Made available in DSpace on 2016-12-08T17:06:47Z (GMT). No. of bitstreams: 1 122589.pdf: 1721483 bytes, checksum: 40c586c4f8cab8d2fc6ce42449d38024 (MD5) Previous issue date: 2015-03-31 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This dissertation presents a musical analysis and discusses some interpretative aspects of the piece Sept Papillons (2000) for solo cello, by the Finnish composer Kaija Saariaho (1952). A broad contextualization is presented in which we approached the composer s history, its main compositional characteristics, its aesthetic influences, the inter-relations between subjectivity and music making in her work, her gendered position in music and the importance of personal collaborations on the developing of her cello work. Musical analysis is preceded by the context of the piece, its situation on the cello repertoire, its influences and main characteristics. Due to the predominant use of natural harmonics a transcription of the original score is displayed. Musical analysis is then presented through the approach of formal and structural aspects. Research on the pitch, rhythmic, texture, timbral, gestures, instrumental and visual (metaphorical) dimensions of the piece is presented. Relations are established between the Sept Papillons building and Saariaho´s compositional processes. Technical and interpretative aspects of Sept Papillons performance and practice are addressed in dialogue with texts by performers and musicologists that work with her works and also through five interviews with cellists who have been played Sept Papillons in high level performances and recordings. It is observed the place of the body in music performance, on the sophisticated coordination on instrumental actions necessary for the performance. It is seen that Saariaho expands both the cello technique and the cello writing. Our work is justified by the contributions made to the field of knowledge on Kaija Saariaho, on analysis and performance of the contemporary repertoire, and on cello technique and cello music. / Esta dissertação apresenta uma análise musical e aborda alguns aspectos interpretativos da peça Sept Papillons (2000) para violoncelo solo, da compositora finlandesa Kaija Saariaho (1952). É apresentada uma ampla contextualização da compositora na qual abordamos sua trajetória, suas principais características composicionais, suas influências estéticas, as inter-relações entre subjetividade e fazer musical em sua obra, sua condição de gênero na música e a importância de colaborações pessoais no desenvolvimento de sua obra para violoncelo. A análise musical é precedida pela contextualização da peça, sua localização no repertório violoncelístico, suas influências e principais características. Por conta do predominante uso de harmônicos naturais uma transcrição da partitura original é apresentada. A análise musical é então realizada através da abordagem de aspectos formais e estruturais da investigação da dimensão das alturas, das dimensões rítmica, textural, tímbrica, gestual, instrumental e imagética (metafórica). São estabelecidas relações entre a construção de Sept Papillons e os processos composicionais de Saariaho. Aspectos técnicos e interpretativos da performance de Sept Papillons são abordados, em diálogo com textos de intérpretes e musicólogos (as) que trabalham com as obras da compositora e também através de cinco entrevistas realizadas com intérpretes que já apresentaram Sept Papillons em performances e gravações de alta qualidade. É observado o lugar do corpo na performance, na coordenação de sofisticadas ações instrumentais necessárias e também de que forma Saariaho expande a técnica e a escrita violoncelística. Nosso trabalho se justifica pelas contribuições oferecidas ao campo de conhecimento sobre Kaija Saariaho, sobre análise e performance do repertório contemporâneo e sobre técnica e interpretação do violoncelo.

O trabalho investiga o processo de construção das performances das obras para piano solo da compositora carioca Marisa Rezende (1944), considerando a interação entre intérprete e compositora. Até o momento, a obra pianística de Marisa Rezende é constituída pelas obras Ressonâncias (1983), Contrastes (2001) e Miragem (2011). Através da documentação de seu processo de construção da performance das obras, das mensagens eletrônicas trocadas com Marisa Rezende, e do material documentado em áudio e vídeo proveniente do trabalho presencial realizado com a compositora, o autor avalia o impacto que essa interação ocasionou em suas decisões interpretativas. / This work investigates the process of creating an interpretation of the works for solo piano by Brazilian composer Marisa Rezende (Rio de Janeiro, 1944). At the present time, Rezende’s works for solo piano comprise Ressonâncias (1983), Contrastes (2001), and Miragem (2011). This investigation considers the contributions of the interaction between the performer and the composer. By documenting the process of creating an interpretation for these works prior to working jointly with the composer, and the interactions with Rezende through electronic messages and an audio/video recording of a working session with the composer, the author assesses the impact of those interactions on his interpretative decisions.

