (1986) e Vortex Temporum (1994-96). Another objective was to find elements of the composer¿s creative process that had been influenced by prevailing theories in the 1970s, especially information theory. The methodology consisted in the study of relevant literature, and, quantification and analysis of the major structural elements of the chosen pieces. The results that can be highlighted are: 1) the development of an analysis tool by rate of entropy and information, 2) identification of the fundamental structures of the three pieces analyzed, 3) composition of original pieces based on the conceptual study. After the detailed study of the three parts it was found that the same techniques for handling the materials were preserved throughout the work of the composer. The novelty is restricted especially the way he formally organized the processes of transformation, attitude motivated by the need to introduce greater unpredictability in their music / Doutorado / Processos Criativos / Doutor em Música

Orientador: Silvio Ferraz Mello Filho / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-23T20:53:15Z (GMT). No. of bitstreams: 1 Packer_Max_M.pdf: 48386981 bytes, checksum: a728322300a11cb16e95a42d4267e4c7 (MD5) Previous issue date: 2013 / Resumo: Este trabalho consiste numa etapa de um estudo dedicado ao pensamento composicional de Luciano Berio (1925-2003) e às maneiras pelas quais este pensamento articula o problema da abertura intrínseca à linguagem musical. Tendo em vista a peculiaridade e a abrangência da noção de abertura no pensamento Berio - que contrasta com outras concepções e converge na revisitação criativa de discursos previamente construídos -, propõe-se, aqui, a investigação analítica de um conjunto de obras de diversos períodos de sua trajetória. As noções de latência e ressonância - consideradas numa amplitude que permeia a poética beriana e manifesta-se em diversos níveis de sua elaboração - delineiam um percurso: a construção de enunciados carregados de potenciais que ainda não se encontram plenamente desenvolvidos (latência); a ampliação e o prolongamento de aspectos estruturais selecionados (ressonância); e o desdobramento de suas relações no interior do processo composicional - seja no percurso de uma mesma obra, seja no processo de uma nova composição que reconfigure estes potenciais - (abertura). Ao longo do trabalho, são abordadas as seguintes obras: Sequenza VII (1969); Erdenklavier (1969); Linea (1973); Chemins IV (1975); Sequenza IX (1980); Lied (1983); Ricorrenze (1985-87); Psy (1989); Leaf (1990); Récit [Chemins VII] (1996-2001) / Abstract: This work consists on a step of a study devoted to the compositional thinking of Luciano Berio (1925-2003) and to the ways in which this thought articulates the problem of the intrinsic openness of musical language. Given the uniqueness and the wide range of the concept of openness in Berio's thought - which contrasts with other conceptions and converges in the creative revisitation of previously constructed musical discourses -, it is proposed here the analytic investigation of a collection of works from various periods of his trajectory. The notions of latency and resonance - considered in an amplitude that pervades Berio's poetics and manifests itself on different levels of its development - outline a path: the construction of statements loaded with potentials which are not yet fully developed (latency), the expansion and continuation of selected structural aspects (resonance), and the unrolling of their relations within the compositional process - whether in the course of a same work, whether in the process of a new composition which reconfigures such potentials - (openness). Throughout this work, we approach the following works: Sequenza VII (1969); Erdenklavier (1969); Linea (1973); Chemins IV (1975); Sequenza IX (1980); Lied (1983); Ricorrenze (1985-87); Psy (1989); Leaf (1990); Récit [Chemins VII] (1996-2001) / Mestrado / Processos Criativos / Mestre em Música

Orientador: Rita de Cássia Lahoz Morelli / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas / Made available in DSpace on 2018-08-24T01:17:01Z (GMT). No. of bitstreams: 1 Prado_BrunaQueiroz_M.pdf: 9867787 bytes, checksum: 7b9f3f83d10aeb229550ac7e46daa832 (MD5) Previous issue date: 2013 / Resumo: Há atualmente, na cidade de São Paulo, músicos e pesquisadores que, fazendo uso do termo 'samba paulista' para designar um gênero musical ou uma cultura, frequentemente citam a obra e a trajetória de Geraldo Filme (1927-1995), sambista paulistano considerado por aqueles como um dos mais importantes para a cultura negra e popular do país, sendo os mesmos responsáveis pela acusação de que a indústria fonográfica não teria dado a devida importância ao trabalho deste artista. Esta pesquisa procura, por meio da reconstrução de sua trajetória - com base em narrativas - e da análise de sua obra, apontar para os fatores que determinam a importância do sambista para aqueles que fazem uso de seu nome e do termo 'samba paulista', problematizando este uso / Abstract: There are currently, in the city of São Paulo, musicians and researchers that, making use of the term 'paulista samba' to describe a musical genre or culture, often cite the work and life of Geraldo Filme (1927-1995), considered by then as one of the most important artists to black and popular culture in the country, and they are responsible for the charge that the recording industry would not have given due importance to his work. This research, by reconstructing his life - based on narratives - and analyzing his work, point to the factors that determine the importance of this men for those who make use of his name and of the term 'paulista samba', questioning this use / Mestrado / Antropologia Social / Mestra em Antropologia Social

