Orientador: Eduardo Augusto Ostergren / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-04T10:39:03Z (GMT). No. of bitstreams: 1 Takahama_AlexandreMachado_M.pdf: 5208386 bytes, checksum: bccc3b2d27787e3b9d0ea8fcb5fab1c8 (MD5) Previous issue date: 2005 / Resumo: O presente trabalho constitui-se de um resgate do bailado Lambe-lambe de Luiz Cosme através de uma edição crítica de seu manuscrito. A pesquisa se desenvolveu através de uma abordagem teórica que conduziu à compreensão dos aspectos histórico-musicais do compositor e de sua obra. Após esta etapa inicial, foi realizado o estudo que direcionou a escolha do tipo de edição a ser adotada. Como complemento deste trabalho foram confeccionada stodas as partes instrumentais com base na edição apresentada / Abstract: The present work is a revision of Luiz Cosme's "ballet scene" Lambe-lambe through a critical edition of the original manuscript score. The research process was developed on the basis ot a theoretical study that led to an understanding ot the historical and musical aspects ot the composer's lite and works. This initial study was essencial in order to guide in the type ot edition to be adopted. As a complement to this work the various instrumental parts have been extracted from this edition and are included herewith / Mestrado / Musica / Mestre em Música

Si la vie musicale en France sous l’Occupation est aujourd’hui un champ de recherche bien balisé, le parcours de l’un des compositeurs majeurs de cette période, Marcel Delannoy (1898-1962), n’a encore fait l’objet d’aucune étude approfondie. Appuyé sur un large éventail de sources, dont le riche fonds Delannoy conservé à la BnF, ce travail vise à combler cette lacune en situant Delannoy dans le contexte plus large d’une génération particulièrement exposée sous Vichy. Dans ce contexte coercitif mais favorable à la création musicale, plusieurs compositeurs de cette génération (notamment Poulenc et Honegger) sont en effet impliqués dans diverses activités qui révèlent leurs engagements et leur degré d’accommodation face à la situation d’Occupation. Pour rendre compte des activités de Delannoy sous Vichy, il s’est avéré nécessaire d’élargir la périodisation. D’abord parce que son principal projet et succès de la période, Ginevra, un opéra créé en 1942 à l’Opéra-Comique, est le fruit d’une commande d’État de 1938. Et plus généralement parce que ses choix musicaux et extra-musicaux, comme ceux de ses contemporains, ne peuvent être compris dans le seul contexte des 4 années d’Occupation. / Although the French musical life during the Occupation is now a familiar field of research, no detailed study has been made of Marcel Delannoy (1898-1962), one of the most important composers of the period. Supported by a wide range of sources, including the large collection of Delannoy’s papers conserved at the BnF, the present work aims to fill this gap by situating Delannoy in the larger context of a generation of musicians that were especially visible during the Vichy years. In this context, both coercive and favorable to musical creation, several composers (notably Poulenc and Honegger) were indeed involved in a number of activities that reveal their commitments and the degree of adaptation in the face of the Occupation. To account for Delannoy’s activities under Vichy, it was necessary to extend the period under study: his principal project and success of the period, Ginevra (an opera premiered in 1942 at the Opéra-Comique), was the result of a 1938 State commission; more generally, his musical and extra-musical choices, much like those of his contemporaries, cannot be understood if they are restricted to the four years of the Occupation.

The English semi-opera, Psyche (1675), written by Thomas Shadwell, with music by Matthew Locke, was thought at the time of its performance to be a mere copy of Psyche (1671), a French tragedie-ballet by Moliere, Pierre Corneille, and Philippe Quinault, with music by Jean- Baptiste Lully. This view, accompanied by a certain attitude that the French version was far superior to the English, continued well into the twentieth century. This view is misleading; although the English play was adapted from the French, both were representative of two well-developed native theatrical traditions. Therefore, though there are certain parallels, both in plot and in the subject matter of some musical numbers, the differences in structure, both of the drama and of the music, are more significant. This thesis is a comparative study of the two plays, analyzing both their dramatic and musical structures, and examining them both from the context of the two theatrical traditions. It is concluded that the literary approach to tragedy of French theater resulted in the separation of drama and music, the latter relegated to the prologue, or to end-of-act diversions called intercedes. This allowed Lully to have great control over his music, and in Psyche (1671), he was concerned with the form of each intermede as a whole instead of striving for a variety of forms and ensembles within individual songs. Most of his songs and dances are solo airs in binary form; he makes little use of chorus and ensembles. On the contrary, the music in Psyche (1675) on many occasions was integrated with the plot, and was scattered randomly throughout the play. This prevented Locke from having artistic control over his compositions; Shadwell, the lyricist, determined where the music would occur, the ensembles to be used, and the moods of songs. Shadwell and Locke were concerned with the variety in each individual piece, rather than with unifying the overall form of musical scenes, and the overwhelming majority of songs have a combination of solo voice, ensembles, and chorus. Therefore, Psyche is not an unoriginal copy, but is a reinterpretation of the myth using the aesthetic of the Restoration tragic theater. / Arts, Faculty of / Music, School of / Graduate

This essay aims to examine the manifestations of physical movement in two paintings by the Swedish modernist Otto G. Carlsund and to show aesthetic similarities to other modernist artists of the 1920s avant-garde. The method applied is Erwin Panofsky's Iconology to interpret the illusions of physical movement as expressions of the same ideas and visions that were conveyed by other artists during the same time in history. The results show that all painters included in this essay strived to communicate through motion in order to advocate for their visions of social change they believed their art could contribute to. The ambition to reform societies is interpreted as expressions of a Gesamtkunstwerk, a totalizing project aimed at all institutions of their day.

