Detta arbete utforskar den historiska utvecklingen av pianotrion i sin roll som kammarmusiksättning och dess förhållande till det samtida perspektivet. Genom att undersöka instrumentens roller både individuellt och i sitt sammanhang med hjälp av olika historiska kontext ser vi hur pianotrions roll och funktion har förändrats. Med hjälp av både kvalitativa och historiska metoder presenterar studien ett urval representativa verk från olika epoker och kompositörer, vilket ger en insikt i pianotrions utveckling över tid. Vidare ges det nutida perspektivet i en intervju med den svenska tonsättaren Britta Byström samt en analys av hennes verk "Symphony in Yellow" (2003). Studien visar hur samtida kompositörer hanterar sättningens svårigheter genom att utmana historiskt etablerade normer och traditioner. Syftet med arbetet är att fördjupa förståelsen för den historiska utvecklingen av pianotrion och dess bestående relevans i dagens musikvärld. / <p>Ljudfil:</p><p>B. Byström: Symphony in Yellow (2003)</p><p>Albert Dahllöf, piano</p><p>Jonna Simonsson, violin</p><p>Astrid Hillerud, cello</p><p></p>

Submitted by Geandra Rodrigues (geandrar@gmail.com) on 2018-04-03T17:57:21Z No. of bitstreams: 1 raquelrohr.pdf: 6435542 bytes, checksum: 72f62b2c9276e213fbe5a251d050613a (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2018-04-03T18:48:14Z (GMT) No. of bitstreams: 1 raquelrohr.pdf: 6435542 bytes, checksum: 72f62b2c9276e213fbe5a251d050613a (MD5) / Made available in DSpace on 2018-04-03T18:48:14Z (GMT). No. of bitstreams: 1 raquelrohr.pdf: 6435542 bytes, checksum: 72f62b2c9276e213fbe5a251d050613a (MD5) Previous issue date: 2017-12-11 / PROQUALI (UFJF) / Neste projeto, investigo a utilização do violoncelo na música popular brasileira, tomando como referência o trabalho do violoncelista Jaques Morelenbaum (também arranjador e compositor), que possui a carreira mais longa e relevante nesta especialidade no Brasil. Por meio de análises de performances selecionadas deste artista em gravações de áudio e de vídeo, discuto as diferenças e semelhanças entre práticas de performance do violoncelo nos âmbitos da música erudita, da música popular e em suas interseções. Destaco, no seu estilo de performance, a utilização do violoncelo tanto em arco como pizzicato, realizando as funções da linha do baixo, de linhas melódicas principais e de linhas contrapontísticas secundárias, nas quais observo elementos de práticas de performance da música brasileira (popular e erudita) e do jazz, especialmente uma forte influência do estilo de João Gilberto, um dos maiores símbolos da Bossa Nova. Também aponto estratégias, adaptações e emulações instrumentais no violoncelo, levando em conta o idiomatismo do instrumento, ao mesmo tempo em que aponto elementos interpretativos que nos permitem uma melhor compreensão de seu contexto e performance. / In this project, I investigate the use of the cello in Brazilian popular music, taking as reference the work of the cellist Jaques Morelenbaum (also arranger and composer), who has the longest and most relevant career in this specialty in Brazil. Through analyzes of selected performances of this artist in audio and video recordings, I discuss the differences and similarities between cello performance practices in the fields of classical music, popular music and their intersections. In his style of performance, I observe the use of the cello in both bow and pizzicato performing the role of bass line, main melodic lines and secondary contrapuntal lines, in which elements of performance practices of Brazilian music (popular and erudite) and jazz are noticeable, specially a strong influence of the style of João Gilberto, a major symbol of Bossa Nova. I also point out strategies, adaptations and instrumental emulations on the cello, taking into account the idiomatic language of the instrument, while raising interpretive elements that allow us a better understanding of its context and performance.

