Orientador: Fernando Augusto de Almeida Hashimoto / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-23T09:39:36Z (GMT). No. of bitstreams: 1 Dias_GuilhermeMarques_M.pdf: 4224662 bytes, checksum: 281e052081c6a7efe47394ae75da899b (MD5) Previous issue date: 2013 / Resumo: A presente dissertação investiga a atuação do músico Airto Moreira tendo como enfoque sua performance como baterista, observada num período específico de sua carreira, que vai de 1964 até 1975. São discutidos cinco procedimentos musicais adotados pelo músico de forma recorrente, que são tomados como aspectos distintivos em sua prática, e, portanto vistos como traços característicos de seu estilo. O cruzamento de dados provenientes de transcrições e análises musicais com dados oriundos da história oral compõe a base para esta discussão, cujo objetivo é responder a hipótese central deste trabalho que considera Airto Moreira o principal ponto de contato entre duas importantes gerações de bateristas brasileiros / Abstract: The present dissertation investigates the role of Airto Moreira as drummer, and it is focused on a specific period of his career between 1964 and 1975. Five musical procedures are discussed and taken as distinctive aspects in his playing and therefore seen as specific traits of his style. The musical discussion is placed in perspective by crossing data of transcripts and musical analyzes with information from oral history. This combination of data seeks to answer the hypothesis that considers Airto Moreira the principal link between two major generations of Brazilian drummers / Mestrado / Praticas Interpretativas / Mestra em Música

Orientador: Fernando Augusto de Almeida Hashimoto / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-26T13:09:49Z (GMT). No. of bitstreams: 1 Cunha_HelioAlexandrinoPacheco_M.pdf: 31557883 bytes, checksum: ef51be576b219e2cfcfa18422b33177a (MD5) Previous issue date: 2014 / Resumo: Este trabalho parte da compreensão inicial de que o estudo da caixa é um fundamento da bateria. Dessa forma, propõe o estudo do ritmo e da interpretação do samba a partir de estudos e peças de caixa. O trabalho composicional é orientado por conceitos já desenvolvidos pela musicologia sobre a performance do samba em diálogo com os dados levantados pelo autor através das entrevistas aos sambistas cariocas, das transcrições e das experiências musicais vivenciadas pelo próprio pesquisador durante o processo de pesquisa. Ao final do trabalho os estudos e as peças relacionadas têm como principal objetivo explorar a forma de desenvolvimento fraseológico, de "manulação" dos toques e de exploração dos timbres da caixa a partir dos aspectos idiomáticos dos instrumentos de percussão característicos do samba / Abstract: This work starts from the initial understanding that the study of the snare drum is the foundation of the drum study. Thus, we propose the study of the rhythm and interpretation of samba by studies and pieces of snare drum. The compositional work is guided by concepts already developed by musicology on the performance of samba in dialogue with the data gathered by the author through interviews with carioca samba players, the transcriptions and the musical pratice experienced by the researcher during the research process. At the end of the work, studies and related pieces has as the main goals to explore the development of the phrasing, the sticking and the exploration of tones on the snare drum based on the idiomatic aspects of the samba characteristic instruments of percussion / Mestrado / Praticas Interpretativas / Mestre em Música

