Esta dissertação é um estudo sobre o uso de jogos de improvisação na iniciação coletiva ao violoncelo. O objetivo desta pesquisa, realizada no âmbito do Programa de Pós- Graduação em Música da Escola de Comunicações e Artes da Universidade de São Paulo, foi investigar a implementação de modelos de jogos de improvisação, já empregados em outros grupos de educandos, na iniciação coletiva ao violoncelo, com o intuito de proporcionar a aproximação dos estudantes com as poéticas da música contemporânea. O procedimento metodológico elencado para o trabalho foi a pesquisa-ação, a qual foi realizada em três instituições de ensino do estado de São Paulo: o Instituto Baccarelli, o Projeto Guri-Polo de Indaiatuba e o Instituto Fukuda. Foram utilizados como instrumentos e técnicas de coleta de dados a observação participante, o diário de campo, a aplicação de questionário junto a vinte e quatro estudantes e de entrevistas semiestruturadas junto a quatro professores que participaram das atividades, anotações feitas pelos estudantes após a realização dos encontros e a gravação em vídeo de algumas atividades propostas. A análise dos dados foi estruturada a partir das considerações dos alunos e dos professores participantes, sendo que essas foram abordadas em relação às referências bibliográficas consultadas e à observação das atividades relatadas em diário de campo, com o suporte das gravações em vídeo. Após a análise dos dados, foi possível perceber que, na implementação dos jogos elaborados, baseados a partir das proposições de Delalande (2001), Gainza (2009), Brito (2003, 2011), Freixedas (2015) e Cruz (2017), a maioria dos alunos compreendeu as propostas das atividades como jogo e criação musical. Grande parte dos estudantes relatou que se sentiu confortável ao praticar os jogos de improvisação, reconhecendo a construção de narrativas musicais nas atividades, a possibilidade de maior integração com seus colegas de classe, a compreensão de processos de criação musical e a aproximação com poéticas da música contemporânea. Os professores envolvidos destacaram o desenvolvimento da criatividade e dos processos de aprendizagem coletiva proporcionados pelas atividades, ressaltando, porém, a necessidade de contextualização das propostas dentro de um modelo de ensino tradicional. O trabalho aponta para possíveis desdobramentos para a área da educação musical, configurando-se como uma possibilidade de aplicação de jogos de improvisação na iniciação coletiva de um instrumento musical, bem como possibilitando sua implementação no ensino e aprendizagem de outros instrumentos de cordas friccionadas, além de oferecer subsídios para a configuração de propostas semelhantes direcionadas a outros níveis de aprendizagem ao violoncelo. / This dissertation is a study on the use of improvisation games in group cello lessons. The goal of this research, conducted during the Graduate Music Program at São Paulo University, was to investigate the implementation of improvisation games, already applied in other groups of students, in the collective initiation to the cello, with the purpose of promoting the approximation of students with the poetics of contemporary music. The methodological procedure listed for this work was the research-action, applied in three educational institutions of the state of São Paulo: Instituto Baccarelli, Projeto Guri and Instituto Fukuda. Participant observation, field diary, the application of a questionnaire to twenty-for students and semistructured interviews with the for teachers who participated in the activities, notes written by the students after the activities and the video recording of some the activities were used as instruments and techniques of data collection. The analysis of the data was structured based on the students\' and the participating teachers\' considerations and this were approached in relation to the consulted bibliographical references and to the observation of the activities reported in the field diary, with the support of video recordings. After analysing the data, it was possible to notice that in the implementation of the games, based on the propositions of Delalande (2001), Gainza (2009), Brito (2003, 2011), Freixedas (2015) e Cruz (2017), most of the students understood most the proposals of the activities such a game and music creation. Most of the students reported that felt comfortable playing improvisational games, recognizing the construction of musical narratives in the activities, the possibility of greater integration with their classmates, the understanding of the processes of music creation and the approach with poetics of contemporary music. The teachers involved highlighted the development of the creativity and group teaching provided by the activities, emphasizing, however, the need to contextualize the proposals within a traditional teaching model. This work indicates possible developments in the area of music education, being configured as a possibility for the application of improvisation games in the group teaching, as well as enabling its implementation in the teaching and learning of other strings instruments, besides providing support for setting up similar proposals aimed at the other levels of celli learning.

