Through examining Judith Weir’s woman.life.song (2000), the work presented in this written reflection is centered on the power of collaboration and context to create meaningful art and music that express important and often underrepresented experiences. Through a musical and sociological analysis of this piece, it is examined how the personal is political and how the creation of music and art are therefore inherently political projects. This paper argues that musicians have a responsibility to consciously select our repertoire: a conscience based upon an understanding of intersectionality. Such consciousness must take into account structures of sexism and racism, which positions music in its socio-political context and actively challenges the concept of “quality” as it is constructed in the art music canon. Placing the composer and authors within their broader socio-political contexts, it is argued that lifting pieces such woman.life.song are important contributions of a musician’s participation in music. This paper draws upon work in sociology that centers on identity to examine how structures of power impact the voices that are heard and that are represented in the musical canon. / <p><strong>Kristine Nowlain, sopran</strong></p><p></p><p>Gustave Charpentier (1860-1956)</p><p>Depuis le jour</p><p>Ur <em>Louise</em>(Louise)</p><p>Libretto av G. Charpentier</p><p>Albert Dahllöf, piano</p><p> </p><p>Mario Castelnuovo-Tedesco (1895-1968)</p><p><em>The Divan of Moses-Ibn-Ezra</em></p><p>1. When the morning of life has passed</p><p>2. The dove that nests in the tree-top</p><p>3. Wrung with anguish</p><p>Text av Moses-Ibn-Ezra (1058-1138) </p><p>Gustav Sondén, gitarr</p><p> </p><p> </p><p>Heitor Villa-Lobos (1887-1959)</p><p>Bachianas Brasileiras, no. 5 (Aria)</p><p>Text av Ruth V. Corrêa </p><p>Gustav Sondén, gitarr</p><p> </p><p> </p><p>Åke Uddén (1903-1987)</p><p><em>Tre sånger ur ”Les Chanson de Bilitis” </em></p><p>1. Tendresses</p><p>3. Chanson</p><p>Text av Pierre Louÿs (1870-1925)</p><p>Johanna Johnsson, piano</p><p> </p><p>Gösta Nyström (1890-1966)</p><p><em>På Reveln</em></p><p>3. Havet Sjunger</p><p>Text av Ebba Lindqvist (1908-1995)</p><p>Johanna Johnsson, piano</p><p> </p><p>Rebecca Clarke (1886-1979)</p><p>The Seal Man</p><p>Text ur <em>A Mainsail Haul </em>av John Masefield (1878-1967)</p><p>Albert Dahllöf, piano</p><p> </p><p>W.A. Mozart (1756-1791)</p><p>Ach, ich Fühl’s</p><p>Ur <em>Die Zauberflöte</em>(Pamina)</p><p>Libretto av Emanuel Schikaneder (1751-1812)</p><p>KMH Kammarorkester</p><p> </p><p>Judith Weir (f. 1954)</p><p><em>woman.life.song</em></p><p>1c. Edge (text av Toni Morrison, f. 1931)</p><p>2. Eve Remembering (text av Toni Morrison)</p><p>3b. The Mothership: when a good mother sails from this world (Stave II) – (text av Clarissa Pinkola Estés, f. 1945)</p><p>KMH Kammarorkester: </p><p>Sofia Winiarski, dirigent</p><p>Albert Dahllöf, piano</p><p>Andreas Nyström, slagverk</p><p>Astrid le Clercq, klarinett</p><p>Catrin Spångberg Johansson, altflöjt</p><p>Enno Leggedör, viola</p><p>Gustav Wetterbrandt, basklarinett</p><p>Henrik Wassenius, slagverk</p><p>Hugo Olsson, klarinett</p><p>Isabel Godau, violin</p><p>Johanna Moraeus, violin</p><p>Kajsa Nilsson, flöjt</p><p>Klara Källström, cello</p><p>Miia Roiko-Jokela, flöjt</p><p>Miriam Liljefors, harpa</p><p>Moa Nissfolk, gitarr</p><p>Ragnhild Kvist, viola</p><p>Simon Landqvist, slagverk</p><p>Svante Söderqvist, kontrabas</p><p>Viktoria Hillerud, cello</p><p> </p>

No description available.

