Orientador: Helena Jank / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-08T14:50:31Z (GMT). No. of bitstreams: 1 Justi_KatiaReginaKato_M.pdf: 5248099 bytes, checksum: 458f3d47310142d1aeb11b9ad58cbc71 (MD5) Previous issue date: 2007 / Resumo: Este trabalho propõe a investigação, do ponto de vista da retórica, da utilização do oboé, oboé d?Amore e oboé da Caccia, nas árias sacras das cantatas de Johann Sebastian Bach. Para tanto, iniciamos nossos estudos a partir do Movimento da Reforma Protestante, suas origens e fundamentos e sua grande influência na música. Procuramos fazer, nos diversos períodos da vida de Bach, um levantamento de todas as árias compostas para oboé, com especial ênfase nas árias compostas para um instrumento obbligato. Avaliamos também a grande importância das doutrinas da Musica Poetica e da retórica na vida e no pensamento musical alemão e como essas doutrinas influenciaram as composições de Bach. Finalmente buscamos traçar relações entre os aspectos retórico-musicais e a utilização do oboé obbligato nas árias sacras com os afetos da confiança e do temor / Abstract: This work aims at investigating, from a rhetoric point of view, the use of the oboe, oboe d'Amore and oboe da Caccia in the sacred arias of Johann Sebastian Bach cantatas. For this, we started our study from the Protestant Reform Movement, its origins and bases and its great influence in the music. Treating the different periods of Bach's life, we tried to gather all of his arias composed for the oboe, with special emphasis in the arias composed for an obbligato instrument. We also evaluated the great importance of the doctrines of Musica Poetica and of life rhetorics to the musical German thought. We also evaluated how these doctrines influenced Bach's compositions. Finally, we tried to trace the relationships between the rethorical musical aspects and the use of the obbligato oboe in the sacred arias with the affects of trust and fear / Mestrado / Mestre em Música

The first Western opera to be performed in Korea was Verdi's La Traviata on January 16, 1948, by the Joseon Opera Company. The first Korean opera, Chunhyangjeon by Jae Myung Hyun, premiered at the Korean National Theater in May 1950, just before the outbreak of the Korean War. Daejeon.go.kr reports that since that year approximately 200 Korean operas have been produced in Korea. Nevertheless, there have been consistent efforts to create and introduce Korean operas to the public. Most of them ended up being "one-off" performances with a single production. Most research on Korean opera has focused on its history, the challenges of producing new operas, or an analysis of selected Korean operas. This study equips singers with the following: pertinent historical background with the libretto, a synopsis, research regarding the composer and librettist, a character analysis, vocal and textual analysis of the selected opera arias, instruction regarding the Korean language, IPA, and a word-by-word translation of the text. I also make recommendations for tenor arias from Korean operas for singers with specific voice types.

Submitted by Etelvina Domingos (etelvina.domingos@ufpe.br) on 2015-03-10T17:34:15Z No. of bitstreams: 2 license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) TSC.pdf: 550592 bytes, checksum: f39c06a39449cf3e4286c5bc1c417dbe (MD5) / Made available in DSpace on 2015-03-10T17:34:15Z (GMT). No. of bitstreams: 2 license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) TSC.pdf: 550592 bytes, checksum: f39c06a39449cf3e4286c5bc1c417dbe (MD5) Previous issue date: 2012 / CAPES CNPq / Neste trabalho, foi mostrado a exist^encia de solu c~ao para um sistema acoplado de equa c~oes diferenciais fracion arias n~ao lineares com condi c~oes de fronteira em tr^es pontos, onde algumas condi c~oes s~ao satisfeitas. Para isto, precisou-se de um estudo sobre integrais e derivadas fracion arias e teoremas de ponto xo. Estudou-se ainda a exist^encia e unicidade da solu c~ao do problema de Cauchy para fun c~oes lipschitzianas, com condi c~oes iniciais de ordem fracion aria. Al em disso, foi analisada uma aplica c~ao de derivadas fracion arias, a viscoelasticidade linear.