Esta dissertação é um estudo sobre o uso de jogos de improvisação na iniciação coletiva ao violoncelo. O objetivo desta pesquisa, realizada no âmbito do Programa de Pós- Graduação em Música da Escola de Comunicações e Artes da Universidade de São Paulo, foi investigar a implementação de modelos de jogos de improvisação, já empregados em outros grupos de educandos, na iniciação coletiva ao violoncelo, com o intuito de proporcionar a aproximação dos estudantes com as poéticas da música contemporânea. O procedimento metodológico elencado para o trabalho foi a pesquisa-ação, a qual foi realizada em três instituições de ensino do estado de São Paulo: o Instituto Baccarelli, o Projeto Guri-Polo de Indaiatuba e o Instituto Fukuda. Foram utilizados como instrumentos e técnicas de coleta de dados a observação participante, o diário de campo, a aplicação de questionário junto a vinte e quatro estudantes e de entrevistas semiestruturadas junto a quatro professores que participaram das atividades, anotações feitas pelos estudantes após a realização dos encontros e a gravação em vídeo de algumas atividades propostas. A análise dos dados foi estruturada a partir das considerações dos alunos e dos professores participantes, sendo que essas foram abordadas em relação às referências bibliográficas consultadas e à observação das atividades relatadas em diário de campo, com o suporte das gravações em vídeo. Após a análise dos dados, foi possível perceber que, na implementação dos jogos elaborados, baseados a partir das proposições de Delalande (2001), Gainza (2009), Brito (2003, 2011), Freixedas (2015) e Cruz (2017), a maioria dos alunos compreendeu as propostas das atividades como jogo e criação musical. Grande parte dos estudantes relatou que se sentiu confortável ao praticar os jogos de improvisação, reconhecendo a construção de narrativas musicais nas atividades, a possibilidade de maior integração com seus colegas de classe, a compreensão de processos de criação musical e a aproximação com poéticas da música contemporânea. Os professores envolvidos destacaram o desenvolvimento da criatividade e dos processos de aprendizagem coletiva proporcionados pelas atividades, ressaltando, porém, a necessidade de contextualização das propostas dentro de um modelo de ensino tradicional. O trabalho aponta para possíveis desdobramentos para a área da educação musical, configurando-se como uma possibilidade de aplicação de jogos de improvisação na iniciação coletiva de um instrumento musical, bem como possibilitando sua implementação no ensino e aprendizagem de outros instrumentos de cordas friccionadas, além de oferecer subsídios para a configuração de propostas semelhantes direcionadas a outros níveis de aprendizagem ao violoncelo. / This dissertation is a study on the use of improvisation games in group cello lessons. The goal of this research, conducted during the Graduate Music Program at São Paulo University, was to investigate the implementation of improvisation games, already applied in other groups of students, in the collective initiation to the cello, with the purpose of promoting the approximation of students with the poetics of contemporary music. The methodological procedure listed for this work was the research-action, applied in three educational institutions of the state of São Paulo: Instituto Baccarelli, Projeto Guri and Instituto Fukuda. Participant observation, field diary, the application of a questionnaire to twenty-for students and semistructured interviews with the for teachers who participated in the activities, notes written by the students after the activities and the video recording of some the activities were used as instruments and techniques of data collection. The analysis of the data was structured based on the students\' and the participating teachers\' considerations and this were approached in relation to the consulted bibliographical references and to the observation of the activities reported in the field diary, with the support of video recordings. After analysing the data, it was possible to notice that in the implementation of the games, based on the propositions of Delalande (2001), Gainza (2009), Brito (2003, 2011), Freixedas (2015) e Cruz (2017), most of the students understood most the proposals of the activities such a game and music creation. Most of the students reported that felt comfortable playing improvisational games, recognizing the construction of musical narratives in the activities, the possibility of greater integration with their classmates, the understanding of the processes of music creation and the approach with poetics of contemporary music. The teachers involved highlighted the development of the creativity and group teaching provided by the activities, emphasizing, however, the need to contextualize the proposals within a traditional teaching model. This work indicates possible developments in the area of music education, being configured as a possibility for the application of improvisation games in the group teaching, as well as enabling its implementation in the teaching and learning of other strings instruments, besides providing support for setting up similar proposals aimed at the other levels of celli learning.

