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Syftet med arbetet är att utforska hur jag uppfattar texten och musiken utan några övriga instruktioner och sedan följa processen i att skapa mina egna interpretationer utifrån instruktioner jag lägger till själv. De frågeställningar som används för att undersöka detta är: Vilka tankar och känslor väcker det hos mig när jag studerar in en notbild helt utan instruktioner? Vilka insikter kan jag få om olika sätt att följa de instruktioner som tonsättaren anger genom att ta bort dem helt? Vad fyller tonsättarens instruktioner för funktion för mig som musiker och hur kan jag förhålla mig till dem respektfullt men samtidigt fritt? Metoden som används är att två romanser av Ture Rangström har valts ut och alla instruktioner som har med tempo, karaktär, artikulation och dynamik att göra har suddats ut. Därefter studerar jag in romanserna för att sedan föra in mina egna instruktioner och skapa min egen interpretation. Genom att följa min process genom den loggbok jag fört under tidens gång resonerar jag sedan kring frågeställningarna och gör en kort jämförelse av min egen tolkning och tonsättarens instruktioner i originalnoterna. Detta gör jag för att väcka medvetenhet kring hur jag gör mina konstnärliga val genom det landa i att kunna göra de valen på ett mer självsäkert sätt. Mina resultat pekar på att det som tonsättaren ger oss musiker med sina instruktioner är en utgångspunkt för interpretationen, snarare än en absolut sanning om hur något ska låta. Genom att utföra instruktionerna till punkt och pricka har jag inte framfört en interpretation, den måste jag bidra med själv genom att umgås och arbeta med musiken, analysera den, reflektera över vilka val jag vill göra samt prova mig fram genom min klingande praktik.

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Spanish composer María Teresa Prieto (1895-1982) belongs to a group of Spanish exiles who left their country for Mexico as a result of the Spanish Civil War. She arrived in Mexico in 1936 and developed her compositional career in there. Her first composition after her arrival in the new country was the song cycle Seis Melodías, a work that includes six songs with poetry by Ricardo de Alcázar, Juan Ramón Jiménez, Federico García Lorca, and María Teresa Prieto herself. This document analyzes each one of the songs, both musically and poetically, as well as the relationship between music and text. Seis Melodías' structural organization as a cycle is very particular, since Prieto organized the cycle in pairs—namely I and II, III and IV, and V and VI—each group with strong poetic and thematic unity. The songs belonging to this cycle, present the duality of being independent and dependent at the same time, given that each song stands by itself, but together they create a meta-narrative that progresses from hope to desolation, not as a political statement, but as a homage to, as well as a lament, for the Spanish land and freedom. The cyclical nature of this work is accomplished by Prieto through motivic unity, a clear harmonic plan, and poetic relationships between the songs.

O cantor deve conhecer em profundidade a obra a ser executada, além de dominar o seu instrumento - a voz. Assim, este estudo foi baseado na análise de obras de Heitor Villa-Lobos (1887-1959), Gilberto Mendes (1922), Luiz Carlos Lessa Vinholes (1933), José Antonio de Almeida Prado (1943) e Rodolfo Coelho de Souza (1952), sob a ótica do intérprete artista, ou seja, do autor. As obras refletem o amálgama da miscigenação de várias culturas que compõem a nação brasileira. Através deste repertório, questionou-se por que compositores brasileiros compuseram canções com a temática japonesa e como ocorre o encontro da poética japonesa com a canção brasileira. A análise musical foi, em sua maioria, baseada no livro Poetry into song: performance and analysis of Lieder de Deborah Stein & Robert Spillman. Constatou-se a presença de uma esfera meditativa pelo uso de estruturas minimalistas e pentatonismos. De acordo com o autor, isto se deve pela busca do vazio e do silêncio enquanto criação musical. São, portanto, frutos da necessidade intrínseca de uma época - o Zeitgeist - ou seja, experimentações em busca de novas linguagens como tendências da música do século XX. Considerando a peculiaridade do cantor como músico, apresentamos com o título de \"Transcendência\" nossa visão do papel do intérprete do canto. É preciso transcender todo o conhecimento analítico para a execução musical a fim de sentir a canção. Pois é justamente com o sentir e as vivências entre o compositor, poeta e intérprete; Brasil e Japão; racional e afetivo; mundo interno e externo; análise e performance que as bordas fictícias ou imaginadas são atenuadas. / The singer must deeply understand the work to be interpreted and, in addition to this, he must dominate his instrument - the voice. Accordingly, this study is based on the analysis of works by Heitor Villa-Lobos (1887-1959), Gilberto Mendes (1922), Luiz Carlos Lessa Vinholes (1933), José Antônio de Almeida Prado (1943) and Rodolfo Coelho de Souza (1952), from the point of view of the artistic interpreter, the author. The art songs chosen reflect a cultural mosaic specific to Brazil. Through this repertoire, the author questioned why Brazilian composers chose a Japanese subject for their songs and how they integrated Japanese characteristics into Brazilian art song. This musical analysis was mainly based on the book Poetry into song: performance and analysis of Lieder by Deborah Stein & Robert Spillman. The author observed a presence of meditative atmosphere through the use of minimalist structure and pentatonicism. She believes this was the composers´ quest for emptiness and silence while still creating music. These are, therefore, the fruits of an era: the Zeitgeist, the experiments in a search for new languages, a tendency of 20th Century music. Considering the peculiarity of the singer as a musician, the author presents in a summarizing chapter, \"Transcendency\", what she believes the role of an artistic interpreter should express. The singer must transcend the analytical knowledge he has acquired prior to performance in order to know the song. Only then do the feeling and existence of the composer, the poet, the interpreter; Brazil and Japan; reason and emotion; inner and outer world; and analysis and performance integrate, and only then is the fictitious or imagined border blurred.

