Submitted by Automa??o e Estat?stica (sst@bczm.ufrn.br) on 2016-05-11T20:22:07Z No. of bitstreams: 1 AlexandreMagnoAbreuDeGoes_DISSERT.pdf: 2457896 bytes, checksum: 8c274ded4e15bc4c58b0775af9eb4549 (MD5) / Approved for entry into archive by Arlan Eloi Leite Silva (eloihistoriador@yahoo.com.br) on 2016-05-19T20:59:33Z (GMT) No. of bitstreams: 1 AlexandreMagnoAbreuDeGoes_DISSERT.pdf: 2457896 bytes, checksum: 8c274ded4e15bc4c58b0775af9eb4549 (MD5) / Made available in DSpace on 2016-05-19T20:59:33Z (GMT). No. of bitstreams: 1 AlexandreMagnoAbreuDeGoes_DISSERT.pdf: 2457896 bytes, checksum: 8c274ded4e15bc4c58b0775af9eb4549 (MD5) Previous issue date: 2015-08-05 / O trabalho de express?o empreendido pelo int?rprete recai, em grande parte, sobre a m?o direita do violonista. Conscientes deste fato, mestres do presente e do passado t?m deixado suas contribui??es para o desenvolvimento da t?cnica de m?o direita. Percebe-se, com exce??es, que as propostas pedag?gicas e interpretativas, at? o momento, t?m abordado o ataque ?s cordas a partir do movimento de flex?o dos dedos. Apresenta-se, entretanto, um recurso t?cnico denominado imalt, que inclui na a??o de ataque, o movimento de extens?o. Algumas t?cnicas empregadas em circunst?ncias espec?ficas, como o dedillo, a alzap?a, o tr?mulo e o rasgueado tamb?m utilizam movimentos de extens?o no ataque. Elas s?o postas em perspectiva, junto ao imalt, proporcionando uma vis?o panor?mica de suas caracter?sticas individuais. O emprego do imalt no repert?rio tradicional do viol?o ? exemplificado em Villa-Lobos, Ponce e Brower. Tr?s pe?as autorais foram compostas para esse trabalho: Shravana, Alegoria e Vandana. T?cnicas composicionais como a aplica??o de contorno mel?dico e ostinato, foram revisadas e empregadas na elabora??o destas composi??es. Um registro detalhado da trajet?ria composicional ? apresentado. Para tanto, empregou-se o vi?s anal?tico do Modelo de acompanhamento do processo Composicional (SILVA 2007). Alguns eventos que t?m deixado o imalt em evid?ncia s?o comunicados, como o lan?amento e distribui??o do CD Imalt, publica??o de partituras e entrevistas. Finalmente s?o apresentados coment?rios conclusivos, apontando perspectivas abertas pelo trabalho. / The task of expression undertaken by the performer falls largely on the right hand of guitarist. Aware of this fact, past and present masters have left their contributions to the development of right hand technique. It is clear, with rare exceptions, that educational and interpretative proposals, so far, have addressed the attack on the strings from the flexion of the fingers. This work, however, presents a technical resource called imalt, including in the attack action, the extension movement. Some techniques used in specific circumstances, such as the dedillo, the alzap?a, the tremulo and the rasgueado also use extension movements in the attack. They are put in perspective with the imalt providing a panoramic view of their individual characteristics. The use of imalt in the traditional guitar repertoire is exemplified in Villa Lobos, Ponce and Brouwer. Three pieces were composed for this work: Shravana, Alegoria and Vandana. Compositional techniques such as melodic contour applying and ostinato have been reviewed and used in the preparation of these compositions. A detailed record of compositional trajectory is presented. Therefore, the Model for the Compositional Process Accompaniment according Silva (2007) is used. Some events that have left the imalt in evidence are reported, as the launch and distribution of the Compact Disc (CD) Imalt, publishing scores and interviews. Finally is presented concluding comments, pointing possibilities opened up by this work.

