The purpose of this dissertation is to discover if Arturo Fuentes’ Primer Interludio incorporates a number of stylistic features typical of guitar music written by Mexican contemporaries from 1988 to 2003. These features include the use of complex musical notation, highly disjunct melodic contour, extended techniques, innovative timbres, rhythmic complexity, rapidly changing dynamics, atonality, percussive effects and repetitive rhythmic and/or melodic cells. As a point of departure a list of guitar works by representative Mexican composers was compiled. From this list the following works were chosen since they exemplify the stylistic trends I wish to highlight: Tres Instantáneas (1988) by Manuel Enríquez, Sonata (1992) and Elegía 2 (2000) by Hebert Vázquez, Haikus (2000) by Ana Lara, Sydolira (2000) by Gabriela Ortíz, and Impello (2003) by Francisco Javier González Compeán. By comparative analysis, I have associated certain stylistic features between these contemporary Mexican composers. I have been able to get a glimpse of some of the underlying stylistic unities found in these guitar compositions that seem rather separate. There are a number of stylistic features common to all of the composers discussed herein as well as few characteristics where only some of them converge. However, this research shows that Arturo Fuentes’ Primer Interludio is representative of several stylistic features commonly found in guitar music written by contemporary Mexican composers. There is a vast variety of Mexican guitar works created in recent years that remain unknown to today’s classical music world, academic community and general public. Mexico possesses a large repertoire of guitar works, music for solo guitar and guitar with a wide array of ensemble combinations from duets to large ensembles and guitar concertos. Many of these works would undoubtedly challenge a performer of the highest caliber. One of the purposes of this project is to promote contemporary Mexican classical guitar music. I hope to awake interest in this contemporary music style and encourage other musicians to include Mexican works in their concert repertoire.

One part experimental composer, one part choral craftsman, Stephen Chatman reveals the unique harmony of his musical double-life.

O presente trabalho é uma reflexão sobre os aspectos técnicos e estéticos do processo de criação de um portfolio de composições. Esta reflexão está fundamentada nos trabalhos de Leonard B. Meyer (1973), Étienne Souriau (1999) e Ilza Nogueira (2003). Os aspectos técnicos estão ligados aos procedimentos composicionais “paródia” e “relações de correspondência” e os aspectos estéticos referem-se às categorias estéticas “bizarro”, “cômico”, “fantástico” e “insólito”. Em todas as composições deste portfolio ocorrem esses procedimentos composicionais e categorias estéticas, em algumas composições mais, em outras menos. São realizadas reflexões sobre o processo composicional de cada uma das peças, individualmente, e, em seguida, considerações sobre como a “paródia”, as “relações de correspondência” e as categorias estéticas atuam em cada uma das composições. / This work is a discussion on the technical and aesthetic aspects of the composition of a group of pieces. The discussion is based on works by Leonard B. Meyer (1973), Étienne Souriau (1999) and Ilza Nogueira (2003). The technical aspects of the composition are related to the compositional procedures "parody" and "conformant relationships"; its aesthetic aspects are related to the aesthetic categories to it "bizarre", "comical", "fantastic" and "uncommon". Such procedures and aesthetic categories occur in the entire group of pieces, to various degrees of importance. A discussion is made on the composicional process of each individual piece followed by considerations on how "parody", "the conformant relationships" and aesthetical categories are integrated throughout the group of pieces.