Dans le contexte actuel, il devient nécessaire de rendre les alternatives au pétrole, tel que le bioéthanol 2G, disponibles à grande échelle. Cependant, l’étape d’hydrolyse par les enzymes de Trichoderma reesei reste un verrou à un procédé économiquement stable et rentable. Ces travaux de thèse, s'intègrent dans le cadre du projet Futurol et ont pour objectifs d'identifier et de caractériser de nouvelles enzymes fongiques pour améliorer l'hydrolyse de la biomasse lignocellulosique. A partir des données protéomiques disponibles pour Podospora anserina et Fusarium verticillioides, une douzaine d'enzymes candidates ont été identifiées dans leurs sécrétomes. Ce travail de thèse s'est plus particulièrement focalisé sur les AA9s « Lytic Polysaccharide Monooxygenases » (LPMOs) de P. anserina. Parmi les LPMOs étudiées, PaLPMO9A, PaLPMO9E et PaLPMO9H, qui possèdent un CBM1, sont les plus actives sur la cellulose. La détermination de la régiosélectivité d'action a mis en évidence que PaLPMO9A et PaLPMO9H clivent la cellulose en position C1 et C4 alors que la PaLPMO9E génère uniquement des produits oxydés en C1. La PaLPMO9H est la plus versatile puisqu’elle est active sur les cello-oligosaccharides solubles et sur les polysaccharides hémicellulosiques liés en β-(1,4) (i.e., xyloglucane, glucomannane). La supplémentation du cocktail de T. reesei avec PaLPMO9E ou PaLPMO9H a permis de doubler les rendements d'hydrolyse du miscanthus prétraité. Les travaux réalisés au cours de cette thèse ont permis de démontrer l'importance de ces enzymes oxydatives dans les phénomènes de déconstruction de la lignocellulose chez les champignons filamenteux. / In the current context, it becomes essential to make alternative to oil, such as the 2G bioethanol, available at large scale. However, the hydrolysis step by Trichoderma reesei enzymes remains the major bottleneck for an economically sustainable process. The present work is part of the Futurol project, and aims at identifying and characterizing new fungal enzymes to improve the hydrolysis of lignocellulosic biomass. From the proteomic data available for Podospora anserina and Fusarium verticillioides, a dozen of interesting enzymes were identified in their secretomes. This work focuses, mainly, on the AA9s « Lytic Polysaccharide Monooxygenases » (LPMOs) from P. anserina. Among all the LPMOs studied, PaLPMO9A, PaLPMO9E and PaLPMO9H that harbored a CBM1 were the most active on cellulose. Investigation of their regioselective mode of action revealed that PaLPMO9A and PaLPMO9H oxidatively cleaved at both C1 and C4 positions while PaLPMO9E released only C1-oxidized products. PaLPMO9H that was the most versatile in terms of substrate specificity as it also displayed activity on cello-oligosaccharides and β-(1,4)-linked hemicellulose polysaccharides (e.g., xyloglucan, glucomannan). The hydrolysis yield of the pretreated miscanthus was significantly improved up to 2 fold, when the PaLPMO9E, or PaLPMO9H were supplemented to the T. reesei cocktail. This work demonstrated the importance of these oxidative enzymes for lignocellulose deconstruction by fungi. These biocatalysts open new prospects to improve the enzymatic conversion of plant biomass for 2G bioethanol production.

The Grundgestalt (Ger: 'basic shape') is a term coined by Arnold Schoenberg to describe the basis for coherence within a musical composition. Although neither precisely defined, nor adequately supported by examples from his literature, the Grundgestalt remains an important facet of Schoenbergian theory. Composed of several gestalten that occur repeatedly, Schoenberg's Grundgestalt functions as a germinating factor within a piece that allows its motivic, thematic, and rhythmic information to become more accessible through their frequent repetition and diverse presentation. In addition to Schoenberg's definition, the first part of this dissertation discusses the individual findings of Schoenberg's pupils Josef Rufer and Rudolf Réti. Subsequently developed by the contributions of David Epstein, Walter Frisch, Patricia Carpenter, Michael Schiano, and Brent Auerbach, their combined efforts then attempt to illustrate the organicism of the Grundgestalt, to clarify its terminology, and to refine the framework of its analysis. Based upon the framework described in the previous chapter, the second half of this dissertation presents the criteria for the determination of the Grundgestalt. Beginning with a derivation of Brent Auerbach's proto-Grundgestalt analysis that catalogs the various voice-leading strands of a given composition into a summary chart that tracks the frequency of each motive's occurrence within its underlying musical segments, the analysis then evaluates the basis for each motive's hierarchy through a relative valuation according to the principles of cardinality and individuality. Following a subsequent expansion of the rules governing the organic map that Auerbach proposed to provide a visual representation of the hierarchy described in the proto-Grundgestalt analysis, summary chart, and relative valuation, Part III this dissertation uses that data to specify the location of the Grundgestalt in Johannes Brahms' Trio, Op. 114. A subsequent analysis of Brahms' Quintet, Op. 115 then provides the information necessary to qualify the Trio as emergent Grundgestalt archetype, and the Quintet as a cyclic Grundgestalt archetype.

