Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2017-03-17T11:57:09Z No. of bitstreams: 1 Paulo Raphael Oliveira Andrade.pdf: 1535264 bytes, checksum: 007a0ac73ecfa360ec3693281ed5edcd (MD5) / Made available in DSpace on 2017-03-17T11:57:09Z (GMT). No. of bitstreams: 1 Paulo Raphael Oliveira Andrade.pdf: 1535264 bytes, checksum: 007a0ac73ecfa360ec3693281ed5edcd (MD5) Previous issue date: 2017-03-09 / Conselho Nacional de Pesquisa e Desenvolvimento Científico e Tecnológico - CNPq / The following dissertation is based on a vaziana reflection contained in Volumes I and II of Philosophical Anthropology, reflects on, how the method, the categories of structure, relation and unity aim to overcome the anthropological reductionism. The central problem is: "What is man?". A question that has been present since the origins of Western culture, it has become difficult to formulate since the late seventeenth century, the rapid development of the "human sciences", leading to a fragmentation of the idea of man caused by new knowledges. He sought to emphasize how the hermeneutic-dialectic method of Lima Vaz aims to sheave the various problems and issues to form a unitary image of man through a systematic procedure. The answer to reductionism is given by the assumption of the dialectic structure of categories (body, psyche and spirit) and relationship categories (objectivity, intersubjectivity and transcendence) in which Philosophical Anthropology is structured. The intelligibility of the categories of structure and relationship is found in the metaphysical dimensions categories of spirit and transcendence, and the fundamental unity of the human being is found in the categories of achievement and person, crowning the anthropological conception of Lima Vaz. The thesis states that the category of person when operating a synthesis of essence and existence surpasses, among other problems, all anthropological reductionism / A presente dissertação procura, a partir da reflexão vaziana contida nos volumes I e II da obra Antropologia Filosófica, pensar, como o método, as categorias de estrutura, de relação e de unidade visam superar o reducionismo antropológico. O problema central é: “o que é o homem?”. Pergunta que está presente desde as origens da cultura ocidental, tornou-se de difícil formulação desde os fins do século XVII, pelo rápido desenvolvimento das “ciências do homem”, gerando uma fragmentação da ideia de homem provocada pelos novos saberes. Buscou-se enfatizar o modo como o método hermenêutico-dialético de Lima Vaz visa enfeixar os diversos problemas e temas para compor uma imagem unitária do homem por um procedimento sistemático. A resposta ao reducionismo é dada pela assunção dialética das categorias de estrutura (corpo, psique e espírito) e das categorias de relação (objetividade, intersubjetividade e transcendência) em torno das quais se estrutura a Antropologia Filosófica. A inteligibilidade das categorias de estrutura e de relação se encontra nas dimensões metafísicas das categorias do espírito e da transcendência, e a unidade fundamental do ser humano se encontra nas categorias de realização e de pessoa, que coroam a concepção antropológica de Lima Vaz. A dissertação expõe que, a categoria de pessoa ao operar a síntese entre a essência e a existência supera, entre outros problemas, todo reducionismo antropológico