Esta dissertação é um estudo de dois processos de criação na música contemporânea, nos quais atuei junto com dois colegas: Dario Rodrigues Silva (pianista) e Lauro Pecktor (compositor). O primeiro processo foi a preparação da estreia da peça Doppelgänger, e o segundo foi a construção e apresentação da peça espaços submersos entre prédios. Em ambos os processos investiguei a função e os significados da partitura, avaliando a atuação dos músicos e suas ideias. As análises foram realizadas tendo como referencial teórico o Conceito de Obra Musical (GOEHR, 1992), o questionamento sobre a ênfase demasiada que a cultura ocidental de concerto coloca na escrita, um conjunto de investigações sobre colaborações entre performers e compositores e o conceito de Campo da Obra Musical (ÖSTERSJÖ, 2008). Como métodos, considerei os princípios da Pesquisa Artística (BORGDORFF, 2012; COESSENS, CRISPIN, DOUGLAS, 2009) da Autoetnografia Analítica (ANDERSON, 2006) e dos Estudos de Caso. Os dois processos foram descritos para em seguida serem analisados. Os principais recursos utilizados nas análises foram as gravações dos ensaios, a minha memória de pesquisador participante e as entrevistas realizadas com meus colegas. Como conclusão, observei que as partituras foram consideradas pontos de partida, textos em torno do quais foram criados campos textuais que emergiram da interação e do trabalho em grupo, confirmando que a atuação dos músicos (performers e compositor) é mais bem entendida como ciclos de criação e interpretação, conforme é proposto no conceito de Campo da Obra Musical. / This dissertation is a study of two creative processes in contemporary music in which I have worked with two colleagues: Dario Rodrigues Silva (pianist) and Lauro Pecktor (composer). The first process was the preparation of the premiere of Doppelgänger, and the second was the construction and presentation of the piece espaços submersos entre prédios. In both processes I have investigated the function and meaning of the score, evaluating the musicians’ agency and ideas. The analyses were conducted under theoretical references of the Musical Work Concept (GOEHR, 1992), the questioning of super estimated role of score in the Western Concert Culture, a set of investigations about collaborations between composers and performers and the concept of The Field of the Musical Work (ÖSTERSJÖ, 2008). As methods, I have considered the principles of Artistic Research (BORGDORFF, 2012; COESSENS, CRISPIN, DOUGLAS, 2009), Analytic Autoethnography (ANDERSON, 2006) and Case Studies. Both processes have been described and then analyzed. Rehearsals recordings, my memory as participant researcher and interviews with my colleagues were the main resources used in the analysis. In conclusion, I observed that the score was considered a starting point, texts around which were created text fields through interaction and group work, confirming that the work of musicians (performers and composer) is best understood as creation and interpretation cycles, as proposed in The Field of the Musical Work.

O presente trabalho é uma reflexão sobre os aspectos técnicos e estéticos do processo de criação de um portfolio de composições. Esta reflexão está fundamentada nos trabalhos de Leonard B. Meyer (1973), Étienne Souriau (1999) e Ilza Nogueira (2003). Os aspectos técnicos estão ligados aos procedimentos composicionais “paródia” e “relações de correspondência” e os aspectos estéticos referem-se às categorias estéticas “bizarro”, “cômico”, “fantástico” e “insólito”. Em todas as composições deste portfolio ocorrem esses procedimentos composicionais e categorias estéticas, em algumas composições mais, em outras menos. São realizadas reflexões sobre o processo composicional de cada uma das peças, individualmente, e, em seguida, considerações sobre como a “paródia”, as “relações de correspondência” e as categorias estéticas atuam em cada uma das composições. / This work is a discussion on the technical and aesthetic aspects of the composition of a group of pieces. The discussion is based on works by Leonard B. Meyer (1973), Étienne Souriau (1999) and Ilza Nogueira (2003). The technical aspects of the composition are related to the compositional procedures "parody" and "conformant relationships"; its aesthetic aspects are related to the aesthetic categories to it "bizarre", "comical", "fantastic" and "uncommon". Such procedures and aesthetic categories occur in the entire group of pieces, to various degrees of importance. A discussion is made on the composicional process of each individual piece followed by considerations on how "parody", "the conformant relationships" and aesthetical categories are integrated throughout the group of pieces.

