Esta pesquisa aborda a trajetória da gravadora Festa, criada na década de 1950, no Rio de Janeiro, pelo jornalista paulista Irineu Garcia (1920-1984), que teve como sócio nos dois primeiros anos o livreiro e editor carioca Carlos Ribeiro (1908-1993). A título de recorte, a dissertação trata do período compreendido entre 1955 e 1971, quando o selo fonográfico, sob a coordenação de Garcia, gravou dezenas de discos de literatura (poesia, prosa, teatro), música erudita e popular. A partir de extensa pesquisa em arquivos públicos e particulares, bem como em periódicos publicados entre os anos de 1940 e 1990, além da realização de diversas entrevistas, o trabalho busca organizar a história da gravadora de forma panorâmica, com o intuito, inclusive, de possibilitar outras investigações de aspectos pontuais sobre este objeto. Procurou-se também inserir a narrativa dentro do contexto histórico daquele momento, quando emergia uma indústria cultural no país. Por fim, reuniu-se em um anexo capas, contracapas e/ou informações acerca de 97 produções fonográficas realizadas pela gravadora no período contemplado pelo estudo. / The present research recovers the trajectory of the Festa record company, launched in Rio de Janeiro during the 1950s by São Paulo-born journalist Irineu Garcia (1920-1984) and the editor and bookseller carioca Carlos Ribeiro (1908-1993), his business partner during the first couple of years. It focuses on the period between 1955 and 1971 when the phonographic label, under Garcia\'s leadership, recorded dozens of literature discs (poetry, prose, theater), popular and classical music. After extensive data recollection from public and private archives as well as from publications released from 1940 to 1980 and many interviews, the present work broadly organizes the history of Festa with the intention of providing for other research works that could take on specific aspects of the object. It also places the narrative in the historical context of the emergence of a cultural industry in the country. Finally, the research includes an Annex with covers, back covers and general information on 97 phonographic productions by the record company in the studied time frame.

(Jose Antonio) Carlos de Seixas (1704-1742) is an important figure in the European keyboard music of the beginning of the 18th-century. He composed around 700 sonatas for keyboard, of which only around 105 are known today. They demonstrate a high execution level that can be compared with J. P. Rameau (1683-1764), J. S. Bach (1685-1750), Domenico Scarlatti (1685-1757), Padre Antonio Soler (1729-1783) and other important composers of his time. Like Scarlatti and Soler, Carlos Seixas is positioned in an important transitional period in the history of music. He and his contemporaries are situated between true giants of Western Art Music: before and, in part, during Seixas's life time lived G. F. Haendel (1685-1759) and J. S. Bach (1685-1750); and after Seixas came F. J. Haydn (1732-1809), W. A. Mozart (1756-1791), and L. van Beethoven (1770-1827). During this transitional time in the first half of the eighteenth century, from the baroque to the classical eras, several stylistic trends coexisted--- the baroque, the new galant style, the empfindsamer Stil, and the pre-classical. This essay is divided into four chapters. In Chapter One I discuss the sources for Seixas scholarship followed by a historical overview of seventeenth- and eighteenth- century Portugal as well as a brief biographical sketch of Seixas's life. Chapter Two includes a discussion of Seixas's musical style and form. I examine various facets of his compositional style, including some commonalities found in many composers' works during the transitional period between the Baroque and pre-Classical. I also explore other facets of his keyboard writing such as the use of violin idioms, folkloric sounds, and symphonic textures. In Chapter Three I examine in greater detail Seixas's keyboard writing. I start with descriptions of the instruments that Seixas may have used and of his keyboard writing. I also examine available scholarship for guidelines on performing early eighteenth-century keyboard music in general--including specific