Made available in DSpace on 2016-04-25T19:20:28Z (GMT). No. of bitstreams: 1 Wilma Steagall De Tommaso.pdf: 11852530 bytes, checksum: 6ad9ae7d6caf7eaff4cb2588b5c83eff (MD5) Previous issue date: 2013-06-13 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This research explores the Pantocrator, the depiction of Christ in Glory relatively unkown in Brazil, where the barroque is the most common art religious and portrays Jesus crucified. Claudio Pastro is a Brazilian artist who has for over thirty years placed the Christ Pantocrator as a central theme in the churches he designs. The starting point was a series of interviews with the author on his background, influence and motivation towards Pantocrators. This study searched for the image of Jesus, God of the Christians and the only to be portrayed among the Abrahamic religions, although not without controversy. Later it studies the Majestas Domini, the Pantocrator from the west with major influence in the artist, achieving the representation of God with religious and political implications throughout the centuries to finally achieve contemporaneity with movements of modern art and the occurrences before and after the Second Vatican Council. The objective is to understand the meaning of the Pantocrator image in the Brazilian churches as well as the reasons why an art style from the first century reappears today / Esta pesquisa aborda o Pantocrator, a imagem do Cristo em Glória. Relativamente desconhecida no Brasil, país onde o barroco é a arte religiosa mais característica, esta imagem é tema central na obra de Claudio Pastro, artista plástico brasileiro, que há mais de trinta anos coloca, nas igrejas que projeta, o Cristo Pantocrator, cujo tipo simbólico se diferencia da arte naturalista do barroco que, por tradição, destaca o Cristo crucificado. A partir de uma série de entrevistas concedidas pelo artista, nas quais falou sobre sua formação, influências que marcam sua obra e sua motivação para fazer Pantocrators, este trabalho buscou a origem da imagem de Jesus, Deus dos cristãos, e também o único a ser retratado dentre as religiões Abrâmicas, não sem controvérsias, encontrando o Majestas Domini, o tipo Pantocrator do Ocidente medieval, influência significativa para o artista, chegando na representação de Deus, sua permissão e implicações religiosas e políticas ao longo de séculos, para finalmente alcançar a contemporaneidade, com os movimentos de arte moderna e os acontecimentos pré e pós Concílio Vaticano II, com o objetivo de entender a coerência da imagem do Pantocrator nas igrejas do Brasil e, consequentemente, compreender as razões de o Pantocrator, um tipo característico da arte da Igreja do Primeiro Milênio, reaparecer nos dias de hoje

Este trabalho focaliza as Canções de Amor de Cláudio Santoro, ciclo composto entre 1957 e 1960, sobre poemas de Vinícius de Moraes. Serão abordados os processos composicionais mais característicos dessas obras em análises individuais, bem como identificadas as relações dessas peças com a produção musical brasileira dos anos em que foram escritas. Nesse contexto, incluem-se possíveis aproximações com a linguagem da bossa-nova. / This work focuses on Claudio Santoros Canções de Amor (Love Songs), a cycle composed between 1957 and 1960 over poems by Vinícius de Moraes. The compositional procedures which are most common to these works will be studied through individual analysis, as well as the connections between such works and the musical production in Brazil during the years they were written. In this context, possible approaches to the Bossa Nova style will be included.

Reproduction de : Thèse de doctorat : Histoire : Lyon 2 : 2007. / Titre provenant de l'écran-titre. Bibliogr. Index.

My diploma work is an analyzation of a cooperation between the DOP and a director.

Orientador: Emerson Luiz de Biaggi / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-12T12:06:02Z (GMT). No. of bitstreams: 1 Pereira_AntonioCarlosdeMello_M.pdf: 3600416 bytes, checksum: c92d7d21bb89a916777ef4de9d4054a7 (MD5) Previous issue date: 2008 / Resumo: Este trabalho tem o intuito de contribuir para a pesquisa e o enriquecimento do repertório de música brasileira específica para viola, em vista da pouca quantidade de obras em forma de concerto escritas para o instrumento no Brasil. A produção de uma partitura editada e a redução no formato para viola e piano, permite em primeiro lugar o estudo de forma prática da obra por músicos e professores, e conseqüentemente sua aplicação no currículo das escolas de música, conservatórios e universidades. Isso contribui para divulgar esse concerto especialmente representativo na obra de Claudio Santoro. O trabalho de edição utiliza sugestões de James Grier, com uma investigação histórica sobre as fontes, estabelecendo critérios de revisão e edição fundamentados num estudo e identificação dos elementos de estilo do compositor. Em seguida realizamos uma análise da peça seguindo a proposta de Jan LaRue em seu livro Guidelines for Style Analysis, que igualmente propõe a identificação dos elementos musicais, suas inter-relações que ajudam a definir aspectos de estilo do compositor. Finalizando, oferecemos informações e sugestões como subsídios para a interpretação do concerto, sempre lembrando a conexão da parte teórica e analítica com a realidade prática do intérprete. As sugestões de sonoridades específicas são embasadas em aspectos técnicas da prática violística com especificações em dedilhados, arcadas, e articulações. / Abstract: The primary purpose of this study is to contribute to the research on the contemporary Brazilian repertoire for viola, which has very few concertos. The musical edition prepared in this research, including the score, the reduction for viola and piano, and the solo-viola part, will allow its study by musicians, teachers and students, and consequently its inclusion in the curriculum of conservatories, music schools and universities. This way we hope to help preserving this concerto so representative of Claudio Santoro's musical production. The edition process was based on James Grier's suggestions, using historic investigation of the sources and establishing review and edition criteria based on the identification of the composer's style. In the sequence of the study, we use the method proposed by Jan LaRue's in his book "Guidelines for Style Analysis" to identify the musical elements and its inter-relation to help define aspects of the composer's style. Finally, we offer information and subsidies for the interpretation of the concert, connecting analysis and instrumental practice, with suggestions about musical and technical problems. / Mestrado / Mestre em Música