abstract: A New Home is a multi-movement musical composition written for a chamber orchestra of flute, oboe, clarinet in B-flat, bassoon, horn in F, trumpet in C, trombone, bass trombone, percussion (1), pianoforte, and strings. The duration of the entire piece is approximately fourteen minutes (movement 1: four minutes; mvt. 2: four minutes and thirty seconds; mvt. 3: five minutes and thirty seconds). As an exercise in compositional experimentation, some of the musical techniques explored throughout the piece are harmonic planing or parallelism, ostinati, modality, chromatic dissonance, thematic transformation, mixed meter, and syncopation, as well as issues of orchestral blend, balance, and color. The first movement, ironically titled “Don’t Panic,” highlights my initial anxieties on experimentation by creating hectic textures. The movement is structured around two main alternating sections of chromatic, chordal dissonance with more modal, melodic syncopation in addition to a developmental section, but a sense of rhythmic groove is prominent throughout. The second movement, “Still Here,” is a darker, more sensitive music as it explores various settings of its main thematic material interspersed with march-like episodes and a related secondary theme. The themes are organized around a diatonic scale that omits one pitch to comprise a six-note scale. The third movement, “Change of State,” recalls the modality and rhythmic liveliness of the first movement, and it bears a thematic relationship to the second movement. Much of the material also revolves around scales and mediant relationships to comprise an opening theme, a groove section, and an ethereal, glassy texture which ends the movement. Essentially, the piece closes with a calmer music in contrast to the brute force that opened the piece. / Dissertation/Thesis / Masters Thesis Music 2016

abstract: This research concentrates on the five sonatinas for piano by Walter Saul. It consists of a recording and a document providing musical analyses and performance guides to these sonatinas. The purpose of the research is to introduce Walter Saul’s five sonatinas, composed from 1998 to 2015. Walter Saul is a gifted living American composer and pianist. He has written a quantity of piano music intended for study by young performers. His five sonatinas, in traditional sonata forms, use a variety of compositional techniques, including twelve-tone rows, jazz elements, modulations, modes, scales, and contrapuntal procedures. Performers may find that the analyses in this document are useful in understanding these pieces. The guides are likewise provided to teachers and students studying these pieces. This paper consists of six chapters. It begins with an introduction in Chapter 1; Chapter 2 presents a biography of Walter Saul; Chapter 3 observes characteristics of Walter Saul’s piano music; Chapter 4 deals with background of the five sonatinas; Chapter 5 provides performance guides including simple analyses; Chapter 6 arrives at a conclusion. / Dissertation/Thesis / APPENDIX B: A RECORDING OF FIVE PIANO SONATINAS OF WALTER SAUL BY AHYEON YUN, PIANO / Doctoral Dissertation Music 2017

Submitted by Valquíria Barbieri (kikibarbi@hotmail.com) on 2017-10-31T19:13:22Z No. of bitstreams: 1 DISS_2011_Adergildo Cardoso Mendes.pdf: 2546298 bytes, checksum: 44df9395f73241d8201df4c6c54f007e (MD5) / Approved for entry into archive by Jordan (jordanbiblio@gmail.com) on 2017-12-15T15:36:13Z (GMT) No. of bitstreams: 1 DISS_2011_Adergildo Cardoso Mendes.pdf: 2546298 bytes, checksum: 44df9395f73241d8201df4c6c54f007e (MD5) / Made available in DSpace on 2017-12-15T15:36:13Z (GMT). No. of bitstreams: 1 DISS_2011_Adergildo Cardoso Mendes.pdf: 2546298 bytes, checksum: 44df9395f73241d8201df4c6c54f007e (MD5) Previous issue date: 2011-03-02 / CAPES / FAPEMAT / A música contemporânea de concerto incorpora em sua estética uma série de elementos musicais que atuaram como objeto da própria transformação e determinam rumos não previstos para o percurso em que se situava. Veremos, partindo de três elementos principais (timbre, tempo e ritmo), desdobramentos e relações que se configuram no âmbito do processo transformador em que a música foi submetida e que foram ponto de partida para a composição de um duo para flauta e piano cujo título é “A Encarnação”. A estrutura musical desta obra foi desenvolvida a partir da leitura dos elementos em questão e este trabalho pretende estabelecer paralelo entre as discussões teóricas já existentes sobre o assunto, e a análise da obra composta como vertente destes elementos transformadores na música do século XX. / Contemporary music concert incorporates in its aesthetic a series of musical elements that acted as the object's own transformation and determine directions unanticipated to the route it stood. We'll see, starting from three main elements (tone, tempo and rhythm) developments and relations that take place within the manufacturing process in which the music was submitted and which were the starting point for composing a duo for flute and piano, whose title is "The Incarnation". The musical structure of this work was developed from reading the documents in question and this work aims to establish a parallel between the existing theoretical discussions on the subject, and analysis of the works composed as part of transforming elements in the music of the twentieth century. Key-