approaches to ornaments, articulation, improvisation, rubato, and the like--before turning to Seixas's keyboard sonatas in particular. The last chapter, Chapter Four, includes elements for the analysis of Seixas's sonatas; I choose four of these sonatas for more in-depth analysis of formal and tonal structure. The four selected sonatas represent different formal schemes and stylistic characteristics, which demonstrate the variety within Seixas's solo keyboard pieces. They show great contrasts in form, relationship of movements, and thematic treatment: Sonata No. 16 in C minor presents only one movement in free binary form; Sonata No. 27 in D minor has three movements with no evident relationship among them and toccata elements in the first movement; Sonata No. 42 in F minor also has three movements but the last two movements relate thematically and the first movement presents imitative counterpoint; and Sonata No. 59 in A major represents pre-classical tendencies in texture and structure, presenting three movements connected as a whole through cyclical thematic ideas in the outer movements and a second movement, in A minor, that links to the last movement by means of an open ending. In addition, Chapter Four includes pedagogical insights from an analytical standpoint and annotations for the use of Seixas's sonatas as teaching resources. As part of this chapter's pedagogical resources, I also list additional sources for understanding performance practice of eighteenth-century music, review the available editions of Seixas's solo keyboard compositions, and list the primary performers of his keyboard works. Finally, the appendices to this essay include two cataloguing tables: the first (Appendix A) catalogues a selected group of Seixas's sonatas with detailed descriptions of their technical difficulties, and the second (Appendix B) catalogues all eighty sonatas according to level of difficulty. In addition, the scores of all four sonatas analyzed in Chapter Four are provided in two forms: Appendices C, D, E, and F contain the original Seixas score as edited by Seixas's preeminent scholar Santiago Macario Kastner; Appendices G, H, I, and J contain my performer's scores for the same four sonatas, that is, annotated versions of Kastner's editions.

Studien utforskar hur min livsvärld påverkades och förändrades då jag undersökte mina strategier för saxofonövning. Utgångspunkten för studien utgår från instuderingen som gjordes av Paul Bonneaus stycke Suiet pour saxophone alto et piano och de loggboksanteckningar som skrevs i samband med varje övningspass. Denna kvalitativa studie genomfördes utifrån ett livsvärldsperspektiv som kommer ur den fenomenologiska filosofin. Analysen av instuderingsprocessen kretsade kring mina reflektioner över hur jag ser på övning utifrån min livsvärld. I resultatet framkommer ett mönster som visar en övergång från negativt tänkande till mer positivt tänkande. Resultatet visar hur min livsvärld förändrades då jag undersökte de strategier som användes under instuderingen. Resultatet visar också hur jag med hjälp av forskning och litteratur har öppnat upp min livsvärld och ändrat mina tankegångar under skrivprocessen. Slutligen diskuterar jag resultatet i förhållande till litteratur och tidigare forskning inom området. / The study explores how my life-world was affected and changed when I examined my strategies for practicing saxophone. The starting point for the study is how I learned to play Paul Bonneaus piece Suiet pour saxophone alto et piano, and the logbook notes connected to each exercise session. This qualitative study is based on a life-world perspective coming from the phenomenological philosophy. The analysis of the rehearsal process revolved around my reflections on how I, in my life-world, perceived the exercises. The result shows a pattern of a transition from negative thinking to more positive thinking, and how my life world changed when I examined the strategies used during my practice. The result also shows how the research and literature opened up my life-world and changed my way of thinking during the writing process. Finally, I discuss the results in relation to literature and previous research within the field.