War Giovanni Maria Artusi (um 1540–1613) zu Lebzeiten ein hochangesehener Musiktheoretiker, so hat insbesondere die Kontroverse mit Claudio Monteverdi und dessen Bruder Giulio Cesare dafür gesorgt, dass er in der musikalischen Forschung lange Zeit als Inbegriff eines reaktionären Musiktheoretikers rezipiert wurde, der nicht in der Lage gewesen sei, das Visionäre und Wegweisende der Musik Monteverdis zu erfassen. Trotz der weiten Kreise, die das Thema innerhalb der wissenschaftlichen Rezeption seither gezogen hat, wird erst in diesem Beitrag anhand einiger ausgewählter Passagen aus Artusis Canzonette a quattro voci (1598) auch dessen kompositorisches Schaffen in die Diskussion miteinbezogen. / Although Giovanni Maria Artusi (c. 1540–1613) was a well-respected music theorist during his lifetime, the controversy with Claudio Monteverdi and his brother Giulio Cesare ensured that the musical establishment regarded him as a mere reactionary, who was unable to recognise the visionary and ground-breaking aspects of Monteverdi’s music. Despite myriad academic publications on the topic, this is the first article to include Artusi’s own compositions in the discussion by considering selected passages from Artusi’s Canzonette a quattro voci (1598).

TITLE: THE LANGUAGE OF MUSIC: Claudio Monteverdi as an innovator in the field of dealing with text in music. SUMMARY: The main topic of this Thesis is Claudio Monteverdi's work and its importance for the development of dealing with text in music of the late Renaissance and early Baroque period. In Monteverdi's compositions we can follow the evolution of counterpoint techniques reaching from the traditional 16th century vocal polyphony to the purely monodic approach to composition that is typical of Baroque music. The text works as a creative element that affects the author's way of working, leading him from the first experiments with the musical representation of each word in the madrigal to a dramatic expression of the text in the style of opera. In his work Monteverdi uses wordpainting to an unprecedented extent. He invents new musical expression for words that contain a strong emotional charge, like subtle rhythmic figures for joyful words, or sharp dissonances for words conveying pain. He is the first composer to achieve excellence in combining flawless technical skill with the dramatic line of the composition. His work forms an imaginary bridge between music of two periods: in the first period text is perceived as a mere "servant" of music but becomes the "ruler" of it in the later one. The Thesis...