Cette thèse étudie la vie professionnelle et la production artistique d'un groupe de compositeurs d'origine argentine basés à Paris. C'est la ville avec la plupart d'entre eux à l'étranger. En outre, ils sont la première minorité de compositeurs étrangers vivant dans la capitale française.Ces compositeurs ont produit un corpus musical important, que nous estimons dans environ 1200 œuvres des genres les plus divers qui intègrent le domaine de la musique contemporaine. Depuis le XXIe siècle, une partie pertinente de ce corpus avait une circulation en Argentine et a promu un débat sur la délimitation du domaine de la musique locale contemporaine.Notre thèse visait à étudier les motivations qui ont amené 23 compositeurs à émigrer à Paris, les conditions d'insertion dans ce domaine et les tensions identitaires qui ont généré ce transit. Ensuite, nous analysons la production musicale la plus récente et la plus importante, ses conditions de réalisation et d'accueil en France et en Argentine. / The present thesis studies the professional life and the artistic production of a group of composers of Argentine origin, who are located in Paris, the city with the greatest number of them abroad. In addition, they are the first minority of foreign composers living in the French capital.These composers have produced an important musical work, which we estimate in about 1200 pieces of the most diverse genres that integrate the field of contemporary music. A relevant part of this corpus has been part regular concerts in Argentina, thus it promoted a debate on the delimitation of the field of contemporary local music.Our thesis aimed to study the motivations that led to 23 composers to emigrate to Paris, the conditions of insertion in that field and the identity tensions that generated this transit. Then we analyze the most recent and most significant musical production of them, its conditions of realization and reception in both France and Argentina. / La presente tesis estudia la vida profesional y la producción artística de un grupo de compositores de origen argentino que se encuentran radicados en París, la ciudad con mayor cantidad de ellos en el exterior. Además, son la primera minoría de compositores extranjeros viviendo en la capital de Francia. Estos compositores han producido una importante obra musical, que estimamos en alrededor de 1200 obras, de los géneros más diversos que integran el campo de la música contemporánea. En lo que va del presente siglo XXI una parte relevante de este corpus tuvo circulación en la Argentina y promovió un debate sobre la delimitación del campo de la música contemporánea local.Nuestra tesis se propuso estudiar las motivaciones que llevaron a 23 compositores a emigrar a París, las condiciones de inserción en dicho campo y las tensiones identitarias que generó este transitar. Luego analizamos la producción musical más reciente y la más significativa, sus condiciones de realización y recepción tanto en Francia como en la Argentina.

O intento deste trabalho é investigar e comparar processos composicionais utilizados na música brasileira contemporânea no final do século XX. O período de recorte, de 1980 até 2000, foi escolhido por se situar após a dissolução da principal oposição ideológica vivida no século passado, a querela nacionalismo versus vanguarda. Como objeto de estudo, foram tomadas três peças de compositores atuais das mais variadas tendências: Ginga (1994), de Marisa Rezende - para flauta, clarineta, fagote, violoncelo, trombone, contrabaixo e piano; Diálogos (1988), de Rodolfo Coelho de Souza - para marimba e vibrafone; e Dramatic Polimaniquexixe ou \"Quinto movimento para uma suíte implacavelmente longa e erótica\" (1985), de Jorge Antunes - para clarinete, violoncelo e piano. Tais obras possuem como denominador comum o uso de materiais musicais relacionados à cultura nacional. Assim, o foco da pesquisa incide sobre dois pontos: os principais processos composicionais utilizados e as maneiras escolhidas para trabalhar os elementos culturais brasileiros na construção das partituras. Conclui-se que novas formas de expressão e concepção da identidade cultural brasileira na música estão se desenvolvendo e se articulando nos dias de hoje. / The purpose of this work is to investigate and compare compositional processes used in the contemporary Brazilian music in the late twentieth century. The selected period, from 1980 to 2000, was chosen since it was situated after the dissolution of the main ideological opposition experienced in the last century, the disagreement between nationalism and vanguard. As object of the study, three musical works by composers of various current trends were taken: Ginga (1994), by Marisa Rezende - for flute, clarinet, bassoon, violoncello, trombone, contrabass and piano; Diálogos (1988), by Rodolfo Coelho de Souza - for marimba and vibraphone; and Dramatic Polimaniquexixe or \"Quinto movimento para uma suíte implacavelmente longa e erótica\" (1985), by Jorge Antunes - for clarinet, violoncello and piano. Such compositions have as a common denominator the use of musical materials related to the national culture. Thus, the aim of the research focuses on two points: the main compositional processes used and the ways chosen to work the Brazilian cultural elements in the construction of the scores. It follows that new forms of expression and conception of the Brazilian cultural identity in music are being developed and articulated nowadays.