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Orientadores: Jorge Luiz Schroeder, Antonio Rafael Carvalho dos Santos / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-23T15:50:05Z (GMT). No. of bitstreams: 1 Pronsato_CarlaVeronica_M.pdf: 3951071 bytes, checksum: 915ff679f6c0d96b4beb0dc3b181e103 (MD5) Previous issue date: 2013 / Resumo: Esta dissertação de mestrado aborda alguns aspectos da criação musical presentes no processo criativo de Radamés Gnatalli (1906-1988) que contribuem para a compreensão de seu trânsito entre o erudito e o popular na música brasileira. Para a realização desta pesquisa foram selecionadas duas peças: os choros para piano solo "Canhoto" e "Manhosamente", por apresentarem de modo mais explícito, maneiras como o popular e o erudito se articulam em suas criações. Estes choros são peças que fazem parte de meu repertório como pianista, o que torna este trabalho uma reflexão teórica decorrente de uma prática. Através do estudo teórico e prático destas peças, investigo alguns indícios das possíveis fontes musicais pelos quais Radamés Gnattali transitou, buscando contribuições que contemplem suas criações, particularmente no hibridismo entre a música popular e a erudita. Procuro evidenciar estas relações musicais amparadas por uma investigação de cunho histórico-social, com a intenção de ampliar o escopo das análises e incluir também o ambiente socio-cultural no qual Radamés Gnattali estava mergulhado, e através do qual ele estabeleceu seu eixo de sentidos e valores musicais expostos em sua obra / Abstract: This master's dissertation analyses aspects pertaining to the creative process involved in Radamés Gnatalli's (1906-1988) musical creation that contribute to comprehend his transitions between erudite and popular Brazilian music. In order to conclude this investigation two compositions were selected: "Canhoto" and "Manhosamente," choros for piano solo that explicitly reveal ways in which popular as well as erudite facets appear in his work. These choros are compositions that make up part of my repertoire as a pianist, which means that the theoretical assessments present in this investigation originate from practical training. By means of theoretical and practical examination of these compositions I have investigated potential traces of musical sources that may have inspired Radamés Gnattali in search of contributions that relate to his creations, especially concerning the hybridism between popular and erudite music. I have strived to evince these musical relations based on social-historical research with the intention of widening the scope of my analyses and including the social-cultural context that surrounded Radamés Gnattali, which, consequently, determined the axis of meanings and musical values exposed in his work / Mestrado / Praticas Interpretativas / Mestra em Música

Music performance anxiety (MPA) is reported in musicians of all experience, levels, and genre. However, solo classical musicians report MPA more often and at higher levels than performers in other genres because of its formal culture and traditional structure. Within solo classical musicians, collegiate training greatly differs between conservatories that award a Bachelor of Music (B.M.) and liberal arts institutions that award a Bachelor of Arts (B.A.). In 2 studies, the proposed research examines the differences in general anxiety, MPA, and private lesson content between these two groups. Participants will be from the two groups of types of collegiate music students. In Study 1, participants will take the Beck Anxiety Inventory (BAI), Kenny Music Performance Anxiety Inventory (K-MPAI), and a Personal and Musical Background Questionnaire (PMBQ) at 3 times intervals before a public, solo performance in order to assess general connections between anxiety and MPA. In Study 2, participants will partake in weekly session of 1 of 3 interventions (meditation, journal entry, and biofeedback training) in order to determine an effective method for preventing and coping with MPA. Proposed results suggest higher levels of general anxiety and MPA in conservatory music students and lower levels of MPA in participants who undergo biofeedback training. Individuals who report learning about MPA strategies in their lessons will have lower levels of MPA, suggesting the need to consistently address MPA in classical music pedagogy.

The thesis deals with the issue of sustainability of a non-governmental non-profit organization active in the field of culture, taking into account both theoretical and practical perspective. Using the example of Prague Modern ensemble, the thesis demonstrates development of an adequate strategy with use of marketing tools to create brand awareness for the ensemble in a competitive environment. Formulation of a concrete strategy is preceded by definition of a theoretical framework that includes planning, marketing mix with emphasis put on marketing communication, corporate identity and financing with respect to the specifics of non-profit sector. Finally, the thesis provides an analysis of internal and external environment in which the ensemble operates. Based on theoretical framework and summary from the analytical part, the thesis then suggests adequate strategy for building corporate identity, marketing communication, fundraising and finally organization of the ensemble.