Submitted by LEONARDO MARTINELLI (leonardomartinelli@yahoo.com.br) on 2017-07-12T19:30:02Z No. of bitstreams: 1 MARTINELLI, L. O som como drama [tese de doutorado].pdf: 20986684 bytes, checksum: 66a6654379b6c04bb2722274b04f6643 (MD5) / Approved for entry into archive by Monique Sasaki (sayumi_sasaki@hotmail.com) on 2017-07-14T17:46:01Z (GMT) No. of bitstreams: 1 martinelli_l_dr_ia.pdf: 20986684 bytes, checksum: 66a6654379b6c04bb2722274b04f6643 (MD5) / Made available in DSpace on 2017-07-14T17:46:01Z (GMT). No. of bitstreams: 1 martinelli_l_dr_ia.pdf: 20986684 bytes, checksum: 66a6654379b6c04bb2722274b04f6643 (MD5) Previous issue date: 2017-04-17 / A partir de meados década de 1950, momento em que a música serial entra em uma profunda crise, constatamos o surgimento de novas poéticas na música contemporânea. Como resultado, além de um cenário estilisticamente heterogêneo – fruto da ausência de um sistema musical em comum – testemunhamos no âmbito da composição musical uma retomada da expressividade. Isso ocorreu porque desde meados da segunda metade do século XIX – a partir da emergência de uma estética da música de cunho formalista – o ceticismo emotivo que inicialmente estava limitado ao debate estético foi, a partir da década de 1920, tomado como cerne de algumas práticas composicionais, especialmente naquelas de índole serial. Entretanto, antes de a criação musical contemporânea voltar a se dedicar à expressividade, houve, a partir da década de 1940, uma revisão de ordem estética tanto da tese formalista como da própria tese expressiva. Tal revisão mostrou-se fundamental na consolidação de uma nova ideia de expressividade musical, que por sua vez substanciou novos patamares técnicos e estilísticos para uma composição musical afetivamente orientada. Nestes termos, além de uma profunda modificação do papel da harmonia, constatamos o surgimento de uma nova noção de timbre, agora não mais limitado a um simples parâmetro, uma vez que alçado à condição de material musical, e desta feita suscetível a todas as ações previstas por uma escritura musical plena. No âmbito da música vocal, soma-se ainda uma profunda modificação do papel e do tratamento do libreto, por meio de novos procedimentos de escritura que passam a relativizar o tradicional paralelismo elementar entre o texto, seu significado semântico e a escritura musical, passando então a ressaltar as propriedades tímbricas e sonoras da língua, também enquanto um tipo de material musical. Os desdobramentos de ordem prática de questões desenvolvidas teoricamente nesse trabalho foram abordados por duas perspectivas. Primeiramente, por meio de comentários analíticos sobre a obra Retrato Falado da Paixão, de Flo Menezes, tomada como um exemplo de composição contemporânea afetivamente orientada; em um segundo momento, por meio da criação de uma nova peça musical, as Canções do mendigo, composta a partir de premissas trabalhadas nesta tese. / From the mid-1950s, a moment when serial music enters a deep crisis, we can detect the emergence of new poetics in terms of contemporary music. As a result, in addition to a stylistically heterogeneous scenario – due to the absence of a common musical system – we observed, in the context of musical composition, a resumption of the issue of expressiveness. Such resumption came to happen due to the fact that, since the mid-second half of the nineteenth century – from the emergence of a formalist aesthetic of music – the emotive skepticism, initially restricted to the aesthetic debate, had been taken as the core of some compositional practices, especially those of a serial nature, from the 1920s on. However, before the contemporary musical composition went back to the issue of expressiveness, a revision of the aesthetic order of both the formalist and the expressive thesis took place as of the 1940s. Such revision proved to be fundamental in the consolidation of a new idea of musical expressivity. These new ideas substantiated new technical and stylistic dimensions of an affectively oriented musical composition. In these terms, in addition to an in-depth modification of the role of harmony, we see the emergence of a new notion of timbre, no longer limited to a simple parameter, now raised to the condition of a musical material, and thus susceptible to all actions supported by a full musical writing (écriture). In terms of vocal music, an in-depth modification of the role and treatment of the libretto is added by the use of new writing procedures which minimize the traditional elemental parallelism among the text, its semantical meaning, and the musical writing material, emphasizing the timbral and sound properties of the language also as a kind of musical material. The practical developments of the theoretical issues in this work were approached by two different perspectives. First, through analytical commentaries on Flo Menezes' Retrato Falado da Paixão, taken as an example of an affectively oriented contemporary composition. Secondly, through the creation of a new musical piece, Canções do mendigo, made up of premises developed in this thesis.

