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The aim of this project is to provide all the necessary information for an oboist who wishes to learn multiphonics, microtones or double tonguing. I will describe each technique and how it is produced. I will discuss my experience learning each technique and compare the different exercises and approaches I used. I collaborated with a composer to write a solo piece for oboe including the techniques above. I will talk about this experience alongside the comparison between playing the techniques in an isolated manner and in the context of a piece. / <p>Martinu Oboe Concerto</p><p>Sancan Sonatine for oboe and piano</p><p>SINK by Ciarán Hayes </p><p>Ravel Le Tombeau de Couperin arranged for wind quintet </p><p>Piano: Maria Rostotsky</p><p>Flute: Emma Eskeby </p><p>Oboe: Holly Chilton</p><p>Clarinet: Max Becker</p><p>Bassoon: Ciarán Hayes</p><p>Horn: Ludwig Hjortenhammar</p>

Florence Price (1887–1953) was one of the most important African American woman composers of the early twentieth century. Price's music is known for combining techniques of Western art music with elements of the African American musical heritage. Although Price composed many works for piano, from large virtuoso pieces to characteristic miniatures, this study will address only her Piano Sonata in E minor. The purpose of this study is to analyze this sonata and discuss her compositional techniques and musical style as a combination of African American elements and Classical European procedures, combined and coordinated yet remaining in tension. Traditional European harmony, tonality, and form are successfully combined with African American characteristics: pentatonic scale, spirituals, syncopations, repetition, and dance rhythms. Indeed, Price's work is a considerable achievement, and she is one of the important African American women composers who should be better recognized today.

<p>Muscial theatre for children – the function of the music in theatrical storytelling for children in Regionteatern Blekinge-Kronoberg. Sweden, Växjö, 2006.</p><p>The aim of this essay is to examine music in theatre for children. There is not much recent research about the subject so this essay is a way to discern this part of the theatre and to get more people interested in the matter. The survey will focus on how music is used in an institutional theatre (Regionteatern Blekinge-Kronoberg) that works with plays for children. The research consists of interviews with a composer, a director and analyzes of three plays for children played in Regionteatern Blekinge-Kronoberg. The music in the plays will be compared to recent theories about music in storytelling.</p><p>The music in the plays is used in different ways but often to explain things that are not told with words, for example feelings and description of characters. The way music is used is closely linked to how the director and composer think about music. An example is their central idea of music as a power that reaches directly to the audience. It is also important to keep in mind that it is adults that create theatre for children which means that the music and stories are always filtered by adult’s eyes and ears.</p>

Mémoire numérisé par la Direction des bibliothèques de l'Université de Montréal.

This diploma thesis deals with comparison of five musical pieces of composer Luboš Fišer with fine arts. The thesis is divided in the two parts. In the first part we analyze general art trends in 1960s. We will make reference to the most important trends and personalities, who composed and painted in that age. We will also compare literature, fine art and music in Czech Republic in 1960s, which were the best years of Fišer's work. The second part of the thesis describes in detail five Fišer's pieces, which were composed in 1960s. These are Ruce - Hands (1961), Patnáct listů podle Dürerovy Apokalypsy - Fifteen Prints After Durer's Apocalypse (1965), Caprichos (1966), Double (1969) and Nářek nad zkázou města Ur - Lament over the Ruined Town of Ur (1970). Analysis of those pieces is based on comparison with inspiration sources (Albrecht Dürer: Apocalypse, Francisco Goya: Caprichos, old Sumer text called Lament over the Ruined Town of Ur) or it is based on comparison of Fišer's composition method with fine art piece (Double) or it is analyzed just from the semantic point of view of the piece (Hands). Goal of this work is to present composition of distinguished Czech composer Luboš Fišer to general public using analysis of his pieces. In the future, this work should be used for creation of composer's monograph...

[pt] O objetivo desta dissertação é analisar a legitimidade da declaração de Chico Buarque que, em 1994, se autodenominou um sambista que escreve livros em uma entrevista de divulgação de seu primeiro romance, Estorvo. Levantaremos algumas das problematizações que essa declaração evoca acerca de sambas e sambistas no cenário cultural brasileiro. Perseguimos com este texto investigar brevemente a mudança de lugar do samba no imaginário nacional, passando da repressão à louvação social e oficial, inclusive, servindo de exemplo máximo da brasilidade e a aceitação dos sambistas, em diferentes momentos históricos. Analisaremos, ainda, a especificidade brasileira na compreensão de música popular, e consequentemente, artista popular. / [en] The aim of this Dissertation is to analyze the legitimacy of what Chico Buarque declared in 1994, when he called himself a samba composer who writes books in an interview given while promoting his first novel, Estorvo. We are going to bring up some of the problematics that his statement evoked concerning sambas and samba composers in the Brazilian cultural scene. Our purpose with this text is to analyze briefly the shift of samba in the national imaginary, going from repression to social and official appraisal - serving as an ultimate example of brasilidade - and the acceptance of samba composers in different historical moments. We are also going to analyze the Brazilian understanding of popular music, and thus of popular artist.