The topic of this artistic research project is the musical performance method where a solo singer conducts an orchestra while singing. The aim is to shine a light on the effect this performance practice has on the quality of the performance; if it hampers the singer’s ability to interpret the lyrics and make theatrical gestures or if the musical performance can possibly benefit from having one person singing and conducting. The core of the project is a concert in Reykjavík organised by this author where she performed as solo soprano and conductor with a chamber orchestra. The research was made from her personal perspective, while the views of instrumentalists also played a significant role. The author observed the internationally renowned soprano and conductor Barbara Hannigan as she rehearsed and performed a concert with the Iceland Symphony Orchestra (ISO) at the Reykjavík Arts Festival. For this project the writer enjoyed the cooperation of three composers whom she commissioned to write pieces especially for her to sing and conduct, and together with Zerbinetta's grand aria by Richard Strauss this music was premiered by her and a chamber orchestra at her concert in Eldborg, Harpa at the Reykjavík Opera Days on November 5th, 2022. / <p>Soprano takes the baton!</p><p>In Eldborg, Harpa on November 5th, 2022 at the Reykjavík Opera Days festival finale.</p><p>Ragnheiður Ingunn Jóhannsdóttir, soprano and conductor.</p><p>Program:</p><p>Jóhann G. Jóhannsson: Be not afeard – Concerto for Coloratura Soprano and Chamber Ensemble (2022), premiere </p><p>Lyrics: William Shakespeare (Caliban’s Speech from The Tempest)</p><p>I: Be not afeard - lyrics: William Shakespeare</p><p>II: Ekkert að hræðast - translation: Helgi Hálfdanarson</p><p>III: Var icke rädd - translation: Carl August Hagberg</p><p>—</p><p>Ingibjörg Ýr Skarphéðinsdóttir: Fasaskipti (2022), premiere</p><p>Poem: Þórdís Helgadóttir</p><p>—</p><p>María Huld Markan Sigfúsdóttir: Djúpalón (2022), premiere</p><p>Poem: Þóra Hjörleifsdóttir</p><p>—</p><p>Richard Strauss: Großmächtige Prinzessin (1912), Zerbinetta’s aria from Ariadne auf Naxos</p><p>Lyrics: Hugo von Hofmannsthal</p><p></p><p>Chamber orchestra:</p><p>Rannveig Marta Sarc (violin), Gunnhildur Daðadóttir (violin), Anna Elísabet Sigurðardóttir (viola), Guðný Jónasdóttir (cello), Xun Yang (double bass), Kristín Ýr Jónsdóttir (flute), Julia Hantschel (oboe), Birkir Örn Hafsteinsson ((clarinet), Bryndís Þórsdóttir (bassoon), Stefán Jón Bernharðsson (horn), Helga Bryndís Magnúsdóttir (piano) &amp; Helgi Þorleiksson (percussion)</p><p>Recording: Stúdíó Sýrland </p><p></p><p>The concert was sponsored by:</p><p>Óperudagar – The Reykjavík Opera Days.</p><p>Tónlistarsjóður – “Music Fund” (Iceland Ministry of Culture).</p><p>Hljóðritasjóður – “Music Recording Fund” (Iceland Ministry of Culture).</p><p>Tónskáldasjóður RÚV og STEFs – “Composers’ Fund” </p>

This study delves into the temporal organization of music and investigates how double bassists from different musical traditions perceive various components within it, specifically focusing on jazz music and Western classical music. The aim was to explore potential disparities and ascertain the factors influencing their emergence. Respondents in the study have discussed how various teachers, akin to researchers in the field, have different interpretations of aspects within the temporal organization of music and how this has influenced their perspectives on phenomena such as pulse, rhythm, meter, and timing. Four semi-structured interviews were conducted, comprising two respondents enrolled in or having completed a bachelor's program in jazz and two in classical music. The empirical data underwent analysis using the Community of Practice theory, emphasizing how individuals, based on interests, areas of expertise, or leisure activities are part of communities. Particular attention was paid to examining the vocabulary employed within these communities, a crucial aspect in this study. The findings revealed that double bassists from both traditions fundamentally conceptualized aspects within the temporal organization of music similarly at a theoretical level. They defined elements such as pulse, tempo, and rhythm comparably, yet their practical conceptualizations of these same elements diverged. Their musical environments and types of ensembles influenced how they perceived these fundamental concepts. Jazz bassists viewed themselves as establishing a