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: Aci Taveira Meyer / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-17T21:14:33Z (GMT). No. of bitstreams: 1 Rosa_LiliadeOliveira_D.pdf: 4441858 bytes, checksum: 53564442162a3cc196ba783dfe47aadc (MD5) Previous issue date: 2011 / Resumo: O objetivo principal desta pesquisa é estudar três peças aleatórias do compositor pelotense Luiz Carlos Lessa Vinholes - Instrução 61, para quatro instrumentos quaisquer (1961); Instrução 62, para instrumentos de teclado (1962); e Peça/Pessa para fazer Psiu/Xi, para bocas (1979) - e, a partir da análise deste material, criar atividades pedagógicas para o uso em salas de musicalização com crianças na faixa-etária de seis a dez anos de idade. O trabalho desenvolveu-se a partir das seguintes questões: Como estimular a imaginação e a criatividade da criança? Quais tipos de músicas ou obras contemporâneas seriam adequados para tal propósito? As peças de Vinholes apresentam-se como possível resposta para estas questões, justamente por serem aleatórias e não exigirem dos usuários qualquer conhecimento musical tradicional ou, ainda, por utilizarem novos códigos ou notações de fácil leitura ou entendimento. Para a comprovação da hipótese, a pesquisadora utilizou-se da abordagem qualitativa, privilegiando a obtenção de dados descritivos mediante contato direto e interativo com a situação objeto de estudo. Na fundamentação, as principais abordagens pedagógicas da segunda metade do século XX foram discutidas, no intuito de compreender os pressupostos educacionais de pedagogos contemporâneos e contextualizar as peças de Vinholes no âmbito educacional. O trabalho propõe, ainda, a criação de um site para a preservação e divulgação da vida e obra de Vinholes, bem como da presente pesquisa. A autora acredita que este trabalho possa contribuir para o surgimento de novas reflexões, hipóteses, estudos e pesquisas no âmbito da pedagogia musical e do repertório contemporâneo e, principalmente, na formação e postura didática de futuros professores de música e musicalização / Abstract: The main objective of this research is to study three aleatory pieces by the composer from Pelotas/RS Luiz Carlos Lessa Vinholes: Instrução 61, for any four instruments (1961); Instrução 62, for keyboard instruments (1962); and Peça/Pessa para fazer Psiu/Xi, for mouthes (1979) and, from the analysis of this material, create pedagogical activities for use in musicalization classes with children from six to ten years old. This work has been developed from the following questions: How to stimulate the child's imagination and creativity? What kind of music or contemporary works would be appropriate for such purpose? The pieces by L. C. Vinholes are presented as possible answers to these questions, precisely because they are aleatory, do not require any knowledge of traditional music and, better yet, for using new codes and notation of easy reading and understanding. To prove this hypothesis, the researcher used the qualitative approach focusing on obtaining descriptive data through direct and interactive contact with the object of study situation. In the grounds, the main pedagogical approaches of the second half of the twentieth century were discussed in order to understand the educational assumptions of contemporary educators and contextualize the pieces by Vinholes in the educational scope. The paper also proposes the creation of a site for the preservation and dissemination of some aspects of the activities and work of L. C. Vinholes, as well as to make available the present research. The author believes that this work can contribute to the rise of a new thinking, assumptions, studies and researches in the field of music pedagogy and contemporary repertoire, especially in training and didactic/pedagogical attitude of teachers of music and musicalization / Doutorado / Doutor em Música

Submitted by Luciana Ferreira (lucgeral@gmail.com) on 2017-05-10T11:43:45Z No. of bitstreams: 2 Dissertação - Anderson Afonso Silva - 2017.pdf: 7480769 bytes, checksum: c5fae92480b7a51c53b754f1e5b4aac3 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2017-05-10T11:44:55Z (GMT) No. of bitstreams: 2 Dissertação - Anderson Afonso Silva - 2017.pdf: 7480769 bytes, checksum: c5fae92480b7a51c53b754f1e5b4aac3 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2017-05-10T11:44:56Z (GMT). No. of bitstreams: 2 Dissertação - Anderson Afonso Silva - 2017.pdf: 7480769 bytes, checksum: c5fae92480b7a51c53b754f1e5b4aac3 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2017-04-01 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This