Thesis advisor: Roberto S. Goizueta / Thesis advisor: Orfilio Valiente / Thesis (STL) — Boston College, 2017. / Submitted to: Boston College. School of Theology and Ministry. / Discipline: Sacred Theology.

La thèse comporte deux parties : I - Le commentaire sur le traité italien de danse de la Renaissance Il ballarino de Fabritio Caroso. Il est suivi d'un apparat critique. II - La traduction en langue française de l'ouvrage et la transcription musicale en édition moderne des quatre-vingt une tablatures de luth jointes aux chorégraphies. Le commentaire indique les sources françaises de l’œuvre ainsi que quelques sources en Europe, puis examine les deux parties du traité de danse. La première partie intitulée Primo trattato donne les règles expliquant les pas. La deuxième partie, intitulée Secondo trattato contient les poésies, les chorégraphies et la musique des danses en tablature italienne de luth. La dédicataire principale du livre, Bianca Cappello, ainsi que les autres dédicataires des chorégraphies, est présentée en relation avec le mécénat féminin. La vie de Caroso a été l'objet de recherches sur la place de la danse dans les cours italiennes de la Renaissance et sur le statut du maître à danser. Le commentaire retranscrit les documents historiques italiens concernant la vie du maître à danser. La thèse situe Caroso dans l'histoire plus large de la danse noble depuis le Moyen Âge et étudie ensuite les trois éléments constitutifs du traité : poésie, musique, chorégraphie. Une comparaison est établie entre les deux traités de danse de Caroso : Il ballarino (1581) et Nobiltà di dame (1600), écrit presque vingt ans plus tard. Les critères de traduction et de transcription musicale sont ensuite expliqués. Les Annexes comportent des documents d'Archives italiennes, des documents musicaux et iconographiques. III - La traduction du Ballarino se présente dans l'ordre établi par Caroso et accompagnée des gravures originales. / There are two parts to the thesis : I - The commentary on the Italian treatise of Renaissance Court dances on Renaissance Il ballerino of Fabritio Caroso. It is followed by critical notes. II - The translation of the work into French and the musical transcription into modern edition of the eighty one lute tablatures linked to the choreographies. The commentary indicates the primary French sources of the work and some other European sources, then examines the two parts of the treatise. The first one, entitled Primo trattato, gives the rules with the explanation of the steps. The second one, entitled Secondo trattato, contains the poetry, the choreographies and the lute music of the dances in Italian tablature. The main dedicatee of the treatise's Bianca Cappello, and the other dedicatees are presented in relation with the feminine patronage. The study of Caroso's life has led to research about the role go dance in the Italian courts of the Renaissance and the status of the dance-master. The commentary includes Italian historical documents about the dance-master's life. The thesis places Caroso in the wider history of court dance in Italy since the Middle Ages. It then studies the three constituent elements of the work : poetry, music, choreography. It also provides a comparison between the two dance treatise by Caroso : Il ballerino (1581) and Nobility of the ladies (1600), written nearly twenty years later. The criterions of the translation and musical edition are explained. The appendix contains Italian archive documents, musical and iconographic documents. III - The translation of Il ballerina follows the order set by Caroso. The original engravings are included into the translation.

No description available.

John Harbison's Olympic Dances was composed in 1996 and premiered in February 1997. The work was written as a piano score before it was orchestrated for a wind ensemble of 25 winds and two percussionists.The first section of the paper focuses on the various influences that have affected Harbison's compositional style. The composer's educational background includes several prominent teachers whose instruction had great impressions. Special emphasis is placed on those characteristics of Harbison's style that are most prominent in the work with which this paper is concerned, Olympic Dances. Olympic Dances was commissioned by the College Band Directors National Association and premiered at the CBDNA Twenty-ninth National Conference in Athens, Georgia, in a collaborative performance of the University of North Texas Wind Symphony and Pilobolus Dance Theatre. The second part of the paper presents an historical overview of CBDNA commissioning projects along with a summary of the genesis of the commissioning of Olympic Dances. The primary focus of the study appears in the third section of the paper. An analysis of the four movements of Olympic Dances is presented with attention to the objective elements of harmonic and melodic structures along with a focus on orchestration and scoring. This section considers the composer's thoughts on aesthetic concerns, suggested through his written program notes, and elucidated by way of an interview with the author. Special performance concerns related to rehearsal and conducting conclude this chapter. The paper also includes a transcription of the author's interview with John Harbison, a bibliography and a select discography of recent recordings of his works that are currently available.