A presente pesquisa traça um percurso referencial artístico que culminou num gênero de performance digital denominado electropera. Este gênero híbrido é formado pelo encontro, numa mesma arena, da performance art, da música contemporânea assistida por tecnologias eletrônicas digitais e das mídias visuais manipuladas (cinema found footage e vídeo arte). A pesquisa parte da abordagem da performance na música com preocupações analíticas acerca da construção da persona no performer musical; caminha para os desdobramentos sonoros nas vanguardas e alcança os movimentos de música experimental resultantes da contracultura dos anos 60; analisa as concepções estéticas de alguns compositores referenciais que saíram dos limites restritivos da escrita musical e optaram pela inserção de múltiplas linguagens em suas obras e lança um olhar analítico sobre novo papel das mulheres como performers e conceptoras de trabalhos musicais no universo da multimídia. A síntese de toda essa genealogia conceitual, histórica e auto-referencial culminou com a produção e a análise crítica e processual de um trabalho pessoal, a electropera Ópio. / This research traces the referential path which culminated in a gender of digital performance entitled electropera. This hybrid gender is constituted by the encounter, in a same arena, of performance art, contemporary music assisted by digital electronic technologies and the manipulation of visual medias such as found footage and video art. This study analytically approaches performance in music by focusing on the elaboration of a persona by the musical performer. Including the sonorous developments on the avant-garde movements through the resulting experimental music derived from the sixties counter-culture and the conceptual aesthetics of some chosen composers which transgressed the restrictive boundaries of musical composition by encompassing multiple art forms. Allowing an analytical glimpse on the new role of women as performers and creators of musical works in the multimedia universe. The synthesis of this conceptual historicized and self-referential genealogy culminated in the production, critical and process analyses of an authorial work, the electropera Ópio.

O trabalho investiga o processo de construção das performances das obras para piano solo da compositora carioca Marisa Rezende (1944), considerando a interação entre intérprete e compositora. Até o momento, a obra pianística de Marisa Rezende é constituída pelas obras Ressonâncias (1983), Contrastes (2001) e Miragem (2011). Através da documentação de seu processo de construção da performance das obras, das mensagens eletrônicas trocadas com Marisa Rezende, e do material documentado em áudio e vídeo proveniente do trabalho presencial realizado com a compositora, o autor avalia o impacto que essa interação ocasionou em suas decisões interpretativas. / This work investigates the process of creating an interpretation of the works for solo piano by Brazilian composer Marisa Rezende (Rio de Janeiro, 1944). At the present time, Rezende’s works for solo piano comprise Ressonâncias (1983), Contrastes (2001), and Miragem (2011). This investigation considers the contributions of the interaction between the performer and the composer. By documenting the process of creating an interpretation for these works prior to working jointly with the composer, and the interactions with Rezende through electronic messages and an audio/video recording of a working session with the composer, the author assesses the impact of those interactions on his interpretative decisions.

Ce travail propose d'observer l’effet de différentes structures musicales, extraites du courant musical minimaliste, sur la perception auditive temporelle d'adolescents musiciens et non-musiciens. Pour entreprendre cette recherche, nous avons dû d'abord définir notre conception du temps musical ainsi que son impact supposé sur la perception auditive.Une fois le corpus d’œuvres minimalistes sélectionné, une analyse musicale des extraits sonores retenus pour l’élaboration de deux expérimentations a été réalisée. Elle est destinée à justifier le choix de ces extraits et à définir les procédés d'écriture mis en œuvre, susceptibles d'altérer la perception de la durée chez les sujets. Deux expériences, une tâche de catégorisation libre et une tâche d’évaluation de durées, sont présentées sous la forme de protocoles expérimentaux, permettant d’exposer le déroulement de chacune, de commenter les résultats obtenus et d’expliquer les méthodes de calcul afin de formuler une interprétation des résultats.D’après les résultats observés, seulement certains procédés d’écriture utilisés par les compositeurs minimalistes semblent avoir un effet sur la perception des structures musicales et sur l’estimation de leur durée. Ces résultats sont valables pour les deux groupes de sujets, ce qui prouve que l’expérience musicale antérieure n’a pas d’effet majeur sur la perception de la durée dans un contexte musical. / This work proposes to observe the effect of various musical structures, extracted from the minimalist musical current, on temporal auditive perception of musician and non-musician adolescents. In order to undertake this research, we had to first define our conception of musical time as well as its supposed impact on auditive perception. Once the minimalist musical work corpus was selected, a musical analysis of the sound excerpts chosen for the elaboration of two experiments was done. It was destined to justify the selection of these excerpts and to define the writing processes at work, liable to distort duration perception of the subjects. Two experiments, a free categorization task and a duration evaluation task, are presented as experimental protocols in order to show their progression, to comment the obtained results and to explain the computing methods allowing to formulate an interpretation of the results. According to the results, only some writing processes used by minimalist composers seem to have an effect on perception of musical structures and their duration estimation. The results are valid for both subject groups, which proves that previous musical experience does not have a major effect on duration perception in musical context.