Esta tese estuda as possibilidades de aplicação da retórica como dispositivo interpretativo da música contemporânea. A retórica é tomada aqui em seu escopo clássico, mas de maneira atualizada ao pensamento atual, por meio das contribuições do movimento conhecido como Nova Retórica. A música contemporânea, por sua vez, é aqui representada por meio de peças dos compositores Bernd Alois Zimmermann, Iannis Xenakis e Roberto Victório. Dessa maneira, serão expostas, primeiramente, definições do que é que entende-se como música, discurso musical e significado musical, estabelecendo um postulado sobre o estatuto metafísico da música, sobretudo em sua produção atual. Em seguida serão estudados os mecanismos que garantem a possibilidade de não apenas se afirmar a existência do significado, mas de conhecê-lo, por meio do conhecimento adequado de uma realidade afetiva, um Stimmung, epistemologicamente acessada por meio da empatia e da sensação. Entretanto, esse conhecimento é um conhecimento vivo, que exige ser posto em prática para efetivamente existir, resultando em um complexo ético onde níveis de responsabilidade interagem dentro da dinâmica discursiva da música. Finalmente, serão expostas duas instâncias principais da performance retórica: a formação e o gesto. A primeira diz respeito aos processos por meio dos quais a performance constitui por si mesma uma forma musical; essa forma musical como processo origina então uma estrutura temporal em formação, mais do que um esquema objetificado. O gesto musical, por sua vez, é a corporificação do significado, trazendo vida à música por meio de sua gestualidade e levando vida através dela, resultando em uma performance retórica da música contemporânea. / This thesis examines the possibilities of applying rhetoric as an interpretive device of Contemporary Music. Rhetoric is taken here in its classical scope, but also in an updated way to current thinking, through the contributions from the movement known as New Rhetoric. Contemporary music, in its turn, is represented here by pieces written by composers such as Bernd Alois Zimmermann, Iannis Xenakis and Roberto Victório. In this way, firstly, definitions of what is understood as music, musical discourse and musical meaning will be exposed, establishing a postulate about the metaphysical status of music, especially in its current production. Then we will study the mechanisms that guarantee the possibility of not only affirming the existence of meaning but of knowing it through the adequate knowledge of an affective reality, a Stimmung, epistemologically accessed through empathy and sensation. However, this knowledge is a living knowledge, which demands to be put into practice to effectively exist, resulting in an ethical complex where levels of responsibility interact within the discursive dynamics of music. Finally, two main instances of rhetorical performance will be exposed: formation and gesture. The first concerns the processes by which performance itself constitutes a musical form; this musical form as process then gives rise to a temporal structure in formation rather than an objectified scheme. Musical gesture, in turn, is the embodiment of meaning, bringing life to music through its gesturing and bringing life through it, resulting in a rhetorical performance of Contemporary Music.

