The main objective of this document is to explore the life and spiritual convictions of composer Peter Lieberson, and the creation of his Piano Concerto. Lieberson is a sought after composer who has won many awards and commissions. His works have been premiered and performed by some of the best musical artists of the late twentieth- and early twenty-first-century, such as Peter Serkin, Emmanuel Ax, Yo-Yo Ma, and Pierre Boulez. This study is divided into six chapters. After the Introduction, a biographical summary of Peter Lieberson's life, his spiritual beliefs and compositional style is presented. Chapter II contains background information on the Piano Concerto, along with biographical sketches of Peter Serkin, for whom the work was written, and Seiji Ozawa, music director of the Boston Symphony Orchestra and conductor of both the premier performance and Serkin's recording of the piece. Chapter III is a selective survey of the compositional techniques used in Lieberson's Concerto, in terms of the application of twelve-tone theory and the resulting octatonic, pentatonic, and whole-tone scales. Chapter IV introduces a general overview of the influence of Buddhism as a source of inspiration in the Piano Concerto. Chapter V examines aspects of performance practice issues. Chapter VI provides conclusions. The aim of this study is to further establish Peter Lieberson's stature as an important modern American composer. It is hoped that this study will encourage further research and interest in his works.

O trabalho consiste numa investigação sociológica sobre a música de concerto brasileira produzida entre os anos 40 e 50 do século XX. O ponto focal é a trajetória composicional de César Guerra-Peixe ao longo dessas duas décadas, que serve de guia para que se avance sobre a correspondência, textos, entrevistas e, mais fundamentalmente, a música composta por ele no período. Discutindo a relação de Guerra-Peixe com seus pares, o trabalho busca colocar em relevo como ele respondeu composicionalmente às questões e debates de seu tempo. Como ponto de apoio para a investigação, permanece a relação complexa entre modernidade e tradição em sua obra. / This thesis consists in a sociological investigation of the Brazilian concert music created during the 1940s and 50s. The focal point is Cesar Guerra-Peixes compositional trajectory along these two decades, which serves as a guideline through his letters, writings, interviews and, above all, the music he composed during that period. Discussing Guerra-Peixes relationship with his peers, the thesis strives to shed light on how he responded compositionally to the problems and debates of his time. The investigation is approached through the complex relationship between modernity and tradition in his works.

O presente trabalho propõe uma investigação acerca dos espaços de apresentação musical e sua relação com a música apresentada nestes, com especial enfoque na música erudita contemporânea. Tal proposta justifica-se a partir da verificação de uma dicotomia entre a concepção arquitetônica destes espaços, e a música que neles se apresenta, em sua maioria de um repertório consolidado no final do século XIX. Tal dissociação é particularmente interessante tendo em vista que, até o advento das vanguardas modernas do início do século XX, a música e os espaços de apresentação formavam um conjunto em consonância com o seu tempo. A partir desta verificação, alguns exemplos de espaços voltados para a música contemporânea e as suas características únicas foram analisados, e elucubrações acerca do estado atual destes, traçadas. A abordagem escolhida, entretanto, não foi a da descrição e análise do ponto de vista arquitetônico, técnico ou ainda, social; optou-se por uma investigação que relacionasse o desenvolvimento próprio da música e a sua relação com o espaço onde esta é apresentada, como forma de reforçar esta ligação e identificar os pontos de intersecção entre as duas disciplinas. Para tanto, iniciou-se o trabalho com alguns exemplos de salas de concerto recentemente construídas no contexto brasileiro: A Sala São Paulo (1999) e o Auditório Ibirapuera (2005), seguindo-se com uma verificação da música comumente apresentada nestes. A partir da verificação desta música, buscou-se o momento de caracterização do tipo arquitetônico do auditório, no tocante à organização espacial e colocação social destes. Dois espaços foram tomados como exemplo: o Palais Garnier (1875) em Paris e o Festspielhaus (1876) em Bayreuth, por representarem, cada um a seu modo, uma faceta deste tipo. Por fim realizou-se uma comparação entre a música apresentada nestes espaços e a música contemporânea, reforçando a dicotomia observada, e identificando preliminarmente o início do século XX como o momento de ruptura da relação direta entre arquitetura e música. Para comprovação