The concert arias of Mozart actually include not only arias written specifically for concert but also interpolations which subsequently assumed the character of concert arias. Those in the following study were written for Aloysia Weber, Mozart's first love and, later, his sister-in-law. These arias are interesting for a number of reasons: First, the fact that they are seldom performed today raises questions about singing technique in the late eighteenth century. Second, the musical requirements which fostered this technique must have been grounded in a tradition of embellishment--a subject worthy of investigation. Third, the concert arias are an example of the close connection between melody and instrument in this period; what was the nature of the voice for which they were written? Fourth, these arias were fully notated at a time when the singer was generally expected to improvise. They are a written record of Classical ornamentation and are therefore a good choice for the study. The method used is as follows: The singing tradition according to which Weber and Mozart were trained is examined. After this discussion follows a chapter on the tradition of ornamentation, which influenced Mozart's melodic writing. Mozart's approach to composition and notation is then described. Finally, the melodies are analyzed through the process of de-ornamentation. A per-formable edition of a concert aria from which all ornamentation has been removed is included. The thesis yields the following conclusions: First, tastes in singing style change from century to century, and these preferences affect the aspects of pedagogy which are emphasized in any given age. Second, the pieces reflect a preference for bright, florid melodies and high, flexible voices. Third, Mozart was complete in his notation for a number of reasons: 1) orchestral accompaniment is necessary in the sections of free ornamentation; 2) Mozart wrote the arias for Aloysia Weber and for particular performances in most instances; 3) by creating a fine composition Mozart showed himself to best advantage over the Italian musicians with whom he felt an intense rivalry. Fourth, late eighteenth-century ornamentation can be divided into two groups--specific ornaments and free ornamentation. Classical ornamentation differs from Baroque in two important respects: 1) in Baroque melodies ornaments are mere frills, but Classical ornaments are so organic to the style that most Mozart melodies would be unthinkable without them; 2) whereas Baroque free ornamentation usually fills in spaces between chord tones, Classical embellishment reinforces structural points. The performable edition mentioned above resembles a simple nineteenth-century cantabile aria, illustrating the basic difference between the later style and that of Mozart. / Arts, Faculty of / Music, School of / Graduate

The KiK-net ground motion database is used to develop ground motion prediction equations for Arias Intensity (I_a), 5-95% Significant Duration (Ds_5-95), and 5-75% Significant Duration (Ds_5-75). Relationships are developed both for shallow crustal earthquakes and subduction zone earthquakes (hypocentral depth less than 45 km). The models developed consider site amplification using V_S30 and the depth to a layer with V_S=800 m/s (h₈₀₀). We observe that the site effect for I_α is magnitude dependent. For Ds_5-95 and Ds_5-75, we also observe strong magnitude dependency in distance attenuation. We compare the results with previous GMPEs for Japanese earthquakes and observe that the relationships are similar. The results of this study also allow a comparison between earthquakes in shallow-crustal regions, and subduction regions. This comparison shows that Arias Intensity has similar magnitude and distance scaling between both regions and generally Arias Intensity of shallow crustal motions are higher than subduction motions. On the other hand, the duration of shallow crustal motions are longer than subduction earthquakes except for records with large distance and small magnitude causative earthquakes. Because small shallow crustal events saturate with distance, ground motions with large distances and small magnitudes have shorter duration for shallow crustal events than subduction earthquakes. / This thesis presents the development of new Ground Motion Prediction Equations (GMPEs) for the prediction of the duration and the Arias Intensity of earthquake strong motions. . Arias Intensity is an index for the energy in the ground motion. The GMPEs are based on the Japanese KiK-net database. Based on the causative earthquake source, source to site path, and site properties, GMPEs give estimation of the mean and standard deviation of the parameters. This information is necessary for conducting probabilistic seismic hazard analyses. The characteristics of the ground motions with the same magnitude and source to site distance vary amongst different tectonic regimes. For this reason, we develop different GMPEs for earthquakes from different tectonic regimes (subduction zone and shallow crustal earthquakes). The primary motivation for this research is that no existing GMPEs for duration are directly applicable to subduction-zone earthquakes. In addition, because the same stations recorded both types of events, we can directly compare the effect of tectonic environment on the selected ground motion parameters. The estimation of mean duration and mean Arias intensity made by this study show while magnitude and distance scaling of Arias Intensity is the same for shallow crustal and subduction earthquakes, the tectonic regime has a significant effect on duration of ground motion.