This thesis explores ways of adopting elements of Calabrian folk music in compositions of contemporary music beyond the mere adoption of melodies and instruments. Through this work, I aim to create a practice for contemporary improvisation and composition that is deeply imbued with elements derived from the music theory, the sonic environment and the performance practices of Calabria. The work described in this dissertation consists of two components: ethnomusicological research and a practice-based enquiry. This research focuses mainly on three aspects of Calabrian folk music: generative principles, the tuning system and processes of bagpipes, and soundscapes created by animal bells. These aspects guided both the ethnomusicological enquiry and the creative exploration. They are first described and analysed in their original context: folk music was studied in the field, amid and within the tradition bearers; research was conducted from a cultural and musicological perspective within the methodological and ethical framework of ethnomusicology. The data emerging from the ethnomusicological investigations informed the creative enquiry carried out through practice-led research. The outcomes of my investigation into Calabrian music became the core principles of my compositions of contemporary music. Generative principles were explored from the perspectives of both composition and improvisation They informed primarily a series of pieces for saxophone solo and a composition for chamber ensemble. The tuning system and processes of Calabrian bagpipes were investigated in compositions centred on pitch and extended harmonic spaces. They informed two compositions for string quartet and a piece for saxophone quartet. Soundscapes informed the composition of a piece of spatial music for goat bells that adopts indeterminacy methods for structuring the performance. The creative work, attached to this thesis as a portfolio of compositions, is analysed through self-reflective methods and in relation to the work of other contemporary music practitioners. My enquiry of the folk sources contributes to the field of ethnomusicology with new insight into Calabrian music. The creative processes and the techniques developed throughout this research also have implications for the broader field of contemporary music, as they offer a perspective on new ways of engaging creatively with folk materials.

The purpose of this essay is to introduce readers to the music of living American composer Gabriela Lena Frank (b. 1972) through her chamber vocal works and to provide a resource to aid in the interpretation and performance of her music. Frank is an internationally recognized composer with a thriving career. However, she is not widely known among singers and teachers of singing and scholarship on her music is quite limited. This study seeks to fill that void by examining Frank’s published works as of January 2016 for solo voice and up to six instruments. These works are Cuatro Canciones Andinas (1999), for mezzo-soprano and piano; New Andean Songs (2008), for soprano, mezzo-soprano, two percussionists, and two pianos; Seven Armenian Songs (2013), for soprano, percussionist, and solo violin; and Honey (2013), for soprano, mezzo-soprano, and piano. Frank’s chamber vocal pieces are excellent additions to the repertoire and notable for Frank’s chamber music aesthetic, choice of diverse texts and languages (English, Spanish, and Armenian), dramatic storytelling, range of musical colors, and idiomatic writing for the performers. Frank’s ongoing exploration of her Peruvian heritage is reflected in two of these works, which draw inspiration from Andean folk music and poetry. This essay provides a brief biography of Frank; original poetic and musical analyses of the four works, exploring the areas of poetry, form, melody and motive, text painting, rhythm, harmony, folk influences, vocal writing, instrumental writing, timbre, range, and tessitura; and a summary of stylistic traits as seen across this sample. Poetic and word for word translations of foreign language texts, pronunciation guidelines for Latin American Spanish and International Phonetic Alphabet transliterations for the Armenian poems are included.

Sola Fides Sufficit is a 20-minute concerto for solo violin and ensemble. The 16-member ensemble consists of flute (doubling piccolo), oboe, clarinet in Bb (doubling bass clarinet), bassoon, horn in F, trumpet in C, trombone, tuba, percussion I (bass drum, brake drum, chimes, glockenspiel, two woodblocks), percussion II (snare drum, suspended cymbal, two toms, triangle, vibraphone), piano, two violins, viola, cello, and contrabass. Sola Fides Sufficit is based on my previous solo violin composition Et si sensus deficit… written for violinist Emily Rolka in 2010. Sola Fides Sufficit is an expansion, orchestration, and ultimately a recomposition of Et si sensus deficit… The melodic, harmonic, and formal material in Sola Fides Sufficit is largely based on my detailed musical analysis of the Pange Lingua, an unaccompanied 13th century plainchant written by St. Thomas Aquinas. The six-phrase melody is well-known in the Roman Catholic tradition for its performance at the end of Holy Thursday Mass. My analysis drove my compositional choices regarding two distinct objectives: One, to reflect the chant material in overt ways (e.g., use of neighbor figures) and two, to intentionally diverge from the original chant material, at times exploiting or exaggerating elements purposefully avoided in the chant (e.g., the tritone). I utilized both ways of decision-making to create drama, contrast, tension, and resolution in the piece. My large-scale formal goal was to create a cohesive composition utilizing particular surface and structural aspects of the Pange Lingua melody, while withholding presentation of the melody in its entirety until the climax (conclusion) of the work. Fragments from the chant were selected and employed in varying contexts depending on the formal goals of each section. Some fragments were presented with few changes, while others were transformed and developed through tonality, registration, timbre, and rhythm. My structural design was shaped by four words of character the composer Witold Lutoslawski perceived as essential in the creation of his large-scale works: Introduction, Narrative, Transitional and Concluding. Influenced by Lutoslawski’s psychological approach to listener perception as a compositional and analytical tool, Sola Fides Sufficit unfolds in four unbroken parts, each portraying primarily one of these four formal characters. Within each movement, these formal characters also occur on a smaller scale and give shape to each section. Only during the Narrative portions is the content the most important aspect perceived. During the Introductory, Transitional, and Concluding music, however, the role of the given section in the form is more important than the content.