Det här arbetet diskuterar ett utforskande musikaliskt gestaltningsprojekt, Från botten av en brunn, som utgörs av fyra satser för klarinett, cello och modulärt synthesizersystem baserat på var sin person ur den japanska författaren Haruki Murakamis roman Kafka på stranden (Umibe no Kafuka, 海辺のカフカ) från 2002. Arbetet har utgått ifrån en metodisk bearbetning av romantexten med hjälp av grundad teori för att skapa både syntetiska och samplade klanger och komposition ur texten. Grundad teori togs ursprungligen fram inom sociologi för att forma ny kunskap ur kvalitativ data med hjälp av en rigorös process, där teoretisk känslighet stödjer och vägleder tolkningar. I mitt arbete har det här snarare handlat om estetisk sensibilitet som väglett mina tolkningar av texten, hjälpt mig att göra urval och omforma romanen till musik och framförande. / This work discusses an exploratory musical composition project, From the bottom of a Well, which consists of four movements for clarinet, cello, and modular synthesizer system, where each movement is based on each person from the Japanese author Haruki Murakami's novel Kafka on the beach (Umibe no Kafuka, 海辺のカフカ) from 2002. The work has been based on a methodical processing of the novel text with the help of grounded theory to create both synthetic and sampled sounds and composition from the text. Grounded theory was originally developed in sociology to shape new knowledge from qualitative data using a rigorous process, where theoretical sensitivity supports and guides interpretations. In my work, this has rather been about aesthetic sensibility that has guided my interpretations of the text, helped me to make selections, and to transform the novel into a music composition and a performance.

Until the nineteenth century, the violoncello was considered a background accompaniment instrument. By 1900 however, over eighty method books had been published for cello, and Richard Wagner and Richard Strauss were composing orchestral cello parts equal in difficulty to those of the violin, traditionally the only virtuosic string part. The emancipation from the ties of bass ostinato for the cello began with Bernhard Romberg in Dresden. The group of cellists, who came to be known as the Dresden School, included Kummer, Lee, Goltermann, Cossmann, Popper, Grutzmacher, Davidov, and other cellists that were students and colleagues of this group. The Dresden School of cellists attempted not only to bring the instrument into prominence, but to revolutionize the technique of the instrument completely. The cello pedagogues of the Dresden School achieved this by publishing their methods and advancements in technique in cello etude and method books. This efficient process of dissemination allowed for the members of the school to improve on each other's work over time. By the second half of the nineteenth century, the cello pedagogy of the Dresden School was established through the etudes published by the cellist-composers of the Dresden School, and these etudes are still considered some of the most advanced studies for cello, and are the foundation of modern cello pedagogy. At the turn of the twentieth century the Dresden School was the leading cello school in the world, and no longer tied only to the city of Dresden, but spread throughout Europe and beyond. In the publishing of their etudes, the Dresden cellists not only passed down their information to their students, but also to future generations of cellists. Descendants of the Dresden School cellists are now performing in almost every nation and teaching the ideas born in nineteenth century Germany.

No description available.