work is the result of an experience acquired in the study of composer-interpreter relations, under the performer's view. The central axis of this research is to develop, along with Estércio Marquez Cunha, new possibilities of the horn resources in relation to the Sixxen. Firstly, a bibliographical study of the collaborative role between interpreters and composers, referenced in BRANDINO 2012, ISHISAKI and MACHADO 2013, RAMOS 2013, RAY 2013 and ROSSI and BARBOSA 2015, is undertaken to understand the collaboration path of these two crucial pieces for the making of music. For its novelty in Brazil, the second part is dedicated to the Sixxen, investigating about conception, repertoire and its trajectory until Goiânia, with support in the study done by MORAIS, CHAIB and OLIVEIRA, 2016. For the optimization of the research, the third part is intended in the report of the experience in the course of the collaboration of this researcher as an interpreter with the composer. In this part, the specificities of sound effects in the horn are demonstrated and instructed in how the composer idealized the work in question by virtue of the experiments performed with the interpreter. The main results that the research brings is the contribution of the world contemporary repertoire for both instruments, evidenced through the language of the composer in question and thus have generated an explanatory didactic material for the techniques extended in the horn. / Este trabalho é fruto de uma de experiência adquirida no estudo das relações compositor-intérprete, sob olhar do performer. O eixo central desta pesquisa está em explorar, juntamente com Estércio Marquez Cunha, novas possibilidades dos recursos da trompa em relação ao Sixxen. Primeiramente, faz-se um estudo bibliográfico do papel colaborativo entre intérpretes e compositores, referenciados em BRANDINO 2012, ISHISAKI e MACHADO 2013, RAMOS 2013, RAY 2013 e ROSSI e BARBOSA 2015, a fim de compreender o caminho de colaboração dessas duas peças cruciais para o fazer musical. Pelo seu ineditismo no Brasil, a segunda parte é dedicada ao Sixxen, investigando a respeito de concepção, repertório e sua trajetória até Goiânia, com respaldo no estudo feito por MORAIS, CHAIB e OLIVEIRA, 2016. Para otimização da pesquisa, a terceira parte destina-se no relato da experiência ao decorrer da colaboração deste pesquisador enquanto intérprete com o compositor. Nesta parte, demonstra-se e instrui as especificidades dos efeitos sonoros na trompa, em como o compositor idealizou a obra em questão em virtude das experimentações realizadas com o intérprete. Os principais resultados que a pesquisa traz é da contribuição do repertório contemporâneo mundial para ambos intrumentos, evidenciada por meio da linguagem do compositor em questão e assim ter gerado um material didático explicativo para as técnicas extendidas na trompa.

A presente pesquisa se propõe a investigar as características fundamentais da música-teatro de Gilberto Mendes. O trabalho divide-se em três partes. No primeiro capítulo, apresentamos uma ampla revisão bibliográfica sobre o desenvolvimento do gênero música-teatro, buscando sua raiz desde a ideia de Gesamtkunstwerk de Wagner, passando pelas experiências das primeiras décadas do século XX, até seu estabelecimento de fato como uma prática, nos anos 60. Também procuramos promover um diálogo entre a obra de Gilberto Mendes e as pesquisas contemporâneas sobre música-teatro, especialmente com Salzman & Dési (2008) e Roesner & Rebstock (2012), a fim de inserir o compositor dentro da discussão internacional sobre o gênero. No segundo capítulo, investigamos minuciosamente os principais traços constituintes da linguagem composicional de música-teatro do compositor, visando identificar seus processos mais recorrentes e idiomáticos. Por fim, no terceiro capítulo analisamos quatro obras de Gilberto Mendes: Cidade (1964), Son et Lumière (1968), O Último Tango em Vila Parisi (1987) e Escorbuto - Cantos da Costa (2006). Para desenvolver as análises, adaptamos a teoria de multimídia musical de Nicholas Cook (1998), de modo que pudéssemos identificar os tipos de relações e soluções operados por Gilberto Mendes na composição com elementos artísticos de origens diversas. Consideramos que esta pesquisa contribuirá para as pesquisas sobre a música-teatro produzida fora dos grandes centros europeus, além de aumentar o escopo de estudos sobre o gênero no Brasil e, especialmente, sobre a produção de Gilberto Mendes. / This current research aims at investigating the fundamental characteristics of Gilberto Mendes\'s