The aim of my graduated work is the enter into problem of studies contemporary composition at the background of development music of the second half of 20th century. The work is aimed at the composition of Luciano Berio Sequenza XII. Bassoonists, who would like to study this work or studying it now, I can help them according to my practising experiences up to now and convince them how to win this "fight"

This document examines Luciano Berio's Cinque Voriationi for solo piano (1952-3, rev. 1966) from the perspective of a performer seeking to convey something of the organization of its musical material to a broad audience. Criteria for identifying elementary partitioning (pulse) and grouping (gesture, phrase segments, and phrases) are explored. In analysing relationships between phrases and phrase groups several things must be considered: specific pitch issues, distinctions between primary and auxiliary or accompanimental material, and contour. Throughout the document, suggestions are given for successful realization of fundamental grouping structures in performance. Although the piece has elements of serial construction, it is primarily underlying linear motion which gives sections cohesiveness. Also, certain pitch classes are given special emphasis and become vital reference points. The placement of and linear movement around these emphasized pitch classes create traditional tonal implications, to varying degrees throughout the work. Cinque Variationi is a set of variations for which no theme is provided, and it is far from obvious what is being varied. After examining the grouping structures of this piece, it becomes clear that variations refer to each other in unsystematic ways, and that pitch centers serve as reference points across variations.

This document examines Luciano Berio's Cinque Voriationi for solo piano (1952-3, rev. 1966) from the perspective of a performer seeking to convey something of the organization of its musical material to a broad audience. Criteria for identifying elementary partitioning (pulse) and grouping (gesture, phrase segments, and phrases) are explored. In analysing relationships between phrases and phrase groups several things must be considered: specific pitch issues, distinctions between primary and auxiliary or accompanimental material, and contour. Throughout the document, suggestions are given for successful realization of fundamental grouping structures in performance. Although the piece has elements of serial construction, it is primarily underlying linear motion which gives sections cohesiveness. Also, certain pitch classes are given special emphasis and become vital reference points. The placement of and linear movement around these emphasized pitch classes create traditional tonal implications, to varying degrees throughout the work. Cinque Variationi is a set of variations for which no theme is provided, and it is far from obvious what is being varied. After examining the grouping structures of this piece, it becomes clear that variations refer to each other in unsystematic ways, and that pitch centers serve as reference points across variations. / Arts, Faculty of / Music, School of / Graduate

Ho Kar Man. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2000. / Includes bibliographical references (leaves 123-127). / Abstracts in English and Chinese. / Chapter Chapter 1 --- Introduction --- p.1 / Chapter Chapter 2 --- The First Movement: the Mythologiques --- p.11 / Chapter Chapter 3 --- The Second Movement: “O King´ح --- p.27 / Chapter Chapter 4 --- The Third Movement: the Scherzo --- p.54 / Chapter Chapter 5 --- The Fourth Movement: “Rose de sang´ح --- p.84 / Chapter Chapter 6 --- The Fifth Movement: a Synthesis --- p.96 / Chapter Chapter 7 --- Conclusion --- p.110 / Appendix I Luciano Berio's Compositions from 1958 to1968 --- p.116 / "Appendix II The Poem ""Des Antonius von Padua Fischpredigt"" and its English Translation" --- p.118 / Appendix III Integral Texts Applied in the Fifth Movement --- p.120 / Bibliography --- p.123