Orientador: Gisele Maria Schwartz / Banca: Carmem Maria Aguiar / Banca: Yara Aparecida Couto / Resumo: Esse estudo teve como objetivo identificar quais as matrizes presentes nas danças indígenas que aparecem nas danças circulares na contemporaneidade. Trata-se de um estudo de natureza qualitativa, envolvendo uma pesquisa exploratória, desenvolvida por meio de entrevista estruturada, aplicada a uma amostra intencional constituída por 13 sujeitos adultos, de ambos os sexos, com faixas etárias variadas, integrantes da Aldeia do Aguapeú, os quais encontravam-se diretamente envolvidos com os rituais de danças indígenas na população Guarani M'Bya, Município de Mongaguá, SP. Os dados foram analisados descritivamente, utilizando-se a Técnica de Análise de Conteúdo Temático. Os resultados indicam que os Cantos e as danças sagradas são considerados comuns a todas as cerimônias celebrativas indígenas, independente de datas especiais. Os rituais das danças, quando vivenciadas na opy, são como forma de conexão com os Deuses e, do lado de fora da opy, têm o intuito de reunir a comunidade para vivenciar a diversão. Isso demonstra que essas danças inserem-se, tanto nos contextos do sagrado, como no profano, evidenciado no campo do lazer. As danças executadas na comunidade foram: dança Xondaro e dança de Terreiro vivenciadas em círculo. A dança Xondaro é praticada apenas pelo sexo masculino, num contexto de luta semelhante ao da capoeira, com treinamento específico, cujo objetivo é os indígenas permanecerem mais fortes, tanto fisicamente como espiritualmente, além de protegerem a si próprios e à opy. A dança do Terreiro, em círculo, é praticada anteriormente a qualquer apresentação na opy, durante todas às noites, conduzida pelo Pajé, na forma de oração a Nhanderú. As danças indígenas praticadas em circulo preservam importantes experiências com relação aos aspectos simbólicos, bem como, a expressão do sagrado, aspectos que também são identificados... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: This study aimed to identifying which of the present matrices in the indian dances that appear in the contemporary circle dances. This qualitative study involved an exploratory research developed through a structured interview, applied to an intentional sample consisted of 13 adult of both sexes, different age groups, members of the Aldeia do Aguapeú, which were directly involved with the rituals of Indian dances in the Guarani population M'Bya, Mongaguá, SP. Data were descriptively analyzed, using Thematic Content Analysis Technique. The results indicate that the songs and sacred dances are considered common to all the commemorative ceremonies, regardless specific dates. The ritual dances, when experienced in opy represent a way of connecting with the Gods and, outside of opy they promote gathering of the community to pleasant experiences. This demonstrates that these dances fall in both contexts the sacred and the profane, evidenced in the field of leisure. The dances which were performed in the community were Xondaro dance and Terreiro dance, both danced in a circle. The Xondaro dance is practiced only by males, in a context of struggle similar to Capoeira, with specific training, whose purpose is that the Indians becoming stronger, both physically and spiritually, and protect themselves and opy. The Terreiro dance was practiced in a circle prior to any presentation at opy during every evening, led by the Shaman in the form of prayer to Nhanderu. The Indian dances practiced in a circle preserve important experiences regording the symbolical aspects, like the sacred expression, aspects that are identifieds in the circle dances. Therefore, it was evident that those dances preserve some characteristics of the Indian dances, considering that the circular of those dances is associated with a ritualization / Mestre