music theater. This work is divided into three parts. In the first chapter, we present a broad bibliographical review about the development of music theater genre, seeking its root from Wagner\'s idea of Gesamtkunstwerk, going from the experiences of the first decades of the twentieth century to its actual establishment as a practice, in the 60s. We also seek to promote a dialogue between Gilberto Mendes\'s works and contemporary researches on music theater, especially Salzman & Dési (2008) and Roesner & Rebstock (2012), in order to insert the composer into the international discussion about the genre. In the second chapter, we scrutinize the main constituent features of the composer\'s compositional language of music theater, in order to identify its most recurrent and idiomatic processes. Finally, in the third chapter we analyze four Gilberto Mendes\'s works: Cidade (1964), Son et Lumière (1968), O Último Tango em Vila Parisi (1987) and Escorbuto - Cantos da Costa (2006). In order to develop the analyses, we adapted Nicholas Cook\'s musical multimedia theory (1998), so that we could identify types of relations and solutions operated by Gilberto Mendes in the composition with artistic elements from diverse origins. We consider that this research will contribute with music theater researches done outside major European centers, in addition to increasing the scope of studies about this genre in Brazil and, especially, about Gilberto Mendes\'s production.

Du 19e siècle à nos jours, la musique chinoise a pris une nouvelle direction. La création musicale en Chine s'est développée à travers les diverses cultures et les changements de politique, conférant ainsi un charme particulier à la musique contemporaine chinoise. A partir du début de l'imitation occidentale et juste avant la fondation de la nouvelle Chine, les musiciens chinois sont parvenus à associer les éléments musicaux chinois avec les nouveaux langages musicaux. Au cours de certaines périodes, l'art avait été asservi au pouvoir politique et la création musicale de style traditionnel était l'identité principale. Après de vagues stratégies d’Etat successives, l’évitement des thèmes sensibles, les besoins urgents de la culture racine, la mise en œuvre des techniques expérimentales s’est déployée et diversifiée et les échanges internationaux ont conduit à l'émergence du départ à l'étranger des compositeurs chinois pour chercher leur propre chemin créatif. La musique contemporaine de la Chine s’est élaborée à partir de la technique occidentale et a progressé dans le contexte culturel chinois et ses racines multiples, les pensées fermées et les expériences d'enfance dans l'environnement culturel pur et la collision du nouvel environnement créent des œuvres d'art fascinantes, la rendant remarquablement différente de la musique contemporaine occidentale. Durant ces 30 dernières années de développement économique et d'ouverture politique, la société chinoise s’est de plus en plus internationalisée; les nouvelles technologies et les profils variés des compositeurs ont incité la nouvelle génération à mettre en place d’excellentes innovations musicales spécifiques. / As of the 19th century up to now, Chinese music has been taking a new direction and has developed in the wake of social evolutions. In China, the musical creation was affected by both the various cultures and political changes, thus bestowing a special charm on contemporary Chinese music. From the beginning of Western imitation and just before the founding of the new China, Chinese musicians succeeded in matching the Chinese musical elements with the new musical languages. Throughout specific periods, art had been bound to political power, and traditional style constituted the main identity of musical creation. Following the Cultural Revolution, the return to the root culture, the implementation of diversified experimental techniques have resulted in the departure of Chinese composers abroad in search of their own creative way. Contemporary Chinese music developed from Western technique and progressed in the Chinese cultural context and its multiple roots, closed thoughts and childhood experiences in the pure cultural environment and the collision of the new environment is now creating fascinating works of art, remarkably different from Western contemporary music. During the last 30 years of economic development and political openness, Chinese society has become increasingly internationalized; the new technologies and the varied profiles of composers have prompted the new generation to set up outstanding specific musical innovations.