This work largely concerns the roles of Matthew Locke and Henry Purcell in the history of English keyboard music as reflected in their keyboard suites. Both, as composers of the Restoration period, integrated the French style with the more traditional English techniques--especially, in the case of Purcell, the virginalist heritage-- in their keyboard music. Through a detailed examination of their suites, I reveal differences in their individual styles and set forth unique characteristics of each composer. Both composers used the then traditional almain-corant-saraband pattern as the basis of the suite, to which they added a variety of English country dances. At the same time they modified the traditional dances with a variety of French and Italian idioms, thereby making distinctive individual contributions to the genre.

Dubuisson (fl.1666-c.1685) is the sole French viol player-composer between Nicolas Hotman (1613-1663) and Le Sieur de Sainte-Colombe (d.c.1700) whose works are extant. His four suites from a Library of Congress manuscript (1666) are the oldest dated French music for the bass viol; his approximately 125 pieces are contained in five manuscript sources. This thesis brings together, for the first time, all the music from the five sources for study and analysis. Together with the few biographical details, this material is used to assess his position within the French viol school. Brief histories of the viol and the suite in France precede a discussion of Dubuisson's contributions to the evolution of the genre.

Orientador: Mauricy Matos Martin / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-27T04:27:50Z (GMT). No. of bitstreams: 1 Bark_JamilMamedio_M.pdf: 18908239 bytes, checksum: 311473bf0005a81afba812f42e81476b (MD5) Previous issue date: 2015 / Resumo: O presente trabalho tem como principal objetivo realizar um estudo analítico e interpretativo das Variações para Fagote e Orquestra de Alceo Bocchino. Para introduzir e contextualizar a pesquisa, apresenta no Capítulo I levantamento biográfico da vida do compositor e do intérprete Noël Devos, a quem a peça foi dedicada, e considerações sobre o Fagote e a forma `Tema e Variações¿. O Capítulo II focaliza a obra. Inicialmente apresenta o contexto histórico da composição e da orquestração, e considerações sobre análise, interpretação e performance. Segue com a análise musical da obra através das técnicas desenvolvidas por Arnold Schoenberg, Wallace Berry e Joaquín Zamacois, e com o estudo interpretativo a partir da abordagem de Sonia Albano de Lima. Do estudo analítico-interpretativo são levantadas informações a respeito da linguagem utilizada na composição, relações recorrentes entre as Variações, bem como sobre a utilização de elementos específicos da técnica do fagote. De acordo com essa investigação analítica, estão indicadas sugestões sobre a execução da obra, apontando aspectos relevantes da interpretação. A conclusão reúne informações essenciais obtidas da análise efetuada, da entrevista realizada com o compositor e com o intérprete no Rio de Janeiro, e de suas orientações a respeito da execução da obra. Em anexo se encontram a partitura editada e revisada, a transcrição da entrevista e a gravação do DVD da obra, todas realizadas pelo autor desta pesquisa / Abstract: The main objective of the present research is to develop an analytical and interpretative study of Variations for Bassoon and Orchestra by Alceo Bocchino. For the sake of contextualization, presents in Chapter I biographical data of the composer and of the performer Noël Devos - whom the piece was dedicated -, aspects of the Bassoon and of the form 'Theme and Variations'. Chapter II focuses on the piece proper. Initially presents the composition and orchestration¿s historical context, followed by features of musical analysis, interpretation and performance. The Analysis of the piece is based on the techniques developed by Arnold Schoenberg, Wallace Berry and Joaquín Zamacois, and on the interpretative study of Sonia Albano Lima¿s approach. The aim of the analytical and interpretative study is to provide information about the compositional language, recurrent relations between the Variations, as well as to indicate the use of specific elements of the bassoon technique. According to this analytical research, there are suggestions concerning the performance of the piece, pointing to relevant aspects of interpretation. The conclusion gathers the most prominent information acquired from the overall Analysis of the work and from the complementary interview with the composer and the performer in Rio de Janeiro, and their guidelines regarding the performance of this piece as well. As appendixes, there are the edited and revised score, the interview¿s transcription and the DVD recording of the piece, all of them held by the author of this research / Mestrado / Praticas Interpretativas / Doutor em Música