Esta dissertação é um estudo de dois processos de criação na música contemporânea, nos quais atuei junto com dois colegas: Dario Rodrigues Silva (pianista) e Lauro Pecktor (compositor). O primeiro processo foi a preparação da estreia da peça Doppelgänger, e o segundo foi a construção e apresentação da peça espaços submersos entre prédios. Em ambos os processos investiguei a função e os significados da partitura, avaliando a atuação dos músicos e suas ideias. As análises foram realizadas tendo como referencial teórico o Conceito de Obra Musical (GOEHR, 1992), o questionamento sobre a ênfase demasiada que a cultura ocidental de concerto coloca na escrita, um conjunto de investigações sobre colaborações entre performers e compositores e o conceito de Campo da Obra Musical (ÖSTERSJÖ, 2008). Como métodos, considerei os princípios da Pesquisa Artística (BORGDORFF, 2012; COESSENS, CRISPIN, DOUGLAS, 2009) da Autoetnografia Analítica (ANDERSON, 2006) e dos Estudos de Caso. Os dois processos foram descritos para em seguida serem analisados. Os principais recursos utilizados nas análises foram as gravações dos ensaios, a minha memória de pesquisador participante e as entrevistas realizadas com meus colegas. Como conclusão, observei que as partituras foram consideradas pontos de partida, textos em torno do quais foram criados campos textuais que emergiram da interação e do trabalho em grupo, confirmando que a atuação dos músicos (performers e compositor) é mais bem entendida como ciclos de criação e interpretação, conforme é proposto no conceito de Campo da Obra Musical. / This dissertation is a study of two creative processes in contemporary music in which I have worked with two colleagues: Dario Rodrigues Silva (pianist) and Lauro Pecktor (composer). The first process was the preparation of the premiere of Doppelgänger, and the second was the construction and presentation of the piece espaços submersos entre prédios. In both processes I have investigated the function and meaning of the score, evaluating the musicians’ agency and ideas. The analyses were conducted under theoretical references of the Musical Work Concept (GOEHR, 1992), the questioning of super estimated role of score in the Western Concert Culture, a set of investigations about collaborations between composers and performers and the concept of The Field of the Musical Work (ÖSTERSJÖ, 2008). As methods, I have considered the principles of Artistic Research (BORGDORFF, 2012; COESSENS, CRISPIN, DOUGLAS, 2009), Analytic Autoethnography (ANDERSON, 2006) and Case Studies. Both processes have been described and then analyzed. Rehearsals recordings, my memory as participant researcher and interviews with my colleagues were the main resources used in the analysis. In conclusion, I observed that the score was considered a starting point, texts around which were created text fields through interaction and group work, confirming that the work of musicians (performers and composer) is best understood as creation and interpretation cycles, as proposed in The Field of the Musical Work.