Orientador: Silvio Ferraz Mello Filho / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-17T13:00:28Z (GMT). No. of bitstreams: 1 Castellani_FelipeMerker_M.pdf: 34231257 bytes, checksum: bc31cb58b5109989106920c3c78537a4 (MD5) Previous issue date: 2010 / Resumo: Abordamos no presente trabalho a noção de gesto musical circunscrita às poéticas dos compositores Luciano Berio e Brian Ferneyhough. O que as liga é a tomada de consciência de que os gestos musicais não devem ser entendidos como unidades fechadas e prontas para serem utilizadas, não importando o contexto em que serão inseridas. Seja por sua utilização como parte de um processo de significação musical, ou como parte de uma atitude composicional, o mais importante é sua possibilidade de desconstrução e reconstrução. Portanto, este é o principal foco deste trabalho.Nos escritos de Luciano Berio, a noção de gesto musical está interligada a outros aspectos como o virtuosismo, presente na prática instrumental e a teatralidade, produzida por uma relação entre corpo físico do instrumentista e o corpo sonoro gerado pelas ações do mesmo. Para ele os gestos são jogos de representação e significação, que ocorrem em função das convenções históricas e culturais. Por outro lado, para Ferneyhough, o gesto é o resultado de um trabalho paramétrico, que atua tanto com um enfoque tradicional, nas operações que manipulam as alturas e os ritmos, como em formas mais diferenciadas, nos modos de articulação e dedilhados instrumentais. O que o define não é um trabalho isolado, mas a interação entre os diversos procedimentos presentes em um contexto composicional que convergem em direção a um efeito global.Contextualizamos e integramos as questões teóricas através das análises das seguintes obras: as Sequenze de Luciano Berio e Second String Quartet, Time and Motion Study I, Time and Motion Study II e o quinto movimento de Kurze Schatten II, todas de autoria de Brian Ferneyhough.Além das investigações teórica e analítica, também propomos uma experiência prática composicional, que permite a ampliação e complementação de nosso campo problemático. Desta forma, apresentamos um relato de procedimentos composicionais trabalhado simultaneamente com o estudo da poética de Luciano Berio e Brian Ferneyhough / Abstract: In this work we approach the notion of musical gesture circumscribed to the poetic of the composers Luciano Berio and Brian Ferneyhough. What connects them is the awareness of the musical gestures that should not be regarded as closed units and ready for use, no matter the context in which they are inserted. Whether for its use as part of a process of musical signification, or as part of a compositional approach, the most important is its potential to deconstruction and reconstruction, so this is the main focus of this work. In the writings of Luciano Berio, the notion of musical gesture is interconnected to other aspects such as the virtuosity, present in the instrumental practice and the theatricality, produced by a relationship between the physical body and the sonorous body generated his the actions. For the composer the gestures are games of representation and meaning, which occur due to the historical and cultural conventions. On the other hand, for Ferneyhough, the gesture is the result of a parametric work, which operates both with a traditional approach, in the operations that manipulate pitches and rhythms, as in a more differentiated ways, in the modes of articulation and instrumental fingerings. What defines this gesture, it's not an isolated work, but the interaction between the various procedures found in a compositional context that converges toward a global effect. We contextualize and integrate the theoretical issues through the analysis of the following works: the Luciano Berio's Sequenze and Brian Ferneyhough's Second String Quartet, Time and Motion Study I, Time and Motion Study II and the fifth movement of Kurze Schatten II. In addition to the analysis, we also propose a practical compositional experience, which allows the expansion and complementation of our problematic field. Thus, we present a description of the compositional procedures worked simultaneously with the study of the poetics of Luciano Berio and Brian Ferneyhough / Mestrado / Processos Criativos / Mestre em Música

Orientador: Denise Hortência Lopes Garcia / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-24T18:44:18Z (GMT). No. of bitstreams: 2 Oliveira_LaianaLopesde_M.pdf: 22890315 bytes, checksum: a1147766527d25a788d3be4490d42c5f (MD5) Oliveira_LaianaLopesDe_Anexo.zip: 18020899 bytes, checksum: c3522db913f83ebf875aa132f344cdc3 (MD5) Previous issue date: 2014 / Resumo: O estudo das possibilidades de interação entre vozes e instrumentos na composição musical através do uso da fonética e fonologia é o principal objetivo do presente trabalho.Exporemos questões introdutórias á história da musica vocal sob ponto de vista do compositor Luciano Berio (1925 - 2003) abordado no livro Remembering the Future (2006); além de exposição de aspectos técnicos como narração, morphing, e articulações vocais não representadas foneticamente. Através da análise das obras Aventures (1962) de György Ligeti (1923-2006), O King (1968), e Agnus (1971) de Luciano Berio é possível observar a utilização do texto como elemento estrutural, bem como sua expansão a comportamentos sonoros que promovem conexão e fusão timbrísticas entre os meios vocal e instrumental. O inventário fonético do idioma português brasileiro aliado às relações com as vozes e instrumentos aqui discutidas resultaram na criação de três obras próprias para formação camerística que serão apresentadas em relato composicional / Abstract: The study of the possibilities of interaction between voices and instruments in musical composition through the use of phonetics and phonology is the main purpose of the present work. There will be expose introductory questions about the history of vocal music under the point of view of the composer Luciano Berio (1925 - 2003) discussed in the book Remembering the Future (2006), in addition to the exposure of technical aspects such as narration, morphing, and vocal articulations not represented phonetically. Through the analysis of the works Aventures (1962) by György Ligeti (1923-2006), O King (1968), and Agnus (1971) by Luciano Berio it is possible to observe the use of the text as a structural element as well as its expansion toward the sound behaviors that promote connection and fusion of timbre in vocal and instrumental means. The phonetic inventory of the Brazilian Portuguese language allied to relations with the voices and instruments discussed here resulted in a creation of three own works to chamber music training that will be presented on compositional report / Mestrado / Processos Criativos / Mestra em Música