In this study, historically informed performance practice (HIP) is investigated as an approach to the performance or vocal ornamentation, with special emphasis on the operas of George Frideric Handel. The study aims to use information about this approach to performance practice in order to show forth its significant role in the performance of Handel arias. Through musicological viewpoints that have arisen out of the historical performance debate since the late 20th century, the study investigates the development and attributes of the HIP movement in order to identify its essential characteristics. Following this process, the author is able to define the HIP approach subjectively. Once a clearer knowledge of HIP is obtained, its influence on the performance of ornamentation is studied. Because Handel's operas were composed in the Italian style, the Italian vocal method is explored. Historical information is gathered through the use of an aria, embellished by Handel, Affanni del pensier, from his opera Ottone. With this information, the author attempts to freely embellish an aria, Da tempeste if legno infranto, from Handel's opera, Giulio Cesare. This example of the performance style is practised with the historical information in mind, without inhibiting the creativity of the author. / Thesis (M.Mus.)--North-West University, Potchefstroom Campus, 2010.

In this study, historically informed performance practice (HIP) is investigated as an approach to the performance or vocal ornamentation, with special emphasis on the operas of George Frideric Handel. The study aims to use information about this approach to performance practice in order to show forth its significant role in the performance of Handel arias. Through musicological viewpoints that have arisen out of the historical performance debate since the late 20th century, the study investigates the development and attributes of the HIP movement in order to identify its essential characteristics. Following this process, the author is able to define the HIP approach subjectively. Once a clearer knowledge of HIP is obtained, its influence on the performance of ornamentation is studied. Because Handel's operas were composed in the Italian style, the Italian vocal method is explored. Historical information is gathered through the use of an aria, embellished by Handel, Affanni del pensier, from his opera Ottone. With this information, the author attempts to freely embellish an aria, Da tempeste if legno infranto, from Handel's opera, Giulio Cesare. This example of the performance style is practised with the historical information in mind, without inhibiting the creativity of the author. / Thesis (M.Mus.)--North-West University, Potchefstroom Campus, 2010.

The concert arias of Mozart are probably among the least known works of this genius among composers, yet they represent no small part of his musical output and are scattered throughout every period of his life. He composed a total of fifty-seven in all, the first when he was only nine years old and the last one in the final year of his life. Mozart's fifty-seven concert arias are divided among the four voice groupings as follows: one for alto, eight for bass, ten for tenor and thirty-eight for soprano. Of these soprano arias one (K. 569)l is lost and two (K. 307 and K. 308) are merely ariettas on French texts. It is with the eighteen arias for normal male voice that this discussion will be primarily concerned; arias for the castrati voice will not be considered.

The objective of this essay is to study technical problems and performance issues in the piano-reduction accompaniments of three solo arias from Mozart’s Don Giovanni: “Or sai chi l’onore,” “Dalla sua pace la mia dipende,” and “Batti, batti, o bel Masetto.” This study is executed through the comparative analysis of the arias’ accompaniments from four piano-vocal score editions of the opera (Bärenreiter, G. Schirmer, Ricordi, and Boosey & Hawkes) with cross-reference to the full orchestral score (the Neue Mozart-Ausgabe). The essay contains a detailed presentation of the merits and flaws of each of the four piano-vocal score editions; a discussion of the realizations’ quality; examples by the author of plausible modifications; and the author’s suggestions for practice, fingering, pedaling, and dealing with various performance issues. This essay can provide a stimulus for vocal pianists to explore the countless possibilities in piano realizations of the orchestral accompaniments of operatic works, and to continue to refine and improve their ability to imitate orchestral sonorities and textures at the piano.

No description available.