Le théâtre de la cruauté d’Antonin Artaud (1896-1948) participe à une libération des langages artistiques au profit du sens déterminante dans l’histoire de l’art du XXème siècle. Dans ce théâtre, l’acteur représente le point de départ d’un langage originaire fondé sur le souffle et le geste qui favorise une communication affective avec le spectateur. Le théâtre musical de la cruauté de Wolfgang Rihm (1952) s’inspire de ce langage à travers les thématiques du rite, du mythe et du rêve, porteuses d’un théâtre inhérent à la vie. Ces thématiques sont propices au développement d’une vocalité qui rend perceptible la corporalité du chanteur grâce à une déconstruction de la matière langagière. Rihm exploite la matière phonique de la langue sous forme de glossolalies, cherche différents aspects du cri en tant qu’élément premier du langage, utilise le souffle comme une matière sonore. Cette vocalité rejoint son approche instrumentale qui travaille le son à partir du timbre, du rythme et de l’intensité sans chercher à l’enfermer dans une logique systémique. Intégrée au processus compositionnel, la disposition des musiciens et des chanteurs dans l’espace rejoint également la conception d’un espace scénique vivant dans le théâtre d’Artaud. Au fur et à mesure de son théâtre musical de la cruauté, Rihm laisse ses matériaux sonores inspirés par Artaud se réécrire dans une forme de palimpseste. / The theater of cruelty of Antonin Artaud (1896-1948) participates in a liberation of artistic language over decisive meaning in the history of 20th century art. In this theater the actor is the starting point for a language of origins founded on breath and gesture, which promotes affective communication with the audience. The musical theater of Wolfgang Rihm (1952) takes it’s inspiration from this language via the themes of ritual, myth, and dream, all which bear a theater inherent to life. These themes are developed through a vocalization, which renders visible the corporeality of the singer through a deconstruction of language matter. Rihm exploits the phonic matter of language in the form of glossolalia, seeking different aspects of the scream as the primal element of language, employing breath as sonorous matter. This vocalization rejoins his instrumental approach, which uses sound drawn from timbre, rhythm and intensity without seeking to enclose it within a logical system. Integrated into the compositional process, the spacial arrangement of the musicians and the singers rejoins the concept of a living scenic space in Artaud’s theater. As Rihm’ s musical theater of cruelty progresses, it allows the sonoral matter inspired by Artaud to rewrite itself in a form of palimpsest.

Diverse practicing methods are evidence of the importance of applying creativity in our practice regimes. Regardless of a player's technique - traditional or modern - it must be regularly practiced and then applied. One of the most common ways to do that is through practicing technical exercises, which generally means the practice of scales, arpeggios and etudes. These exercises generally function as a warm-up regime for all musicians, but this regime doesn't necessarily provide enough reference for the player in the learning process of a new piece. Adapting exercises to address technical difficulties in a newly learned piece can provide the player with a wide range of practice methods to use, to be creative, to be more aware while practicing, and to build a solid technical foundation for the newly learned piece. Two well-known pedagogues who applied this approach are German bassist Ludwig Streicher and Czech violinist Otakar Ševčik. By implementing analytical studies and composing exercises based on the standard repertoire, Ševčik and Streicher became highly influential teachers in the 20th century. Their work serves as a model in achieving the purposes of this dissertation: the assessment of technical difficulties and compilation of a technique booklet based on six unaccompanied contemporary solo pieces written as required works for the solo competition of the International Society of Bassists' biennial convention since 2007.

Piano instructors often have to work as a bridge connecting music from the past and the future. From a pedagogical viewpoint, contemporary works should be considered just as important as those in the standard repertoire. Yet, most piano instructors are skewed towards modern music and their teaching materials are focused on eighteenth and nineteenth century repertoire. It is essential for them to introduce various kinds of music from different periods and cultures in order to fully develop a student's musicianship. The purpose of this study is to compare two modern works that are designed mainly for pedagogical purposes: 32 Piano Games by Ross Lee Finney (1906-1997) and Amusements by Stephen Chatman (b. 1950). These compositions are intended for beginner and intermediate students and incorporate a number of contemporary elements and techniques. This study can help instructors and students understand how these elements are being used and the ways they have evolved over time. Most importantly, this dissertation can provide teachers with a distinct methodology that enables them to present modern pieces to beginning level students in a more approachable fashion, further providing theoretical and technical assets that will allow them to play advanced contemporary music in the future.