Este estudo analisa o Trio op. 97, escrito por Ludwig van Beethoven, mediante uma abordagem ligada às práticas interpretativas com um enfoque histórico, estético e musicológico. A pesquisa objetivou reconhecer, nessa composição, os procedimentos técnicos, sonoros e interpretativos para alcançar unidade sonora e um pensamento musical comum a uma formação camerística composta por piano, violino e violoncelo. Do ponto de vista metodológico, a pesquisa se valeu de um estudo prático-interpretativo ao piano, da revisão bibliográfica de estudos analíticos da concepção e dos aspectos interpretativos da obra, da escuta analítico-apreciativa de gravações da obra e de uma leitura de sua escrita. O trabalho de interpretação se apoiou, sobremaneira, na leitura analítica das fontes de pesquisa: manuscrito autógrafo, edições posteriores da partitura, cartas de Beethoven a seus editores e textos de comentadores de contemporâneos do compositor. Os resultados da pesquisa mostram, dentre outros pontos, que Beethoven buscou desenvolver uma parceria em que as características de cada instrumento são reconhecidas e valorizadas, mas sempre colocadas à disposição do conjunto. Também mostram que Trio op. 97 reserva ao violino papel menos proeminente que o do violoncelo; e que, com uma escrita pianística que privilegia acordes e as mais variadas figuras, o equilíbrio camerístico requer atenção especial nos quatro movimentos da obra. Enfim, os resultados apontam que as idiossincrasias são fundamentais para interpretar a notação e as intenções musicais de Beethoven. A sistematização das análises e reflexões aqui descritas permitiu clarear, aprofundar e sedimentar conhecimentos sobre a obra; mas de modo algum apontam uma direção única ou uma \"verdade absoluta\". / This study analyzes Trio op. 97, written by Ludwig van Beethoven. It does so by approaching it in connection with performance practice and with a focus on historical, aesthetic, and musicological aspects. The research aimed to recognize technical, sound, and interpretative procedures in this composition in order to achieve a sound unit and a musical thought peculiar to the chamber music formation made of piano, violin and cello. From a methodological point of view, the research relied upon a practical and interpretive study on the piano, a reading of analytical studies on the conception and interpretive aspects of Trio op. 97, an analytic and appreciative listening to recordings of this composition and a reading of its musical score. The interpretive work recurred greatly to the analytical reading of research sources such as autograph manuscript, later editions of its musical score, Beethoven\'s letters to his publishers, and of texts on Beethoven\'s life and music by contemporary commentators of him. Research results show, among other aspects, that Beethoven sought to develop a kind of work in which each instrument\'s characteristics are recognized and valued but it always serves the group. Besides, they show point that Trio op. 97 attributes to the violin a role less prominent than cello\'s; and that with a piano writing focused on chords and varied figures, chamber music\'s balance demands special attention as to the four movements of the Trio. Finally, results indicate that the idiosyncrasies are fundamental to interpret Beethoven\'s notation and musical intentions. That said, systematizing analyzes and making some thoughts on this thesis made possible to clarify, deepen and consolidate certain knowledge on Trio op. 97. But it doesn\'t meant prescribing a direction or an \"absolute truth\" regarding a forma of understanding and valuing it.

From the mid nineteenth century onwards, musical form has primarily been defined in terms of predetermined paradigms, which ostensibly provide a framework for hierarchically ordered materials. Despite its pervasive presence in theoretical literature, however, this Formenlehre tradition is not universal in musical thought. Since antiquity, theorists have resorted to images of dynamism, change, process, energy, intensity, and narration to denote a more elastic conception of (musical) form. However, most of them – such as, for instance, Kurth, Asaf’yev, or Maus – have not recognised that it is ultimately performers – not composers – who individually shape musical materials on the basis of the structural relations that they perceive within the music and then project in performance. This dissertation explores how such apparent incompatibility between theory and practice might be bridged. To that aim, the first part discusses how ‘dynamic’ notions of musical form might realise their full explanatory potential by accounting for the reality of performance. It also reviews previous investigations of performers’ strategies to project their structural understandings of musical works, with a special focus on their handling of timing, dynamics, articulation, intonation, and timbre. Using recorded interpretations of Brahms’s Cello Sonatas as sources for three case studies, the second part evaluates dynamic ideas of musical form from an analytical viewpoint. Through their personal approaches to these works, I show how select performers create a wide range of structural connections, which are never alike across their different recordings. Likewise, these performers neither resort to the same parameters nor ‘shape’ the select movements in the same manner or with the same intensity. I ultimately posit that musical structure is inferred, created, and experienced in a unique way on every occasion a given piece is performed – and also whenever it is composed, analysed, or listened to. This research does not dismiss music theory as having no explanatory potential in the investigation of abstract notions such as musical structure as we sense them in performance. Rather, it aims to contribute to the dialogue between theory and practice by showing how, and why, music theory should reconceptualise musical form as a set of possibilities affording multiple choices and interpretations, that is to say, as a ‘multiverse’ that emerges across time and in sound.