Made available in DSpace on 2014-06-11T19:27:59Z (GMT). No. of bitstreams: 0 Previous issue date: 2010-10-18Bitstream added on 2014-06-13T20:36:43Z : No. of bitstreams: 1 catib_nom_me_rcla.pdf: 3876729 bytes, checksum: b170b0042d6eb2069f4d0b4b5c0e0375 (MD5) / Esse estudo teve como objetivo identificar quais as matrizes presentes nas danças indígenas que aparecem nas danças circulares na contemporaneidade. Trata-se de um estudo de natureza qualitativa, envolvendo uma pesquisa exploratória, desenvolvida por meio de entrevista estruturada, aplicada a uma amostra intencional constituída por 13 sujeitos adultos, de ambos os sexos, com faixas etárias variadas, integrantes da Aldeia do Aguapeú, os quais encontravam-se diretamente envolvidos com os rituais de danças indígenas na população Guarani M’Bya, Município de Mongaguá, SP. Os dados foram analisados descritivamente, utilizando-se a Técnica de Análise de Conteúdo Temático. Os resultados indicam que os Cantos e as danças sagradas são considerados comuns a todas as cerimônias celebrativas indígenas, independente de datas especiais. Os rituais das danças, quando vivenciadas na opy, são como forma de conexão com os Deuses e, do lado de fora da opy, têm o intuito de reunir a comunidade para vivenciar a diversão. Isso demonstra que essas danças inserem-se, tanto nos contextos do sagrado, como no profano, evidenciado no campo do lazer. As danças executadas na comunidade foram: dança Xondaro e dança de Terreiro vivenciadas em círculo. A dança Xondaro é praticada apenas pelo sexo masculino, num contexto de luta semelhante ao da capoeira, com treinamento específico, cujo objetivo é os indígenas permanecerem mais fortes, tanto fisicamente como espiritualmente, além de protegerem a si próprios e à opy. A dança do Terreiro, em círculo, é praticada anteriormente a qualquer apresentação na opy, durante todas às noites, conduzida pelo Pajé, na forma de oração a Nhanderú. As danças indígenas praticadas em circulo preservam importantes experiências com relação aos aspectos simbólicos, bem como, a expressão do sagrado, aspectos que também são identificados... / This study aimed to identifying which of the present matrices in the indian dances that appear in the contemporary circle dances. This qualitative study involved an exploratory research developed through a structured interview, applied to an intentional sample consisted of 13 adult of both sexes, different age groups, members of the Aldeia do Aguapeú, which were directly involved with the rituals of Indian dances in the Guarani population M'Bya, Mongaguá, SP. Data were descriptively analyzed, using Thematic Content Analysis Technique. The results indicate that the songs and sacred dances are considered common to all the commemorative ceremonies, regardless specific dates. The ritual dances, when experienced in opy represent a way of connecting with the Gods and, outside of opy they promote gathering of the community to pleasant experiences. This demonstrates that these dances fall in both contexts the sacred and the profane, evidenced in the field of leisure. The dances which were performed in the community were Xondaro dance and Terreiro dance, both danced in a circle. The Xondaro dance is practiced only by males, in a context of struggle similar to Capoeira, with specific training, whose purpose is that the Indians becoming stronger, both physically and spiritually, and protect themselves and opy. The Terreiro dance was practiced in a circle prior to any presentation at opy during every evening, led by the Shaman in the form of prayer to Nhanderu. The Indian dances practiced in a circle preserve important experiences regording the symbolical aspects, like the sacred expression, aspects that are identifieds in the circle dances. Therefore, it was evident that those dances preserve some characteristics of the Indian dances, considering that the circular of those dances is associated with a ritualization

The purpose of the study is to present a formal analysis of the musical style and performance issues of the original version, for four hands piano, of Gazebo Dances, composed by John Coriglaino (b. 1938), a major American contemporary composer. Corigliano and his compositions have been performed by many performers and scholars over the several years. Gazebo Dances for piano four hands was composed in 1972. Gazebo Dances consists of four movements and was dedicated to his close friends: a dancelike overture movement in a slightly rondo form which is dedicated to Rose Corigliano and Etta Feinberg, waltz movement in a combination of rondo and sonata-allegro form which is dedicated to John Ardoin, adagio movement in a miniature sonata form which is dedicated to Heida Hermanns, and a tarantella movement in a modified rondo form which is dedicated to Jack Romann and Christian Steiner.