Submitted by Automa??o e Estat?stica (sst@bczm.ufrn.br) on 2016-03-18T21:55:10Z No. of bitstreams: 1 AgamenonClementeDeMoraisJunior_DISSERT.pdf: 11540034 bytes, checksum: ba0216cfe99dfb83f34e282a5a988727 (MD5) / Approved for entry into archive by Arlan Eloi Leite Silva (eloihistoriador@yahoo.com.br) on 2016-03-18T22:39:55Z (GMT) No. of bitstreams: 1 AgamenonClementeDeMoraisJunior_DISSERT.pdf: 11540034 bytes, checksum: ba0216cfe99dfb83f34e282a5a988727 (MD5) / Made available in DSpace on 2016-03-18T22:39:55Z (GMT). No. of bitstreams: 1 AgamenonClementeDeMoraisJunior_DISSERT.pdf: 11540034 bytes, checksum: ba0216cfe99dfb83f34e282a5a988727 (MD5) Previous issue date: 2014-12-09 / O objetivo deste trabalho ? investigar possibilidades de extens?es de procedimentos composicionais, tendo por base os recursos disponibilizados pelo Sistema Schillinger de Composi??o Musical (SSCM). Localiza historicamente e realiza uma revis?o de literatura sobre o assunto. Apresenta o estado da arte do trabalho realizado pela equipe da qual o autor deste trabalho faz parte e apresenta os resultados obtidos, com vistas tanto ? aprendizagem quanto ? revis?o do processo composicional. Sugere a extens?o do conceito de local de ataque para local de instrumenta??o e desenvolve o procedimento de instrumenta??o bin?ria. Apresenta o memorial composicional da obra Su?te Grega, para Obo?, Saxofone e 3 Violoncelos. Comenta os resultados obtidos e apresenta possibilidades para a continua??o da pesquisa. / The work aims at investigating possibilities of extending compositional procedures, based on the Schillinger System of Musical Composition (SSMC). I start by elaborating a brief historical review on SSMC, which is followed by a critical review of the System. The work includes a state of the art on the research on this topic, performed upon analysis of the current work conducted by a research group from the UFRN Music School from which I also make part. The main line of the research is to elaborate on the suggestion of extending the SSMC concept of place of attack to the idea of place of instrumentation, through developing a binary instrumentation procedure. The experimentation on the thesis? hypothesis is presented in my composition titled ?Su?te Grega? (Greek Suite), a compositional memoir for Oboe, Saxophone and 3 Cellos.

Submitted by Automa??o e Estat?stica (sst@bczm.ufrn.br) on 2016-04-26T21:11:19Z No. of bitstreams: 1 VictorVitorianoDantas_DISSERT.pdf: 4860785 bytes, checksum: 00c6c1cc2de49e81e11ebd4c0bc3377d (MD5) / Approved for entry into archive by Arlan Eloi Leite Silva (eloihistoriador@yahoo.com.br) on 2016-04-29T23:12:17Z (GMT) No. of bitstreams: 1 VictorVitorianoDantas_DISSERT.pdf: 4860785 bytes, checksum: 00c6c1cc2de49e81e11ebd4c0bc3377d (MD5) / Made available in DSpace on 2016-04-29T23:12:17Z (GMT). No. of bitstreams: 1 VictorVitorianoDantas_DISSERT.pdf: 4860785 bytes, checksum: 00c6c1cc2de49e81e11ebd4c0bc3377d (MD5) Previous issue date: 2015-08-05 / Este trabalho demonstra a utiliza??o do Sistema Schillinger de Composi??o Musical (doravante SSCM) em um processo composicional. Iremos utilizar o Sistema no mapeamento entre os dom?nios de origami e a m?sica. Embora as pesquisas sobre o SSCM estejam estabelecidas, no Brasil o assunto ainda ? novo. O principal objetivo desse trabalho ? relatar o fazer composicional, demonstrando solu??es e ferramentas que foram utilizadas e criadas para elaborar a composi??o Origami, para contrabaixo, tuba e piano. O processo composicional descrito aqui utilizou o modelo de acompanhamento composicional (SILVA, 2007). Demonstraremos o freeware Pd- Syncker (desenvolvido neste trabalho) e o utilizaremos junto com o J-Syncker como ferramentas no aux?lio do uso do SSCM e do fazer composicional. Temos, entre os resultados principais, uma composi??o autoral para contrabaixo, tuba e piano e o freeware Pd- Syncker. / This work demonstrates the use of Schillinger System of Musical Composition (hereinafter SSMC) in a composing process. We will use the System to map between origami and music domains. (ZBIKOWSKY, 1997) Althoug research on the SSMC are established in Brazil it is still new. The main objective of this study is to report the compositional making, demonstrating solutions and tools that were used and designed to compose Origami for double bass, tuba and piano. The compositional process described herein used the Compositional Process Monitoring Model (SILVA, 2007). We demonstrate freeware Pd Syncker (developed in this study), used along with J-Syncker, as tools to aid the use of SSMC and our compositional making. We have, among the key findings, an authorial composition for bass, tuba and piano and freeware Pd Syncker.