This documents aims at the identification of the sources of influence upon the styles of selected 20th century Chinese composers. Personal influences are reflected as well as those general influences specific to the different stylistic periods discussed. Most important, however, is the description of the methods by which these composers employ contemporary compositional devices to project musical gestures that are uniquely Chinese: elements of culture which are fundamentally programmatic and intimately related to the lives of the Chinese people. The introduction of Western music and musical instruments to China in the early 17th century and cultural exchanges with Japan served to gradually westernize the musical environment and training. The establishment of decidedly Western schools was accomplished at the beginning of this century, with the founding of Peking University and Shanghai National Conservatory. Music theory was taught, as well as history and composition, but with an emphasis on the practices of the 18th and 19th centuries. Compositions from this period reflect Western techniques from these eras, with some use of the pentatonic scale. In the 1930's, nationalism arose, a mirroring of the 19th-century European nationalistic trends. This philosophical conception has remained essentially unchanged to the present, as composers have aimed to utilize Western techniques to create artistic works and compositional styles which are uniquely Chinese. The musical works examined are limited to works for piano solo, as it is believed these are often more immediately revealing of compositional techniques and stylistic idioms.

Premiering at the twilight of the gauchesco era and the dawn of Argentine musical Modernism, El matrero (1929) by Felipe Boero (1884-1958) remains underexplored in terms of its social milieu and artistic heritage. Instantly hailed as a masterpiece, the work retains a place in the local repertory, though it has never been performed internationally. The opera draws on myths of the gaucho and takes further inspiration from the energized intellectual environment surrounding the one-hundred-year anniversary of Argentine Independence. The most influential writers of the Centenary were Leopoldo Lugones (1874-1938), Ricardo Rojas (1882-1957), and Manuel Gálvez (1882-1962). Their times were marked by contradictions: xenophobia and the desire for foreign approbation; pride in an imaginary, "barbaric" yet noble ideal wiped out by the "civilizing" ambitions of revered nineteenth-century leaders. Krausism, a system of ideas following the teachings of Karl Friedrich Krause (1781-1832), had an impact on the period as exhibited in the political philosophy of Hipólito Yrigoyen (1852-1933), who served as president from 1916 to 1922 and 1928 to 1930 when he was deposed by a right-wing coup d'état. Uncritical applications of traditional understandings of nationalism have had a negative impact on Latin American music scholarship. A distillation of scholarly conceptions of Argentine nacionalismo, which address the meaning of the word as it was used in the early twentieth century, combined with an examination of major works of important literary figures of the Centenary provide a firmer ground for discussion. Gálvez paints a conservative portrait of a refined, well-traveled dilettante who finds true enlightenment only in his own rural, Argentine culture. A liberal, Rojas understands nationalism as devotion to the development of national institutions and local art. Lugones argues the foundation of national art should be the gaucho, and articulates the hierarchical sociabilities it should articulate. Boero adopts elements of Krausism and the nationalistic system of values advanced by the Centenary writers within an Occidentalist framework. Occidentalism describes cosmopolitan initiatives to incorporate the ideals of the West as structural to Argentine identity. It shares the liberal outlook of the central government that valued international openness and European and Anglo-American affinity. Boero wrote to satisfy the responsibilities of the various occupations he held as opera composer, pedagogue, and art musician, but was always dedicated to the strengthening of national institutions and development of what he perceived to be a native art. His pieces evince the Occidental ideal in their adoption of Impressionistic, Puccinian, and folkloric elements in varied ways, sometimes in individual pieces in isolation, other times all within the same work. The use of each of these styles is done in a thoroughly Eurocentric manner as even the "gaucho" elements are utilized according to traditional art music conventions. Boero demonstrates his mastery of a variety of techniques throughout his oeuvre and explores each of them in his magnum opus. The play El matrero, written by the contemporary Uruguayan playwright, Yamandú Rodríguez, draws on themes explored and celebrated by the Centenary writers and resonates with certain Krausist values. The libretto diverges from the play in a few significant ways that suggest a more conservative political outlook. More than simply a story told in the popular gauchesco style, the work is a kind of origin story with supposedly authentic depictions of rural life that present a model for contemporary sociabilities informed by the Krausism and liberalism of the era. Musical analysis of the opera confirms affinities with verismo and Impressionism, but also reveals a unique stamp, not only in the use of gauchesco topoi, but the harmonic language and interplay of styles. These styles are not blended into a single, cohesive unity but arise at key points within the heterogeneous work. A critical analysis allows the musical styles to be considered to articulate a social hierarchy marked by Krausist organicism already hinted at in the text. The various character groups of the opera have distinct voices that reveal separate classes. In line with current Argentine thought rooted in the nineteenth century and