I denna studie har jag undersökt hur min övning på trumset och slagverk ser ut inför spel med RI-ensemble och slagverksensemble. Studien har utgått från ett designteoretiskt perspektiv och forskningsfrågorna: 1) Hur designar jag mitt övande till respektive ensemble? 2) Vilka semiotiska resurser används och hur används de? Under studien har jag samlat in data genom att filma några övningspass och skrivit loggbok. Därefter har jag analyserat min data utifrån en tematisk analys för att lyfta fram hur de semiotiska resurserna används, vilka mönster som finns i min planering och hur jag använder olika övningsmetoder och strategier. Detta för att få en så klar bild som möjligt över hur mina övningspass ser ut. Resultatet visar mitt genomförande av övningspassen och lyfter också fram olika metoder och strategier jag använt, till exempel långsamt övande, överdrivna rörelser och att upprepa de rätta rörelsemönstren. Studien presenterar också litteratur och forskning som är relevant för ämnena övning, trumset och slagverk. I slutet av studien förs en diskussion kring mitt resultat i förhållande till denna litteratur och designteorin. / In this study I have explored how my practice on drum set and percussion looks like before playing with a RI-ensemble and a percussion ensemble. The study has been based on a design theoretical perspective and the following research questions: 1) How do I design my practice to each ensemble? 2) Which semiotic resources are used and how? During the study I´ve been gathering data by filming some of my practice sessions and writing a logbook. I have then analyzed my data based on a thematic analysis to highlight how the semiotic resources are used, what patterns are shown in my planning and how I use different types of methods- and strategies in my practice. This is done to get a clear understanding on how my practice sessions looks like. The result shows my execution of the practice session and also highlights different methods and strategies I used, for example I used slow practicing, excessive movements and repeating the correct movements. The study also presents literature and research that is relevant for the subjects of practice, drum set and percussion. At the end of the study, there is a discussion about my result compared to the presented literature and the design theory.

Syftet med denna uppsats är att belysa i vilken mån trumsetslärares tendenser att främja notläsningsbaserade verksamheter kontra gehörsspelsbaserade dito, samt det sätt som dessa olika moment utförs på, är ett resultat av hur de själva blivit undervisade. Tidigare forskning på bland annat spegelneuroner ger vid handen att olika handlingsprogram lärs in omedvetet hos en person vid kontakten med andra människor, för att vid ett senare tillfälle kunna manifesteras i handlingar likartade den som personen iakttagit. Uppsatsen bygger på kvalitativa intervjuer med fyra trumsetslärare från kulturskolor i Storstockholmsområdet. Resultatet visar att respondenterna med viss variation visar relativt stora likheter med sina respektivelärare särskilt med avseende på proportionerna i vilka de använder notspel respektive gehörsspel. Flera av respondenterna utför vidare undervisningsmoment på ett sätt som nästan är identiskt med hur de utförde det som elever. I de fall då respondenterna avviker från sin lärares didaktiska stil, har de snarast lagt till olika moment i undervisningen som inte förekom under deras elevtid.

Orientador: Fernando Augusto de Almeida Hashimoto / Anexo I. Áudios originais dos trechos transcritos: CD 1 e CD 2 - Anexo II. Áudios originais na íntegra: CD1 e CD 2 - Bill Stewart, CD 3 - Max Roach, CD 4 - Elvin Jones, CD 5 - Tony Williams, CD 6 Roy Haynes - Anexo III. Material complementoar em vídeo - reprodução das frases vocabulário musical de Bill Stewart pelo autor: DVD 1, DVD 2 e DVD 3 - Anexo IV. Gravação do Recital de Mestrado: DVD 4 / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-23T09:52:05Z (GMT). No. of bitstreams: 1 Goncalves_RaphaelMarcondesdaSilva_M.pdf: 4737749 bytes, checksum: 60f9779e58eb20d9f3e6eab401b1dd9a (MD5) Previous issue date: 2013 / Resumo: A presente dissertação tem como objetivo investigar a performance musical do baterista norte-americano Bill Stewart, detentor de uma maneira de tocar única e um dos músicos predominantes do jazz atualmente. Dando continuidade à pesquisa "A linguagem singular de Bill Stewart na bateria", que determinou alguns dos elementos definidores de sua performance no instrumento, o intuito desta dissertação é identificar se esses traços característicos possuem semelhança com a abordagem de outros bateristas, presentes nas décadas de 1950 e 1960, como Max Roach, Elvin Jones, Tony Williams e Roy Haynes. A metodologia deste trabalho consiste na delimitação do repertório, na transcrição de músicas selecionadas, e o posterior estudo comparativo. As entrevistas com Stewart serviram para cruzar informações e confirmar algumas das conclusões dessa análise. A pesquisa nos permitiu organizar um material comparativo, o qual coloca em discussão se as semelhanças encontradas entre a abordagem de Stewart e a dos bateristas de décadas anteriores a ele caracterizam-se como suas possíveis influências musicais no instrumento / Abstract: This dissertation has as goal to investigate the musical performance of the American drummer Bill Stewart, detainer of a peculiar way of playing and one of the predominant jazz musicians nowadays. Continuing the research "The peculiar language of Bill Stewart on drumset", which determinate some defining elements of his performance on the instrument, this dissertation aims to identify whether those characteristic traits are similar to the approach of other drummers, which acted in the decades of 1950 and 1960, such as Max Roach, Elvin Jones, Tony Williams and Roy Haynes. The methodology utilized in this research consists of definition of the repertory, transcription of selected works, and a further comparative study. The interviews with Stewart served to cross check the information and to confirm some of the outputs of this analysis. This study allowed us to organize a comparative material that discuss if the similarities founded between the Stewart's approach and the musical language of the drummers of the preceding decades to him could be considered as his musical influences on drumset / Mestrado / Praticas Interpretativas / Mestre em Música