desta afirmação, foi realizado uma restrospectiva dos locais onde a música possuía importância proeminente, e em paralelo, procurou-se abordar conceitos próprios da musica e da arquitetura, buscando criar subsídios para a compreensão do trabalho por músicos e arquitetos. Estes conceitos são essenciais para compreensão não só destes espaços, mas também das relações gerais entre os diferentes aspectos da vida social de sua época, de crucial importância para compreensão da dimensão da ruptura relatada. A partir desta revisão, algo descritiva e linear, partiu-se para reflexões dos motivos da mudança da relação entre arquitetura e música no Modernismo, e as consequências deste fato para ambas as disciplinas. Também foram abordados aspectos contemporâneos da música e da arquitetura, em espaços onde ainda buscou-se esta integração característica de outrora. Por fim, as conclusões buscam refletir sobre o futuro desta relação e do papel do arquiteto na produção de espaços para a música contemporânea, a partir de entrevistas com profissionais da área e da bibliografia especializada de ambas as disciplinas. É digno de nota que a bibliografia que aborda sobre este enfoque esta relação é extremamente escassa; este trabalho, portanto, adotou um perfil mais generalista e de amplo espectro, em detrimento de uma especificidade sobre um ponto específico desta relação, como o início de uma tentativa de suprir este vazio bibliográfico. / This paper proposes an investigation into the spaces of musical performance and its relationship with the music presented on these, with special focus on contemporary classical music. This proposal is justified from the verification of a dichotomy between the architectural design of these spaces, and the music that presented on them in a repertoire of mostly consolidated in the late nineteenth century. This dissociation is particularly interesting given that, until the advent of modern vanguards of the beginning of the twentieth century, music and performance spaces formed a group in line with your time. From this investigation, some examples of spaces facing the contemporary music and its unique characteristics were analyzed, and considerations about the current state of these, drawn. The approach chosen, however, was not the description and analysis from the architectural, technical or social point of view; it was decided by an investigation that relates the development of music itself and its relationship with the space where it is played as how to strengthen this link and identify the points of intersection between the two disciplines. To do so, the work began with some examples of recently built concert halls in the Brazilian context: The Sala São Paulo (1999) and the Auditório Ibirapuera (2005), followed with an investigation of the music commonly presented in these. From the verification of this music, it was sought to characterize the momentum of architectural auditorium, with regard to spatial organization and social setting of these. Two spaces were taken as example, the Palais Garnier (1875) in Paris and the Festspielhaus (1876) in Bayreuth, because they represent, each in its way, one facet of this type. Finally there was a comparison between the music presented in these spaces and contemporary music, which reinforces the dichotomy observed and preliminarily identifying the beginning of the twentieth century as the moment of transformation of the direct relationship between architecture and music. To prove this claim, was held a retrospective of where music had preeminent importance, and in parallel, we tried to address their own concepts of music and architecture, seeking to create elements for understanding the work of musicians and architects. These concepts are essential to understanding not only of these spaces, but also of general relations between different aspects of social life of his time, of crucial importance for understanding the dimension of rupture reported. Through this review, sometwhat descriptive and linear, reflections of the reasons for the changing of the relationship between architecture and music in Modernism, and the consequences of this fact to both disciplines were made. It was also discussed aspects of contemporary music and architecture in places where it was sought an integration. Finally, the conclusions sought, from interviews with professionals and specialized literature of both disciplines, to reflect on the future of this relationship and the role of the architect in producing spaces for contemporary music. It is noteworthy that the literature that addresses this relationship is extremely scarce; this work, therefore, adopted a more general profile and broad spec- trum, rather than a specific point on a specificity of this relationship, as the beginning of a attempt to fill this void of literature.