A presente tese enfoca os processos composicionais de Edmundo Villani-Côrtes na sua Sinfonia nº 1 para Orquestra de Sopros. O estudo investiga as fronteiras da brasilidade popular e erudita da escrita do compositor, assim como o tipo de ferramentas que ele utiliza para escrever para banda sinfônica através da análise da obra escolhida. Defendemos a ideia de que sua literatura musical para banda sinfônica é inovadora por ter um tratamento orquestral diferenciado para essa formação, numa escrita erudita com conteúdos temáticos vindos da música popular. Do estudo, concluímos que o compositor tem uma assinatura ímpar na sua linguagem musical e apresenta-se como um autor representante da autenticidade brasileira. / This present thesis focuses on the composing procedures of Edmundo Villani-Cortes in his Symphony nº1 for the Wind Orchestra. This study investigates the borders of the popular and erudite brazilianity of the composer´s writing, as well as the type of tools he uses to write for the Symphonic Band going through the analysis of a selected piece. We defend that the idea of his musical literature for the Symphonic Band is innovating by having a different orchestral treatment for its formation, in a scholar writing which includes thematic compounds coming from the pop music. By this study, we conclude that the composer has an unique signature in his musical language and he presents himself as a representative author of the Brazilian authenticity

A presente pesquisa teve como objetivo a reelaboração de passagens não-idiomáticas do Estudo nº 10 para violão solo de Marcelo Rauta por meio do processo colaborativo. Após a leitura e mapeamento da obra, identificamos excertos que consideramos ser não-idiomáticos, e dado que Rauta não executa o violão, propusemos ao compositor a reelaboração desses por meio da colaboração intérprete-compositor. A partir da bibliografia revisada discutimos o idiomatismo em música e os aspectos da colaboração intérprete-compositor. A investigação se deu em três momentos diferentes: 1) antes, 2) durante e 3) depois da interação com o compositor. No primeiro momento, estudei a obra e organizei minhas sugestões de modificação; em seguida, a fim de atestar se as passagens consideradas por mim como não-idiomáticas eram da mesma forma vistas por outros violonistas, entrevistei três participantes após estudarem a obra por uma semana; e por fim, com o objetivo de realizar o primeiro contato antes da colaboração, realizamos uma entrevista inicial com Rauta. No segundo momento, iniciamos o processo colaborativo – o qual foi dividido em nove etapas, e realizado à distância – onde utilizamos recursos de texto digitalizado, vídeos e fotos para nos comunicarmos de forma produtiva com o compositor. No terceiro momento, a fim de nos inteirar sobre as impressões de Rauta em relação ao processo vivenciado, realizamos uma entrevista final com o mesmo, e por fim, discutimos a relevância dos procedimentos adotados antes da colaboração, e os resultados técnicos e sonoros relativos às duas edições da obra: a edição que preserva o texto original, e a edição criada a partir das modificações realizadas no texto original. O produto final dessa pesquisa constitui-se de uma edição interpretativa, bem como de um registro em áudio e vídeo da primeira performance do Estudo nº 10. / The present research aims the re-elaboration of passages of Marcelo Rauta’s Study nº 10 for solo guitar through the collaborative process with the composer. From the reading and mapping of the work, we identify excerpts that we consider non-idiomatic, and, since Rauta does not play the guitar, we proposed him the re-elaboration of these passages, through the process of collaboration between performer and composer. From the revised bibliography, we discuss the idiomatism in music and the aspects of the collaboration. The investigation took place in three different moments: 1) before, 2) during and 3) after the interaction with the composer. At first, I studied the work and organized my suggestions for modification. Then, in order to attest if the passages considered by me as non-idiomatic were in the same way seen by other guitarists, I interviewed three participants after studying the work for a week; and finally, in order to make the first contact before the collaboration, we conducted an initial interview with the composer. In the second moment, we began the collaborative process - divided into nine stages, and carried out at a distance – where we used digitized text resources, videos and photos to communicate productively with the composer. In the third moment, in order to find out about Rauta's impressions of the process, we conducted a final interview with him. Finally, we discussed the relevance of the procedures performed before the collaboration, and the technical and sonorous results related to the two editions of the work: the edition that preserves the original text, and the edition created from the modifications made in the original text. The final product of this research consists of an interpretative edition, as well as the audio and video recording of the first performance of Study nº 10.