This dissertation work is concerned with Czech composers who composed for the solo accordion. These composers cover a range of individual generations of composition from the earliest born through to the youngest. There is a brief introduction to each composer along with their compositions for solo accordion including the characteristics of each individual composition and the circumstances of their creation. The dissertation work then presents the chronological development of Czech compositions for the solo accordion from the very beginning up to the present. It is also focuses on the teaching of the accordion within the context of the Czech education system. A very important part of this work is the evaluation of a survey conducted in the form of a questionnaire addressing teachers of the accordion at Czech conservatoires which was a probe into the current situation regarding the teaching of this instrument and the utilization of compositions for the accordion for teaching. This work should profit pedagogy of the accordion in the Czech Republic and should assist in its orientation with regards to the original literature for the accordion.

This document accompanies and explains the concepts used in the development of the composition, East is East, and West is West, (and Never the Twain Shall Meet). The process for generation and development of much of the musical content of the composition East is East, and West is West, (and Never the Twain Shall Meet) is the use of quoted musical materials. The second process, but equally as important, for development of the composition relies heavily on the idea of parallel development of modular ensembles and how the interactions created between them by sharing instrumentation can be a tool for development, as well as a challenge to the development of each module. Each module has an influence on at least one other module and is also influenced by at least one other module, creating a puzzle of interactions that must be navigated carefully when generating each individually. Both quotation and modularity are concepts employed by other composers, so this document also briefly explains how other composers have approached these concepts in their works in order to establish a historical relationship within the canon of western classical music to East is East, and West is West, (and Never the Twain Shall Meet).

In 1988, Jean Guillou composed Hyperion on a commission from the French oil company, Société Nationale Elf Aquitaine, to celebrate its discovery of oil. He developed this theme of fire using his imagination, European philosophical concepts, and various myths. As with Messiaen, rhythm becomes a significant element in Guillou's organ music to convey a heightened dramatic story of an exaltation of fire and to represent the fourth movement of "Agni-Ignis." For aspects of rhythmic structure, I developed new methodology to analyze rhythm in six sections of "Agni-Ignis." Guillou uses experimental rhythmic techniques such as rhythmic subdivision, cycling, rhythmic ostinato, durational contrast, and rhythmic crescendo to build the musical structure of the piece. Among them, the primary subdivision of 16th-note groups organizes throughout the piece as a cyclic theme to convey the powerful and vivid mood of fire. This rhythmic group creates many pitch patterns as thematic transformation to provide both rhythmic and harmonic complexities. The two types of rhythmic ostinato, which is variable and invariable type, juxtapose below the manual's skillful rhythm to provide variety and unity. The other notable features of rhythm appear at the border of each section, such as rhythmic crescendo, durational contrast, 32nd-note groupings, rest and fermata to build tension and relaxation. The rhetorical figure of pitch D, which is another "fire theme" in the pitch aspect dominates the core section which has a much slower rhythm with sustained notes. In general, Guillou has been influenced by his predecessors such as his teacher, Messiaen, and Stravinsky. However, he is uniquely suited to explore the limitless possibilities of the organ in a more secular and avant-garde style. The purpose of this study is to give the performer new insight to guide his or her performance.

No description available.

No description available.