This essay researches the prevalence of Gnostic influences in contemporary music lyrics, more exclusively within the context of the extreme metal scene. A resurgence of such topics has also been evident in contemporary music; not surprisingly, as music in general is part of the foundations of culture, and in a wider aspect, of society at large. The essay is performed using a hermeneutic method, interpreting music lyrics and discussing them from a background of cultural and religious theory. The purposes of researching the influences of Gnosticism in this environment are to determine the presence of Gnostic thought in extreme metal lyrics, research the eventual re-interpretations of historical sources of Gnosticism, and to discuss the acknowledged Gnostic influences in the displayed art form in a contemporary cultural perspective, related to cultural aspects such as secularization, modernity and globalization. Sources include music lyrics appropriate to the subject matter at hand as well as previously published interviews. The results of the investigation demonstrate that there are multiple interpretations of Gnostic thought apparent in extreme metal lyrics, varying from slight re-interpretations to more extensive ones, as apparent in what is identified as a chaos-gnostic current. The Gnostic material has in the latter scenario been integrated into an originally satanic worldview and as a result has become a major part of the chaos-gnostic belief system. The chaos-gnostic current has appeared in a highly secular surrounding, and the results of the essay propose that a secular surrounding can breed elements of trangression within individuals, leading to the resurgence of oppositional counter-cultural characteristics and an awakening of alternative spirituality with oppositional overtones.

I offer this dissertation as a survey and a story: a survey of my work across the field of sonic art and a story of my progressive compulsion toward sound that conveys touch. This haptic sensibility sharpens from Susurrus (2006) through Soma (2012), manifesting in a fixation on the impact of sound on bodies and the impact of bodies on sound. Both the visceral sensation of hearing and the manner in which movement imprints onto acoustic phenomena concern me. My musical forms are conceived not as abstract arrangements of objects (or notes) but as complex physical confrontations that produce audible byproducts. I compose primarily with chaotic spectra, mixing raw noise from found objects with extended instrumental techniques. These timbres front an acoustic wildness intentionally abated in conventional instrumental practice. And yet, the precision of classical instruments opens avenues of transformation closed to unmediated noise. Virtuosity and crudeness face-off in my work, circling an aesthetic region between embellishment and fact, between sound as a carrier of aesthetic intent and sound as a subsidiary effect of action. The ten works presented in this portfolio include eight compositions scored for a range of ensembles, from soloist to orchestra, with and without electronics, as well as two interactive multimedia installations. Dramatic links between physical movement and musical form arise across this output. In my installations, I posit causal relationships between visible stimuli (spinning strings, spatial structures, moving bodies) and resultant sounds. In my electroacoustic works, I attend to the implied weight of spatialized sound – as though a gesture’s trajectory through arrayed speakers were informed by gravity. In my acoustic music, I bring the muscular strain behind instrumental technique to the perceptual fore. My professional activities shift regularly between concert music and installation art and between acoustic and electroacoustic contexts. Passing between these genres stretches the boundaries of my creative practice and forces me to consistently reframe notions of ritual and form. Within each platform, I aim to stage visceral aesthetic encounters that, as Francis Bacon once hoped for his paint, bypass the brain and go directly to the nervous system. / Music