Embasado no processo artístico, este estudo reflete e descreve a preparação dos arranjos e de um recital de músicas de videogames como repertório de concerto. Os referenciais teóricos são discussões a respeito da música nos videogames, tecnologias de áudio referentes, discussões sobre pesquisa artística, textos sobre performance e sobre o concerto como evento. Os documentos desenvolvidos pelo autor durante o processo são partituras de arranjos autorais, cartazes e logomarcas que desenhei. Hoje em dia, as músicas de videogames não mais estão restritas aos jogos, constituem um repertorio que vem sendo interpretado por orquestras e solistas em diversos lugares do mundo. De um ruído que pretendia ilustrar o som da batida de uma bolinha no jogo Pong (1972) aos materiais sinfônicos presentes nos jogos de hoje, podemos perceber uma história de evoluções tecnológicas, demandas de mercado, práticas interpretativas e a possibilidade de uma nova janela a ser aberta no campo de estudos da música. Neste trabalho, apresento o relato sobre as diferentes etapas para a preparação de um concerto com músicas de videogame, envolvendo a escolha do repertório, preparação dos arranjos, realização dos cartazes para divulgação e as decisões interpretativas. / Based on the artistic process, this research reflects and describes the preparation of arrangements and a recital of music from videogames as a concert repertoire. The theoretical references are discussions about music in videogames, related audio technologies, discussions about artistic research, texts about performance and about the concert as an event. The documents developed by the author during the process are scores of arrangements, posters and logos that I drew. Nowadays, video game music is no longer restricted to games, it is a repertoire that has been played by orchestras and soloists in different parts of the world. From a noise that was intended to illustrate the sound of the beating ball in the Pong (1972) game to the symphonic materials present in the games of today, we can perceive a history of technological evolutions, market demands, interpretive practices and the possibility of a new window to be open in the field of music studies. In this work, I present the report on the different stages for the preparation of a concert with video game music, involving the choice of repertoire, preparation of the arrangements, realization of posters for dissemination and interpretative decisions.

Submitted by Geyciane Santos (geyciane_thamires@hotmail.com) on 2015-05-20T14:25:24Z No. of bitstreams: 1 Dissertação- Fabiane Oliveira Gomes Vasques.pdf: 4920619 bytes, checksum: f35b4c8a58b408ab8851b4d3c3675094 (MD5) / Made available in DSpace on 2015-05-20T14:25:24Z (GMT). No. of bitstreams: 1 Dissertação- Fabiane Oliveira Gomes Vasques.pdf: 4920619 bytes, checksum: f35b4c8a58b408ab8851b4d3c3675094 (MD5) Previous issue date: 2014-05-21 / FAPEAM - Fundação de Amparo à Pesquisa do Estado do Amazonas / Currently adolescence is marked by a period of high vulnerability and exposure to multiple risk situations and thus we see the challenges that psychology has , both in theory, as interventions in the production of revealing answers to these demands of socio-cultural fragilization devices . It is thought the extent to which artistic activities may affect psychosocial development can be an alternative to assist in reducing these vulnerabilities . This paper presents two articles where we sought to comprehend the relationship between art and vulnerability reduction in the life of adolescents who participated in an artistic event in the city of Manaus . Our specific objectives sought to present the profile and demands of participating adolescents in the “Jovem Cidadão” Project and the Christmas Concert held in 2012 , witch find themselves in the context of vulnerability and identify the dimensions that participation in this artistic event was pointed out by these adolescents as a reduction of vulnerability . Anchored in a cultural-historical approach to 10 psychology , we seek to understand the complex processes of risk and protection in the lives of these young people and to critically envision possible strategies in response to the vulnerabilities presented, considering art as a possible tool . Data was generated through qualitative and quantitative research that addressed 35 adolescents in two public schools through the questionnaire "Brazilian Youth" , focus groups and semi - structured individual interviews . Treatment methods included data using SPSS and content analysis . The results revealed that young people surveyed live in environments with dangerous surroundings, exposure to drugs trafficing and violence , fragile relationships , institutions with little room for leadership , but do not reveal deep vulnerability , being also identified some protective processes in their life as a positive concept, which functions as an empowerment to face the vicissitudes of life . Participation in the “Jovem Cidadão” Project and the Christmas Concert made possible changes in some aspects of these young