No description available.

O cantor deve conhecer em profundidade a obra a ser executada, além de dominar o seu instrumento - a voz. Assim, este estudo foi baseado na análise de obras de Heitor Villa-Lobos (1887-1959), Gilberto Mendes (1922), Luiz Carlos Lessa Vinholes (1933), José Antonio de Almeida Prado (1943) e Rodolfo Coelho de Souza (1952), sob a ótica do intérprete artista, ou seja, do autor. As obras refletem o amálgama da miscigenação de várias culturas que compõem a nação brasileira. Através deste repertório, questionou-se por que compositores brasileiros compuseram canções com a temática japonesa e como ocorre o encontro da poética japonesa com a canção brasileira. A análise musical foi, em sua maioria, baseada no livro Poetry into song: performance and analysis of Lieder de Deborah Stein & Robert Spillman. Constatou-se a presença de uma esfera meditativa pelo uso de estruturas minimalistas e pentatonismos. De acordo com o autor, isto se deve pela busca do vazio e do silêncio enquanto criação musical. São, portanto, frutos da necessidade intrínseca de uma época - o Zeitgeist - ou seja, experimentações em busca de novas linguagens como tendências da música do século XX. Considerando a peculiaridade do cantor como músico, apresentamos com o título de \"Transcendência\" nossa visão do papel do intérprete do canto. É preciso transcender todo o conhecimento analítico para a execução musical a fim de sentir a canção. Pois é justamente com o sentir e as vivências entre o compositor, poeta e intérprete; Brasil e Japão; racional e afetivo; mundo interno e externo; análise e performance que as bordas fictícias ou imaginadas são atenuadas. / The singer must deeply understand the work to be interpreted and, in addition to this, he must dominate his instrument - the voice. Accordingly, this study is based on the analysis of works by Heitor Villa-Lobos (1887-1959), Gilberto Mendes (1922), Luiz Carlos Lessa Vinholes (1933), José Antônio de Almeida Prado (1943) and Rodolfo Coelho de Souza (1952), from the point of view of the artistic interpreter, the author. The art songs chosen reflect a cultural mosaic specific to Brazil. Through this repertoire, the author questioned why Brazilian composers chose a Japanese subject for their songs and how they integrated Japanese characteristics into Brazilian art song. This musical analysis was mainly based on the book Poetry into song: performance and analysis of Lieder by Deborah Stein & Robert Spillman. The author observed a presence of meditative atmosphere through the use of minimalist structure and pentatonicism. She believes this was the composers´ quest for emptiness and silence while still creating music. These are, therefore, the fruits of an era: the Zeitgeist, the experiments in a search for new languages, a tendency of 20th Century music. Considering the peculiarity of the singer as a musician, the author presents in a summarizing chapter, \"Transcendency\", what she believes the role of an artistic interpreter should express. The singer must transcend the analytical knowledge he has acquired prior to performance in order to know the song. Only then do the feeling and existence of the composer, the poet, the interpreter; Brazil and Japan; reason and emotion; inner and outer world; and analysis and performance integrate, and only then is the fictitious or imagined border blurred.

In this thesis, I explore the careers and songs of Florence Price and Margaret Bonds—two African American female composers who were part of the Chicago Renaissance. Price and Bonds were members of extensive, often informal, networks of Black women that fostered creativity and forged paths to success for Black female musicians during this era. Building on the work of Black feminist scholar Patricia Hill Collins, I contend that these efforts reflect Black feminist principles of Black women working together to create supportive environments, uplift one another, and foster resistance. I further argue that Black women's agency enabled the careers of Price and Bonds and that elements of Black feminism are not only present in their professional relationships, but also in their songs. Initially, I discuss how the background of the Harlem and Chicago Renaissances and racial uplift ideology shaped these women's artistic environment. I then examine how Bonds and Price incorporated, updated, and expanded versions of these ideals in their music and careers. Drawing on the scholarship of Rae Linda Brown, Angela Davis, and Tammy L. Kernodle, I analyze Price's "Song to the Dark Virgin," "Sympathy," and "Don't You Tell Me No" and Bonds's "Dream Variation," "Note on Commercial Theater," and "No Good Man" through a Black feminist lens. I contend that although Price and Bonds depicted harsh realities of Black women's experiences, they also celebrated Black women's resistance in spite of intersectional oppression. Ultimately, analyzing Black feminism in these composer's careers and songs opens a path for further exploration of how Black women's agency can facilitate activism through art.

No description available.