the Centenary, and due to the work's status as an origin story, the relationships between the groups may be seen to represent a model for contemporary society with the elite successfully managing the affairs of their underlings. The music helps articulate these relationships with moments of diegetic gauchesco music-making being relegated to the voices and bodies of the lower classes and the representatives of the upper class speaking with a mixture of art music styles and a sublimated folkloric style. The combined study of text and music reveals an Occidentalist perspective with the native Argentine elements subordinated to the European. In spite of their lower sociopolitical position, the folk are not despised but given a coherent musical language with which to express themselves, and the higher characters are musically united to their gaucho compatriots. The combination of musical styles creates an engaging, complex tapestry more than worthy of considered study and appreciation. Uncritical applications of traditional understandings of nationalism have had a negative impact on Latin American music scholarship. A distillation of scholarly conceptions of Argentine nacionalismo, which address the meaning of the word as it was used in the early twentieth century, combined with an examination of major works of important literary figures of the Centenary provide a firmer ground for discussion. Gálvez paints a conservative portrait of a refined, well-traveled dilettante who finds true enlightenment only in his own rural, Argentine culture. A liberal, Rojas understands nationalism as devotion to the development of national institutions and local art. Lugones argues the foundation of national art should be the gaucho, and articulates the hierarchical sociabilities it should articulate. Boero adopts elements of Krausism and the nationalistic system of values advanced by the Centenary writers within an Occidentalist framework. Occidentalism describes cosmopolitan initiatives to incorporate the ideals of the West as structural to Argentine identity. It shares the liberal outlook of the central government that valued international openness and European and Anglo-American affinity. Boero wrote to satisfy the responsibilities of the various occupations he held as opera composer, pedagogue, and art musician, but was always dedicated to the strengthening of national institutions and development of what he perceived to be a native art. His pieces evince the Occidental ideal in their adoption of Impressionistic, Puccinian, and folkloric elements in varied ways, sometimes in individual pieces in isolation, other times all within the same work. The use of each of these styles is done in a thoroughly Eurocentric manner as even the "gaucho" elements are utilized according to traditional art music conventions. Boero demonstrates his mastery of a variety of techniques throughout his oeuvre and explores each of them in his magnum opus. The play El matrero, written by the contemporary Uruguayan playwright, Yamandú Rodríguez, draws on themes explored and celebrated by the Centenary writers and resonates with certain Krausist values. The libretto diverges from the play in a few significant ways that suggest a more conservative political outlook. More than simply a story told in the popular gauchesco style, the work is a kind of origin story with supposedly authentic depictions of rural life that present a model for contemporary sociabilities informed by the Krausism and liberalism of the era. Musical analysis of the opera confirms affinities with verismo and Impressionism, but also reveals a unique stamp, not only in the use of gauchesco topoi, but the harmonic language and interplay of styles. These styles are not blended into a single, cohesive unity but arise at key points within the heterogeneous work. A critical analysis allows the musical styles to be considered to articulate a social hierarchy marked by Krausist organicism already hinted at in the text. The various character groups of the opera have distinct voices that reveal separate classes. In line with current Argentine thought rooted in the nineteenth century and the Centenary, and due to the work's status as an origin story, the relationships between the groups may be seen to represent a model for contemporary society with the elite successfully managing the affairs of their underlings. The music helps articulate these relationships with moments of diegetic gauchesco music-making being relegated to the voices and bodies of the lower classes and the representatives of the upper class speaking with a mixture of art music styles and a sublimated folkloric style. The combined study of text and music reveals an Occidentalist perspective with the native Argentine elements subordinated to the European. In spite of their lower sociopolitical position, the folk are not despised but given a coherent musical language with which to express themselves, and the higher characters are musically united to their gaucho compatriots. The combination of musical styles creates an engaging, complex tapestry more than worthy of considered study and appreciation.

John Mackey is an influential and prolific composer of wind band literature. His focus on and exploration of the percussion section are defining characteristics of his compositional voice. Mackey's concerto for percussion and wind band, "Drum Music," is a perfect example of his exploitation of the myriad timbres available within the percussion family, and also serves to showcase the versatility required of a modern percussionist. This dissertation and accompanying lecture recital provide a comprehensive guide for performers of the work. Major aspects of Mackey's compositional approach are discussed with emphasis placed on his use of percussion throughout his works. Analysis and performance concerns are discussed for each of the concertos three movements, and information is provided on the reduced version of the work prepared as part of this study.