Este estudo analisa o Trio op. 97, escrito por Ludwig van Beethoven, mediante uma abordagem ligada às práticas interpretativas com um enfoque histórico, estético e musicológico. A pesquisa objetivou reconhecer, nessa composição, os procedimentos técnicos, sonoros e interpretativos para alcançar unidade sonora e um pensamento musical comum a uma formação camerística composta por piano, violino e violoncelo. Do ponto de vista metodológico, a pesquisa se valeu de um estudo prático-interpretativo ao piano, da revisão bibliográfica de estudos analíticos da concepção e dos aspectos interpretativos da obra, da escuta analítico-apreciativa de gravações da obra e de uma leitura de sua escrita. O trabalho de interpretação se apoiou, sobremaneira, na leitura analítica das fontes de pesquisa: manuscrito autógrafo, edições posteriores da partitura, cartas de Beethoven a seus editores e textos de comentadores de contemporâneos do compositor. Os resultados da pesquisa mostram, dentre outros pontos, que Beethoven buscou desenvolver uma parceria em que as características de cada instrumento são reconhecidas e valorizadas, mas sempre colocadas à disposição do conjunto. Também mostram que Trio op. 97 reserva ao violino papel menos proeminente que o do violoncelo; e que, com uma escrita pianística que privilegia acordes e as mais variadas figuras, o equilíbrio camerístico requer atenção especial nos quatro movimentos da obra. Enfim, os resultados apontam que as idiossincrasias são fundamentais para interpretar a notação e as intenções musicais de Beethoven. A sistematização das análises e reflexões aqui descritas permitiu clarear, aprofundar e sedimentar conhecimentos sobre a obra; mas de modo algum apontam uma direção única ou uma \"verdade absoluta\". / This study analyzes Trio op. 97, written by Ludwig van Beethoven. It does so by approaching it in connection with performance practice and with a focus on historical, aesthetic, and musicological aspects. The research aimed to recognize technical, sound, and interpretative procedures in this composition in order to achieve a sound unit and a musical thought peculiar to the chamber music formation made of piano, violin and cello. From a methodological point of view, the research relied upon a practical and interpretive study on the piano, a reading of analytical studies on the conception and interpretive aspects of Trio op. 97, an analytic and appreciative listening to recordings of this composition and a reading of its musical score. The interpretive work recurred greatly to the analytical reading of research sources such as autograph manuscript, later editions of its musical score, Beethoven\'s letters to his publishers, and of texts on Beethoven\'s life and music by contemporary commentators of him. Research results show, among other aspects, that Beethoven sought to develop a kind of work in which each instrument\'s characteristics are recognized and valued but it always serves the group. Besides, they show point that Trio op. 97 attributes to the violin a role less prominent than cello\'s; and that with a piano writing focused on chords and varied figures, chamber music\'s balance demands special attention as to the four movements of the Trio. Finally, results indicate that the idiosyncrasies are fundamental to interpret Beethoven\'s notation and musical intentions. That said, systematizing analyzes and making some thoughts on this thesis made possible to clarify, deepen and consolidate certain knowledge on Trio op. 97. But it doesn\'t meant prescribing a direction or an \"absolute truth\" regarding a forma of understanding and valuing it.