abstract: Para Mi Alma is a composition for chamber wind ensemble comprised of an Introduction, two dance movements, and a concluding movement featuring the full ensemble in a chorale-like finale. This piece follows the narrative of an abusive relationship, and the emotional rollercoaster that one experiences during the self extrication and consequential rebirth of identity. Para Mi Alma (For My Soul) is scored for chamber wind ensemble with the following instrumentation: piccolo/flute, Bb clarinet, bass clarinet, bassoon; soprano, tenor, and baritone saxophone; trumpet, trumpet/flugelhorn, horn in F, tenor and bass trombone; double bass, and three percussionists - marimba/congas, auxiliary percussion (wind chimes, suspended cymbal, triangle, bass drum, snare drum, double cowbell, tam-tam), and timpani/timbales. The duration of this work is approximately 11’00”. Each movement portrays a stage in the relationship, and the mental state of the person experiencing abuse. The Introduction begins with a piccolo solo and marimba accompaniment, and gradually builds to the full ensemble; this section of music illustrates the moment that relational ties to the transgressor are cut — a split second of clarity and space before the spiral of anxiety and overwhelming thoughts of self deprecation invade. Movement I is a salsa, representing the dance of two people entering into a relationship. The meter changes and hemiolas serve to upset the underlying groove and create rhythmic tension, while the surface of the music appears unscathed. Finally the dance is interrupted by an aggressive bass solo, which initiates the transition to Movement II. This transition serves to remind the listener of the Introduction, and the dissolution of the relationship; it is characterized by chaos and confused clusters of melodic lines and dissonant harmonies. Movement II is a tango, representative of the emotional extremes of heartbreak, anger, confusion, and shame. The conclusion of the Tango directly segues into Movement III, which features a short brass chorale before building to include the full ensemble. Movement III portrays the support system of family and friends, and personifies the collective effort that takes place in healing and growth. / Dissertation/Thesis / Masters Thesis Music 2019

Resumo: A presente pesquisa centrou-se na busca dos motivos que levam os idosos da cidade de Presidente Prudente - SP (especificamente os bailes do Clube da Terceira Idade Dona Dalila), a terem a dança de salão como atividade de lazer preferida. A relevância deste estudo ressalta à medida que, com profundidade, tópicos importantes para a sociedade, através dos programas de lazer para a terceira idade, evidenciam a preocupação com a qualidade de vida e bem estar do idoso; chama a atenção para a necessidade de informações à respeito do processo de envelhecimento e de lazer do idoso para a sociedade. Percebeu-se, pelo depoimento de 100 idosos, freqüentadores e organizadores dos bailes, que a preferência pela dança se dá, simplesmente, pela emoção do contato físico e social que ela proporciona, pois se sabe que a dança permite a integração, a encenação da fantasia e a manifestação do desejo de liberdade, reconhecida pelo senso comum sob a denominação de desejo de prazer. Socialmente, a prática da dança de salão (bailes), nestes programas de lazer do idoso, reincide-o à sociedade. Ele integra-se a outras pessoas, une-se em associações e grupos de convivência. Possibilita a discussão de seus problemas em conjunto, a organizarem-se para lutar por seus direitos e por melhores condições de vida. Além do que, quando participam dos bailes estão sempre em grupos, o que os motiva a continuarem ativos. As características do processo de envelhecimento, os esteriótipos sociais, a construção contínua da identidade, a necessidade de motivação para uma auto-imagem positiva, a importância dos programas de lazer, e, principalmente, a dança de salão, são pontos abordados na revisão da literatura e presentes nos resultados dos depoimentos dos sujeitos. Cada um destes aspectos integra o indivíduo, caracterizando e refletindo no seu movimento (a dança), e na sua conseqüente percepção de movimento e de vida. / Abstract: The present research was centered in the search reasons that take the seniors of the city of Presidente Prudente - SP (specifically the dances of the Third Age Club Dona Dalila), to have the saloon dance as their favorite leisure activity. The relevance of this study stands out as, in depth, important topics for the society, through the leisure programs for the third age, make evident the concern with the life quality and welfare of the senior; it calls attention for the need of information the regarding the aging process and of the senior's leisure for the society. It was noticed, through interviewing one hundred seniors, visitors and organizers of the dances, that the preference for the dance feels, simply, for the emotion of the physical and social contact that it provides, for it is known that the dance allows the integration, the staging of the fantasy and the manifestation of the desire of freedom, recognized by the common sense under the denomination of pleasure desire. Socially, the practice of the saloon dance (dances), in these programs of the senior's leisure, relapses him or her to the society. They integrate to other people, join in associations and coexistence groups. It makes possible the discussion of their problems together, to organize and to struggle for their rights and better life conditions. In addition, when they participate in the dances, they are always in groups, which motivates them continue their assets. The characteristics of the aging process, the social stereotypes, the continuous construction of the identity, the motivation needed for a positive self-image, the importance of the leisure program, and, mainly, the saloon dance, are topics approached in the revision of the literature and presented in the results of the interviews of the subjects. Each one of these aspects integrate the individual, characterizing and contemplating in their movement (the dance), and in their consequent movement perception. / Orientador: José Sterza Justo / Coorientador: Helena Faria de Barros / Banca: Edna Julia Scombatti Martins / Banca: Sônia Aparecida Moreira França / Mestre