Orientador: Silvio Ferraz Mello Filho / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-17T12:56:10Z (GMT). No. of bitstreams: 1 Penha_GustavoRodrigues_M.pdf: 6936744 bytes, checksum: 7acb5e659563bf1478fe72c57654ad86 (MD5) Previous issue date: 2010 / Resumo: Este trabalho busca compreender o conceito de reescritura e aplicá-lo na análise de peças compostas durante os séculos XX e XXI. Num primeiro momento são delimitadas os campos de atuação da noção de reescritura tal como a compreendemos, a partir de uma fundamentação teórica provinda principalmente na crítica literária pós-estruturalista, em textos de autores como Gérard Genette, Monique Goullet e Anne-Claire Gignoux. Entretanto, a parte mais extensa do trabalho está na análise de diferentes ferramentas e operadores composicionais relacionados à reescritura na música, que serão observados em Monumentum, de Igor Stravinsky, Chemins IV de Luciano Berio, AN de Stefano Gervasoni, e Passo de Manoel Dias de Silvio Ferraz. Como parte da pesquisa há também a partitura e uma breve análise de entorno de nenhum, nehuma, peça composta pelo autor deste trabalho, com o intuito da aplicação direta da ideia da reescritura numa prática composicional própria / Abstract: This works seeks to understand the concept of re-writing and apply it in theanalysis of musical works composed in the XX and XXI centuries. Firstly, the practice areas of the notion of rewriting are delimited, as we understand it, from a theorical approach stemmed mainly in post-structuralist literary criticism in texts by authors such as Gérard Genette, Monique Goullet and Anne-Claire Gignoux. However, the most extensive part of this work is the analysis of different tools and compositional operators related to rewriting on music, which will be observed in Monumentum of Igor Stravinsky, Luciano Berio of Chemins IV, AN of Stefano Gervasoni, and Passo de Manoel Dias of Silvio Ferraz. As part of the research there is also the score and a brief analysis of entorno de nenhum, nenhuma, piece composed by the author of this work, with the intention of the direct application of the idea of rewriting in his own compositional practice / Mestrado / Processos Criativos / Mestre 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: Silvio Ferraz Mello Filho / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-26T17:12:27Z (GMT). No. of bitstreams: 1 Silva_WilliamTeixeirada_M.pdf: 2949113 bytes, checksum: d78d6c5494088196b67cb43ca8fc5797 (MD5) Previous issue date: 2014 / Resumo: Este trabalho aborda os vínculos que a música contemporânea mantém com a retórica, dispositivo essencial para a compreensão da música antiga, mas que tem sido deixado de lado na análise de objetos mais recentes. Desse modo, para que a discussão seja coerente a atual realidade, media o estudo o Tratado da Argumentação, escrito por Chaïm Perelman e Lucie Olbrechts-Tyteca, obra fundante que reabilitou os estudos da retórica no século XX por atualizá-la ao pensamento moderno. A partir desse referencial serão discutidas as dimensões em que a retórica integra o discurso musical atual, mais especificamente na análise de peças de Luciano Berio e Giacinto Scelsi / Abstract: This thesis discusses about the relationship between contemporary music and rhetoric, essential device for understanding ancient music, but that has been underrated in the analysis of more recent objects. To update the rhetoric to the current thought this study it is referenced by the Treatise on Argumentation, written by Chaim Perelman and Lucie Olbrechts-Tyteca, since it has rehabilitated studies of rhetoric in the twentieth century. From this framework it is explored the dimensions in which rhetoric integrates the current musical discourse, specifically trough the analysis of pieces written by Luciano Berio and Giacinto Scelsi / Mestrado / Música, Teoria, Criação e Prática / Mestre em Música

Many, if not most, student trombonists have perhaps had little or no previous experience with "extended techniques"-novel or unconventional modes of sound production. To address this deficiency of experience, this document sets forth a progressive sequence of descriptive explanations and supplementary studies, which are specifically designed to assist trombonists in mastering the particular extended techniques that will prepare them to perform three of the most popular late Twentieth-Century pieces for trombone that include extended techniques-Luciano Berio's Sequenza V, Folke Rabe's Basta, and Mark Phillips' T.Rex. Following the introductory chapter, the body of the document consists of three chapters, each of which deals with one of the three solos, presenting descriptive explanations of relevant extended techniques interspersed with performance commentary (solicited from prominent trombonists) and supplementary studies (composed by the author). The studies presented in each chapter are specifically geared toward mastering the extended techniques as they relate to the music of each particular solo. They are also especially focused toward learning the more difficult passages of music in each solo.