foundational structure alongside drummers, allowing for other musicians in the ensemble to play more freely on the foundation they built. Classical bassists also perceived their role as establishing a foundation, yet they emphasized alternating roles, sometimes following a conductor or soloist. Moreover, their conceptualization of pulse was more fluid, acknowledging that tempo and pulse could exhibit greater variability within their musical tradition. / Denna studie handlar om musikens tidsmässiga uppbyggnad (Temporal organisation of music). Syftet med studien är att undersöka hur kontrabasister från två olika musikaliska traditioner tänker kring olika delar av musikens tidsmässiga uppbyggnad, specifikt inom jazzmusik och västerländsk klassisk musik. Målet var att utforska eventuella skillnader och varför de i sådana fall uppkommit. Respondenterna i studien har diskuterat hur olika lärare, likt forskare inom området, har olika tolkningar av aspekter inom musikens temporala organisering och hur detta har påverkat deras perspektiv på fenomen som puls, rytm, meter och timing. I studien genomfördes fyra semistrukturerade intervjuer, två respondenter som studerar eller studerat ett kandidatprogram i jazz och två som studerar eller studerat ett kandidatprogram i klassisk musik. Empirin analyserades sedan genom teorin Community of Practice som fokuserar på hur individer ingår i olika grupper genom de intressen, expertområden eller fritidsaktiviteter de deltar inom. En del av Community of practice fokuserar även på hur gruppers vokabulär kan se ut, något som denna studie lägger stor vikt att analysera. Studiens resultat visade att kontrabasisterna från de båda traditionerna i grunden konceptualiserade aspekter inom musikens tidsmässiga uppbyggnad på liknande sätt på en grundläggande teoretisk nivå. De definierade aspekter som puls, tempo och rytm på liknande vis, men deras konceptualiseringar av samma aspekter ur ett praktiskt förhållningssätt skilde sig åt. Eftersom de vistas i olika musikaliska miljöer och ensembleformer så påverkas även deras konceptualisering av dessa grundläggande begrepp av detta. Jazzbasisterna såg sig själva som en grund tillsammans med trummisen som resterande musik kan sväva mer fritt över. De klassiska basisterna såg också på sin roll inom musikens tidsmässiga uppbyggnad som någon som skapar en grund för andra, men de poängterade också att de lika ofta följer en annan stämma, en dirigent eller solist. Deras konceptualisering av specifikt puls var också mer flytande, då tempo och puls kan vara mer fri och föränderlig inom deras musikaliska tradition.

This thesis, titled ”Exploration in Art Music”, was conceived based on my curiosity to explore and compose music which combines the styles of jazz and Western classical music. Inspired by the Third Stream movement led by Gunther Schuller, which evolved in parallel with the 50’s avant-garde jazz scene, I have composed three musical pieces for a twelve-piece orchestra consisting of woodwinds, strings, and a jazz quartet. I’ve examined this work from the following two perspectives: As a composer – exploring ways to fuse the genres, observing contrasting idioms, and finding ways of opening up for improvisation when the music is otherwise through-composed. As a musician and bandleader – noticing how musicians from each of the two musical cultures approach and interpret written and improvised music. Throughout the project I have gotten a deeper insight into the culture of Western classical music, and this thesis observes and analyzes some of the differences and similarities, musically and performance-wise, between that and the jazz culture which I am originating from. / <p><strong>Framförd musik:</strong></p><p><em>Antmarch</em> - Erik Hasselfeldt</p><p><em>Midnatt i 1C307</em> - Erik Hasselfeldt</p><p><em>Akta dig för scootrar</em> - Erik Hasselfeldt</p><p><em>Louange á l’éternité de Jésus</em> - Olivier Messiaen</p><p><em>I stormens öga</em> - Erik Hasselfeldt</p><p><strong>Medverkande:</strong></p><p>Tvärflöjt – Tiitta Moilanen</p><p>Oboe – Sabina Scott</p><p>Bb Klarinett – Filippa Hedberg</p><p>Bb Klarinett &amp; basklarinett – Eskil Larsson</p><p>Fagott – Ciarán Hayes</p><p></p><p>Fiol – Maria Ikonen</p><p>Fiol – Vidar Karlsvärd</p><p>Cello – Elis Hakola</p><p></p><p>Sopran &amp; altsaxofon – Erik Hasselfeldt</p><p>Piano – Milos Lindegren</p><p>Kontrabas – Amanda Karström</p><p>Trummor – Filip Bällstav Öhman</p><p>Trumpet – Tumi Torfason</p>