Made available in DSpace on 2014-06-11T19:29:04Z (GMT). No. of bitstreams: 0 Previous issue date: 2002Bitstream added on 2014-06-13T19:17:12Z : No. of bitstreams: 1 maluf_am_me_assis.pdf: 435247 bytes, checksum: 8b83b129bdd4cab68f158fcba603fe1a (MD5) / A presente pesquisa centrou-se na busca dos motivos que levam os idosos da cidade de Presidente Prudente - SP (especificamente os bailes do Clube da Terceira Idade Dona Dalila), a terem a dança de salão como atividade de lazer preferida. A relevância deste estudo ressalta à medida que, com profundidade, tópicos importantes para a sociedade, através dos programas de lazer para a terceira idade, evidenciam a preocupação com a qualidade de vida e bem estar do idoso; chama a atenção para a necessidade de informações à respeito do processo de envelhecimento e de lazer do idoso para a sociedade. Percebeu-se, pelo depoimento de 100 idosos, freqüentadores e organizadores dos bailes, que a preferência pela dança se dá, simplesmente, pela emoção do contato físico e social que ela proporciona, pois se sabe que a dança permite a integração, a encenação da fantasia e a manifestação do desejo de liberdade, reconhecida pelo senso comum sob a denominação de desejo de prazer. Socialmente, a prática da dança de salão (bailes), nestes programas de lazer do idoso, reincide-o à sociedade. Ele integra-se a outras pessoas, une-se em associações e grupos de convivência. Possibilita a discussão de seus problemas em conjunto, a organizarem-se para lutar por seus direitos e por melhores condições de vida. Além do que, quando participam dos bailes estão sempre em grupos, o que os motiva a continuarem ativos. As características do processo de envelhecimento, os esteriótipos sociais, a construção contínua da identidade, a necessidade de motivação para uma auto-imagem positiva, a importância dos programas de lazer, e, principalmente, a dança de salão, são pontos abordados na revisão da literatura e presentes nos resultados dos depoimentos dos sujeitos. Cada um destes aspectos integra o indivíduo, caracterizando e refletindo no seu movimento (a dança), e na sua conseqüente percepção de movimento e de vida. / The present research was centered in the search reasons that take the seniors of the city of Presidente Prudente - SP (specifically the dances of the Third Age Club Dona Dalila), to have the saloon dance as their favorite leisure activity. The relevance of this study stands out as, in depth, important topics for the society, through the leisure programs for the third age, make evident the concern with the life quality and welfare of the senior; it calls attention for the need of information the regarding the aging process and of the senior's leisure for the society. It was noticed, through interviewing one hundred seniors, visitors and organizers of the dances, that the preference for the dance feels, simply, for the emotion of the physical and social contact that it provides, for it is known that the dance allows the integration, the staging of the fantasy and the manifestation of the desire of freedom, recognized by the common sense under the denomination of pleasure desire. Socially, the practice of the saloon dance (dances), in these programs of the senior's leisure, relapses him or her to the society. They integrate to other people, join in associations and coexistence groups. It makes possible the discussion of their problems together, to organize and to struggle for their rights and better life conditions. In addition, when they participate in the dances, they are always in groups, which motivates them continue their assets. The characteristics of the aging process, the social stereotypes, the continuous construction of the identity, the motivation needed for a positive self-image, the importance of the leisure program, and, mainly, the saloon dance, are topics approached in the revision of the literature and presented in the results of the interviews of the subjects. Each one of these aspects integrate the individual, characterizing and contemplating in their movement (the dance), and in their consequent movement perception.