people , as the expansion of communication and relational resources (improvement of socialization and relationships with family and peers ), although, at the Christmas Concert, these impacts have been larger, with emphasis on the recognition of the family, change in self- identity and self - esteem. In addition, these activities routinely offered new possibilities for these young . There were changes in both segments, both individual and affective- relational dimensions , but impact was not identified on the socio-structural dimension. The results of this research demonstrate that the artistic activities can be important tools for reframing conditions of vulnerability of young people, especially by expanding the network of protective support, which is important for the promotion of resilience. / Atualmente a adolescência é marcada por um período de alto índice de vulnerabilidade e exposição às múltiplas situações de risco e com isso vemos os desafios que a Psicologia encontra, tanto no campo teórico quanto das intervenções, na produção de respostas a estas demandas reveladoras dos dispositivos sócio-culturais fragilizantes. Cogita-se em que medida as atividades artísticas por incidirem sobre o desenvolvimento psicossocial podem se constituir alternativa que auxilie na redução destas vulnerabilidades. O presente trabalho consiste na apresentação de dois artigos, onde se buscou compreender a relação entre arte e redução de vulnerabilidade na vida de adolescentes que participaram de um evento artístico na cidade de Manaus. Como objetivos específicos buscou-se apresentar o perfil e demandas de adolescentes participantes do Projeto Jovem Cidadão e do Concerto de Natal de 2012, e que se encontram em contexto de vulnerabilidade, bem como identificar as dimensões que a participação neste evento artístico foi apontada por eles como redutora de vulnerabilidade. Ancorado em uma abordagem históricocultural da Psicologia, visa compreender a complexidade dos processos de risco e proteção presentes na vida destes adolescentes e pensar criticamente estratégias possíveis em resposta às vulnerabilidades apresentadas, considerando a arte como uma ferramenta possível. Os dados foram gerados através de uma pesquisa quali-quantitativa que abordou 35 adolescentes em duas escolas públicas através do questionário “Juventude Brasileira”, grupos focais e entrevistas individuais semi-estruturadas. Os métodos de tratamento dos dados incluíram o pacote estatístico SPSS e a Análise de Conteúdo. Os resultados revelaram que os jovens pesquisados vivem em contextos de violência, com exposição a drogas, relacionamentos frágeis, instituições com pouco espaço para protagonismo, porém não revelam profunda vulnerabilidade, sendo também identificados alguns processos protetivos na vida destes como um auto conceito positivo, o que funciona como um empoderamento para enfrentarem as vicissitudes da vida. Tanto a participação no Projeto Jovem Cidadão quanto no Concerto de Natal possibilitaram modificações em alguns aspectos destes jovens, como, a expansão de recursos comunicacionais e relacionais (melhora da timidez e relacionamento com a família e pares), embora no Concerto de Natal estes impactos tenham sido maiores, com ênfase no reconhecimento da família, mudança no autoconceito, identidade e autoestima. Além disso, a rotina destas atividades ofereceram novas possibilidades de ser para estes jovens. Houve nos dois segmentos, mudanças nas dimensões individual e afetivo-relacional, porém não foi identificado impacto na dimensão sócio-estrutural. Os resultados dessa pesquisa permitem compreender que as atividades artísticas podem ser importantes ferramentas para a ressignificação de condições de vulnerabilidade desses jovens, sobretudo por ampliar a rede de suporte protetivos, sendo importante para a promoção de resiliência.

O trabalho consiste numa investigação sociológica sobre a música de concerto brasileira produzida entre os anos 40 e 50 do século XX. O ponto focal é a trajetória composicional de César Guerra-Peixe ao longo dessas duas décadas, que serve de guia para que se avance sobre a correspondência, textos, entrevistas e, mais fundamentalmente, a música composta por ele no período. Discutindo a relação de Guerra-Peixe com seus pares, o trabalho busca colocar em relevo como ele respondeu composicionalmente às questões e debates de seu tempo. Como ponto de apoio para a investigação, permanece a relação complexa entre modernidade e tradição em sua obra. / This thesis consists in a sociological investigation of the Brazilian concert music created during the 1940s and 50s. The focal point is Cesar Guerra-Peixes compositional trajectory along these two decades, which serves as a guideline through his letters, writings, interviews and, above all, the music he composed during that period. Discussing Guerra-Peixes relationship with his peers, the thesis strives to shed light on how he responded compositionally to the problems and debates of his time. The investigation is approached through the complex relationship between modernity and tradition in his works.