Made available in DSpace on 2016-04-28T19:33:58Z (GMT). No. of bitstreams: 1 Carlos Alberto Baptista.pdf: 14989568 bytes, checksum: 8a38db08147f15c62d736b6650c41d68 (MD5) Previous issue date: 2015-08-28 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This dissertation deals with the study of auctorialité in the discourses of economist Moura Castro. Since 1996, the economist publishes his opinion articles on Revista Veja, in which he usually handles Education matters and its economic implications. The position taken in his discourses are harshly criticized by educators, who consider them to observe the Education only under the economic optics, not connected to the teaching practice. It is created, then, a polemic image of the author that leads us to reflect on what allows a subject to pass through different knowledge areas and to have his discourse accounted for legitimate, even if his position contradicts other discourses inside the pedagogical field. The aims of this research are: to examine the auctorialité in this discourses and the implicated instances, through the production of subjectivity; to identify the construction of auctorialité in the opinion articles written by Moura Castro; to verify the positions from the Economy and Education fields related to the author s and enunciator s images. It is conducted an enunciative-discursive analysis, based on the theoretical and methodological postulations from french Discourse Analysis, supported by Maingueneau works. Auctorialité, inside this perspective, gives us the foundation to operate upon the projection and interaction of the enunciative instances, which act on this discourses, as well as upon positions and places that referred discourses establish. Therefore, we identify how the person, writer and the enunciator instances act on the maintenance of what the author assembles in the Moura Castro s opinion articles. Furthermore, the legitimacy of those discourses is founded on the values of a society in which the dominant myth of economic development turns the Economy into a supreme legitimacy science, while it integrates the Education as an associated instrument to this universal objective. Accordingly, the author position becomes decisive in the educational field, because when it is allied with the political-economic liberalism, begins to deliberate inside that field and to define it / Esta Dissertação trata do estudo da autoralidade em discursos de Moura Castro. Desde 1996, o economista publica seus artigos de opinião na Revista Veja, onde geralmente aborda assuntos relacionados à Educação e suas implicações com a Economia. Os posicionamentos assumidos em seus discursos são criticados severamente por educadores, que os consideram como uma leitura da Educação apenas da ótica econômica, desvinculada da prática pedagógico-educacional. Cria-se, assim, uma imagem polêmica de autor, que nos leva a refletir sobre o que permite a um sujeito poder transitar entre diferentes áreas de conhecimento e ter o seu discurso considerado legítimo, mesmo que seu posicionamento se oponha a outros discursos no interior do campo pedagógico-educacional. São objetivos desta pesquisa: examinar a autoralidade nesses discursos e as instâncias implicadas por ela, por meio da produção da subjetividade; identificar a constituição da autoralidade no gênero de discurso artigo de opinião escrito por Moura Castro; verificar os posicionamentos dos campos da Economia e da Educação relacionados à imagem autoral e a do enunciador. Trata-se de uma análise enunciativo-discursiva, com embasamento teórico-metodológico na Análise de Discurso de linha francesa, nas perspectivas desenvolvidas por Maingueneau. A autoralidade, dentro dessa perspectiva, dá-nos respaldo para operar sobre a projeção e interação das instâncias enunciativas, que atuam nestes discursos, assim como, sobre os posicionamentos e lugares que tais discursos instauram. Assim, identificamos como as instâncias da pessoa, do escritor e do enunciador atuam na manutenção daquilo que o autor reúne, nos artigos de opinião de Moura Castro. Além disso, a legitimidade desses discursos se fundamenta nos valores de uma sociedade na qual o mito dominante do desenvolvimento econômico torna a Economia uma ciência de suprema legitimidade, ao mesmo tempo que integra a Educação como instrumento aliado a esse objetivo universal. Nesse sentido, o posicionamento do autor passa a ser decisivo no campo educacional, pois aliado ao liberalismo políticoeconômico, passa a deliberar no interior desse campo e a defini-lo

Between Two Worlds, with its implied dualities, alludes both to my Italian and Australian backgrounds and to my popular and art music experiences. The dissertation comprises of analyses of and critical commentary on a selection of compositions from instrumental through electroacoustic to musico-dramatic works. Further, Part I presents a précis of relevant background in order to locate the compositions within both Australian contemporary classical music and international settings, and Part I includes sections on analytical methodology and compositional technique. Compositions examined in Part II illustrate the salient features of compositional technique, specific influences and aesthetic concerns. Both instrumental works, Fra l’urlo e il tacere and Ridendo vado sul fiume, were written during the earlier period of the doctoral candidature. The discussion presents not only the seminal influences including the use of interval-class (ic) construction and music technologies but is also intended to guide the reader from solo and chamber instrumental writing through sound design and electronic soundscape composition towards the larger-scale, musico-dramatic works. Part III discusses the major contribution. It is concerned with three mixed-media musictheatre compositions that were created in the period 2000–08 and which explore crossdisciplinary relationships. Whilst maintaining a continuous development of style, the works are on a larger scale in all respects: involve national (The Last Child and Touch Wood) and international (Lontano Blu) production teams and a greater number of performers; are interdisciplinary, conceptually more complex and multilayered, and longer in duration; include extensive use of music technologies, multimedia and multichannel surround sound in performance; and use graphic/text/prose scores. By their very nature, these compositions involved significant collaborative endeavour not only with the key members of the creative teams, such as artistic directors, writers and set designers, but also the performers in general and musicians in particular. The collaborations included development of the conceptual structures of the works with the creative teams and ‘hands on’ interaction with the musicians in shaping the sound in real time through group-devised processes where appropriate.