Title: Menstrual Disorders in Ballet Dancers and Orienteering Runners Objectives: The aim of this thesis is to determine prevalence of selected menstrual disorders in ballet dancers and orienteering runners. The data were analyzed and compared to available literature. Methods: The theoretical part of this thesis is a summary of available literature. The data for the research were collected by anonymous non-standardized questionnaire and processed by descriptive analysis, which was proceeded in Microsoft Excel 2010, Statistika and NCSS free version. Qualitative data were evaluated by qualitative analysis. Results: A total of 103 women participated in the research, 57 women from general population (control group), 24 ballet dancers and 22 orienteering runners. The significant higher age at menarché was found in ballet dancers group (Chi square, p = 0,038; p < 0,05) as well in group of orienteering runners (Chi square, p = 0,032; p < 0,05) compared to cotrol group. There was proved a significant deviation of prevalence of secondary amenorrhea in ballet dancers group compared to orienteering runners (Chi square, p = 0,024; p < 0,05). There was no significant difference in prevalence of dysmenorrhea among groups. We found a mild positive correlation between hours of training per week and intensity of...

Název v anglickém jazyce: The Influence of Political Systems and Ideologies on the National Theatre Ballet in Prague in the 20th Century The subject of the Thesis is the influence of political systems and ideologies on the National Theatre Ballet in Prague. The period of research spans mainly from the theatre season 1923/1924, when Remislav Remislavský was appointed the post of ballet master and choreographer, to the season 1989/1990, when Vlastimil Harapes assumed the post of the ensemble's chief. Two main periods are underlined: the period of World War II and the subsequent period of the Communist Party government after 1948. Persons of interest are mainly the bosses of ballet company for example Jelizaveta Nikolská, Joe Jenčík, Saša Machov or Jiří Němeček st. and others, but also soloists, and the repertoire of the ballet corps. This thesis is a scope of the evolution of ballet of National theatre in concern of political changes in 20th century.

The thesis' subject is the career of Gustav Voborník, a reliable dancer and an accomplished choreographer, in the J. K. Tyl Theatre in Pilsen from 1968 till 1981. The chief part of the thesis deals with the total of nineteen ballet productions that Voborník created in the Pilsen theatre in his lifetime. A brief introduction discussing the problem of sources in this field of research is followed by a biography of Gustav Voborník, detailing his experience as a dancer and as a choreographer as well as his preparation for a production and for a work with dancers. To complement the overview of Voborník's artistic work, this part also features chapters dedicated to various ensembles that helped shape his artistic personality: the Czechoslovak State Song and Dance Ensemble and the Vít Nejedlý Army Artistic Ensemble. The final chapter before the part describing Voborník's Pilsen works as a choreographer is a short one introducing his views of the folklore, since folk dances and culture in general are the sources of many of his choreographies, while the 2nd half of the 20th century is known as an era of substantial shift in the perception and practice of folk traditions. This most extensive part of the thesis also features an overview of Gustav Voborník's cooperation with the drama ensemble, the operetta,...

The relationship between ballet and fairy tale is by no means a new or unique discovery—to either dance history or literary studies. However, aside from relatively brief mentions of ballets as examples of fairy-tale adaptation, ballet's relevance to fairy-tale studies has been somewhat undervalued. While scholars often relegate ballet to a smaller part in fairy tale's influence through the performing arts, fairy-tale ballet deserves to have its own, independent academic conversation because ballet contributes uniquely to both fairy-tale history and canon. Ballet can be credited with both giving new life to an old tale and creating a brand new one through an amalgamation of formalistic fairy-tale motifs and figures—particularly when it comes to female figures. Through an analysis of nineteenth-century Romanticism, fairy-tale form, and the narratives created by three of the most famous fairy bride ballets--La Sylphide, Giselle, and Swan Lake--we can distinguish how Romantic ballet affects fairy-tale studies because of the special conditions this "feminized" art placed on narrative and character. The pervasion of the fairy bride character and motif in ballet indicates a potentially unique tale type, and these three fairy brides together reveal a different dimension to our view of female fairy-tale characters by actively shaping their own stories according to Romantic values that place them outside of traditional fairy-tale roles. Thus, fairy-tale ballets significantly substantiate Romantic imagination beyond the bounds of literary form, and therefore both emphasize and nuance the fairy-tale female paradigm by making unique contributions to the fairy-tale canon.

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