Bohuslav Maritnů¡¦s Oboe Concerto, H. 353 is one of the most important oboe works in the twentieth century. This Concerto is composed in 1995, in Maritnů¡¦s later life period. There are numerous mistakes and controversies over the final published version. This has resulted various interpretation of the same piece by many performers throughout the decades. The main topic of this research concerns with the differences of the published editions and six recordings. This thesis is consisted of introduction, conclusion, and other three main chapters. The introduction includes research motivation, purpose, literature review and components definition. The first chapter is the introduction of Maritnů¡¦s life and music. Also, the important features of Oboe Concerto, H. 353 are briefly described in this chapter. The second chapter detailed described and the analyzed the Oboe Concerto, H. 353. The essential materials used in this piece are analyzed and organized in table charts. Nevertheless, for giving the instructions for practicing this piece, the play-skills and teaching-materials are suggested along with the difficult parts of the whole composition. Chapter three is the most important part of this thesis. This chapter mainly focuses on the comparison between scores and sound recordings, and discusses the accuracy of these versions. The scores including the piano version and the orchestra versions and those are expounded in the section one. Furthermore, according to the literatures, the correctness of musical notes and articulation are arranged in this section. I also mark the mistakes of each movement of Oboe Concerto, H. 353 in appendix for readers¡¦ references. Section two in chapter three is the comparison of different sound recordings of this piece. The six important and accomplished oboists¡¦ recordings are discussed in order to let readers realize these great oboists¡¦ music style and their characteristics. These most influential performers are Jiři Tancibudeck, Ingo Goritzki, Heinz Holliger, Lajos Lencsés, Thomas Indermühle, and Alex Klein. The last part is the conclusion of this thesis which concluded and analyzed the whole thesis.

This critical commentary investigates performance practice issues in Tomaso Giovanni Albinoni’s Concerto à cinque, op. 9 no. 5 (Amsterdam: Le Cène, 1722). It aims to stimulate players of the modern oboe to consider an historically informed approach towards the performance of this work through an assessment of relevant literature. Albinoni’s (1671–1750/51) professional career and the musical environment of Venice at this time form the backdrop for the study. The insularity of Albinoni’s life in Venice can be seen to have shaped certain original elements of his work. Furthermore, the increased availability of woodwind virtuosos in northern Italy during the early eighteenth century saw the composition of concertos for the oboe become an established part of Venetian musical life. This critical commentary includes a review of both historical treatises and modern literature that focus on the major performance practice parameters of tempo, dynamics, articulation and ornamentation. The historical treatises provide oboists with an understanding of the general practice during the baroque period, while the modern literature offers further discussion and analysis of these sources, alongside newer ideas for approaching the performance of Albinoni’s concerto. The resulting suggestions should not be regarded as rigid rules that contemporary performers must follow, but rather aim to give them more insight into the possible interpretation of the work. Thus the study provides both background information on the Concerto and guidelines on performance practice to assist oboists in generating their own ideas so that they can then develop their own interpretation of Albinoni’s concerto based on the evidence obtained from extensive research.

Submitted by Automa??o e Estat?stica (sst@bczm.ufrn.br) on 2018-01-15T21:40:47Z No. of bitstreams: 1 JairDaSilvaAlves_DISSERT.pdf: 33462595 bytes, checksum: 8bd795ddf58f46634b22553c3d2e9f66 (MD5) / Approved for entry into archive by Arlan Eloi Leite Silva (eloihistoriador@yahoo.com.br) on 2018-01-17T13:43:07Z (GMT) No. of bitstreams: 1 JairDaSilvaAlves_DISSERT.pdf: 33462595 bytes, checksum: 8bd795ddf58f46634b22553c3d2e9f66 (MD5) / Made available in DSpace on 2018-01-17T13:43:07Z (GMT). No. of bitstreams: 1 JairDaSilvaAlves_DISSERT.pdf: 33462595 bytes, checksum: 8bd795ddf58f46634b22553c3d2e9f66 (MD5) Previous issue date: 2017-12-01 / Em um ambiente utilizado principalmente para apresenta??es musicais, o grau de inteligibilidade das informa??es musicais e de outros aspectos ac?sticos ? o que possibilita a an?lise da qualidade dos sons que s?o