Orientador: Fernando Augusto de Almeida Hashimoto / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-26T12:10:26Z (GMT). No. of bitstreams: 1 Bergamini_Fabio_M.pdf: 3108550 bytes, checksum: 7f54a497200ed7464a2556c96f6f4344 (MD5) Previous issue date: 2014 / Resumo: Este trabalho visa investigar a performance musical do músico Márcio Villa Bahia, focando o período de 1981 a 1993, quando este passou a integrar o grupo do músico Hermeto Pascoal. A partir das entrevistas, transcrições e análises de trechos dos cinco discos gravados nesse período, procuramos identificar as principais características e peculiaridades nas performances de Márcio Bahia dentro desse contexto. Durante esse período de doze anos, Márcio Bahia teve uma intensa convivência com Hermeto e seu grupo ¿ formado por Jovino Santos, Carlos Malta, Itiberê Zwarg e Pernambuco ¿ numa intensa "jornada" de experimentações, ensaios, shows e estudos musicais. Essa espécie de "laboratório" musical foi chamada por Hermeto e pelos próprios integrantes do grupo de "Escola do Jabour" / Abstract: This work aims to investigate the musical performance of the musician Márcio Bahia Villa, focusing on the period from 1981 to 1993 when he joined the ensemble of the musician Hermeto Pascoal. We tried to identify the main features and peculiarities in his performances within the group by interviews, analysis of transcripts and excerpts of the five albums recorded by the group during this period. Márcio Bahia had an intense relationship over twelve years with Hermeto and his group ¿ formed by Jovino Santos, Carlos Malta, Itiberê Zwarg and Pernambuco ¿ in an intense "journey" of trials, rehearsals, shows and musical studies. This kind of musical "laboratory" was called by Hermeto and by the members of the group "School of Jabour" / Mestrado / Praticas Interpretativas / Mestre em Música

Denna studie är gjord utifrån ett sociokulturellt perspektiv. Syftet med studien är att ta reda på vilka metoder jag tillämpar när jag instuderar trumkomp från en Youtubevideo samt undersöka om min övningsmotivation förändras, och i så fall hur, under denna process. Med videodokumentation och loggbok kom jag fram till att jag använde fills, munspelande, och Youtubevideons metoder för att appropriera trumkompen. Min övningsmotivation blev bättre när jag fick jag-kan-känsla, när jag var pigg, och hade tillräckligt svåra utmaningar. På ett analytiskt sätt, samt både självständigt och ibland med Youtubevideons instruktioner approprierade jag trumkompen olika mycket. / This study is done from a sociocultural perspective. A chapter with area orientation and previous research is also presented. The aim of the study is to find out which methods I apply when rehearsing drum beats from a Youtube video and to investigate whether my practice motivation changes, and if so how, during this process. With video- and logbook documentation, I came to the conclusion that I used fills, mouth-playing, and the Youtube video’s methods to appropriate the drum beats. My exercise motivation got better when I got the I-can-feeling, when I was energetic, and had challenges that were doable. In an analytical way, as well as both independently and sometimes with the Youtube video's instructions, I appropriated the drum beats to different extents.