recebidos pelos ouvintes e, consequentemente, permite uma avalia??o das caracter?sticas ac?sticas da sala. Essa an?lise ? realizada por meio da avalia??o de par?metros objetivos, os quais podem ser obtidos atrav?s de t?cnicas de medi??o e de simula??o computacional. Com o avan?o da tecnologia e o desenvolvimento de pesquisas referentes ? ac?stica arquitet?nica ao longo dos anos, v?rios softwares de avalia??o da qualidade ac?stica de salas foram desenvolvidos, tornando-os ferramentas essenciais para a previs?o do comportamento do som em diversos tipos de ambientes. Este estudo tem por objetivo avaliar, por meio de medi??o e simula??o computacional, par?metros que s?o capazes de representar o comportamento ac?stico do Audit?rio Onofre Lopes (AOL) da Escola de M?sica da Universidade Federal do Rio Grande do Norte (EMUFRN), no intuito de propor diretrizes gerais de projeto para otimiza??o das caracter?sticas ac?sticas desse ambiente. Os par?metros ac?sticos foram obtidos, primeiramente, a partir da medi??o da resposta impulsiva da sala. Atrav?s da constru??o de um modelo digital tridimensional do audit?rio, as caracter?sticas ac?sticas dos materiais que revestem as superf?cies internas da sala, bem como as caracter?sticas eletroac?sticas das fontes sonoras presentes no ambiente foram modeladas com o aux?lio de um software de simula??o computacional. Ap?s a valida??o do modelo, realizada atrav?s da compara??o dos resultados de Tempo de Reverbera??o (RT) obtidos nas medi??es e nas simula??es, os par?metros ac?sticos Early Decay Time (EDT), Clareza (C80), Defini??o (D50), Tempo Central (Ts) e Speech Transmission Index (STI) foram simulados e avaliados de acordo os valores recomendados na literatura. Como resultado da pesquisa, os valores coletados nas medi??es e simula??es apontaram que o AOL ? um espa?o que possui caracter?sticas ac?sticas inadequadas ? fala e pouco eficientes quando utilizado para m?sica. Dessa forma, algumas diretrizes de condicionamento ac?stico foram simuladas, com o objetivo de aperfei?oar a resposta temporal ac?stica para a utiliza??o do audit?rio como um espa?o destinado a m?ltiplos usos. / In a room used mainly for musical presentations, the intelligibility levels of musical information and other acoustic aspects allow the analysis of the quality of the sounds received by the listeners and, consequently, allows an evaluation of room's acoustic characteristics. This analysis is performed by the evaluation of objective parameters, which can be obtained by measurement and computational simulation techniques. With the advancement of technology and the development of research related to architectural acoustics over the years, several software for evaluating acoustic room quality were developed, making them essential tools for predicting the behavior of sound in different types of halls. The aim of this study is to evaluate, through computer measurement and simulation, parameters that are able to represent the acoustic behavior of the Onofre Lopes Auditorium (AOL) of the School of Music of the Federal University of Rio Grande do Norte (EMUFRN), in order to propose general guidelines to optimize its acoustic characteristics. These room's acoustic parameters were obtained by measuring it impulse response. Through the construction of a threedimensional digital model of the auditorium, the acoustic characteristics of the materials that covers its internal surfaces, as well electroacoustic characteristics of the sound sources present in this space were modeled with the aid of computer simulation software. After the validation of the model, by comparing Reverberation Time (RT) results obtained in the measurements and simulations, the acoustic parameters Early Decay Time (EDT), Clarity (C80), Definition (D50), Center Time (Ts) and Speech Transmission Index (STI) were simulated and evaluated according to the values recommended in the literature. As a result of this research, the values collected in the measurements and simulations pointed out that the AOL is a space that has inadequate acoustic characteristics to speech and may be considered inefficient when used for music. Thus, some acoustic conditioning guidelines were simulated to improve the acoustic temporal response to the use of the auditorium as a multipurpose hall.

The aim of this thesis is to explore life, works and pedagogical benefits of the Russian composer Dmitry Borisovich Kabalevsky. I would also like to focus on children's piano instructive literature by D. Kabalevsky because it is very appreciative recitative methodological material widely used at elementary schools of art. The thesis also includes a methodological analysis of instructive compositions, formal analysis of piano sonatas and concertos aesthetic analysis.