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This thesis proposes a new concept of form for Boris Blacher's Divertimento for Woodwinds, Duet for Flute and Piano, and Quintet for Flute, Oboe, Violin, Viola, and Violoncello. In 1950, Blacher began to use systematically varying metric units to provide logic to the apparently arbitrary rhythm of modern music. This practice led the few scholars who have studied his compositions to concentrate on the mathematical organization of metrical units, underestimating other musical elements. This dissertation is based on the idea that it is not the mere disposition of meters, but mostly the interaction between them and other musical elements that makes the peculiar durational scheme audible, thus perceptually relevant. Following this, the technique of expansion and contraction that becomes evident in the organization of the meters is also present in the disposition of durations at other hierarchical levels and in the pitch structure. Furthermore, the mathematical metrical scheme is the foundation for a deeper universe of systematic organization. Blacher's techniques provide a unique sense of movement to his compositions, the aural effect of an "elastically developing music." In Duet and Quintet, this idea is also applied in simultaneity to the registral disposition of pitches and textural development, suggesting vertical elasticity. As a result, Blacher's late compositions suggest a replacement of the traditional concepts of form and texture with a new idea of constantly moving, elastic shape. The methodological approach of this thesis is exclusively analytical and technical, with emphasis on durational and pitch organization, form, texture, and the interaction among these aspects. The individual and comparative analysis of the three compositions reveals a consistent conception of the musical space that emphasizes its bi-dimensional quality. In the Divertimento, the unitary conception of the vertical and horizontal construction is mainly reflected in the bi-dimensional treatment of interval classes that provides coherence to the motivic structure. In Duet and Quintet, this mere idea of consistent organization of the musical materials in the horizontal and vertical dimensions of the total space becomes a unique principle of formal definition, the elastic development of the musical content itself.

Syftet med detta utvecklingsarbete är att utveckla gymnasieelevers samspel i ensembleundervisning. Eleverna som deltagit i detta arbete kommer från estetiska programmet på gymnasiet. De frågor jag sökt svar på handlar om hur duettspel kan utveckla gymnasieelevers kunskaper om musikaliska roller, samt ta reda på vilka analyser eleverna själva gör på sitt musicerande i detta sammanhang. De roller jag utgått ifrån handlar om vilken funktion en enskild elev fyller i en ensemble, såsom melodi, rytm eller harmonik. En melodi bär ofta ett budskap och framförs vanligtvis av till exempel en sångare, rytm av exempelvis en trummis eller slagverkare och harmonik exempelvis av en pianist som spelar ackord och därmed ger musiken ett musikaliskt sammanhang. I detta arbete kan däremot en sångare fokusera mer på harmonik, och exempelvis en trummis fokusera mer på melodi. Arbetet har genomförts inom ramen för elevernas ordinarie ensembleundervisning och har fokuserat på elevernas upplevelser av sin undervisning. Detta arbete är ett kvalitativt arbete, där data insamlats genom fältanteckningar som kompletterats med ”exit tickets” vid varje lektionstillfälle. Data har sedan analyserats fenomenografiskt, och analysen av data visar preliminärt på att arbeta med musikaliska roller i ensembleundervisning är relevant för elevernas utveckling. / The purpose with this development work is to develop the students’ teamwork as an ensemble. The questions I’ve been working with here has been about how duet ensembles can develop the students’ knowledge about musical roles, and what analysis the students make of their own music making in this ensemble. The musical roles I’ve based this work on comes from which function an individual student has in an ensemble, such as melody, rhythm, or harmony. A melody often carries a message and is normally presented by a singer for example, rhythm by a drummer or percussionist, and harmony for example by a pianist who plays chords and gives a musical background. In this work on the other hand, a singer could focus more on harmony, while for example a drummer might focus more on melody. This work has been a part of the students’ regular ensemble lessons and has focused on the students’ own interpretation of their experiences of their practice. This work is a qualitative study where data has been gathered through field notes supplemented with “exit tickets” at the end of each lesson. The data has been analysed using the phenomenorgaphic method and shows that working with musical roles in musical ensembles could be relevant for the students’ development.

Este estudo teve como objetivo central compreender os processos de socialização musical e profissional pelos quais as duplas sertanejas passaram para se constituírem como profissionais da música. A investigação buscou compreender: Por que essas pessoas quiseram cantar sertanejo? Como se formaram? E como atuaram/am? Que experiências com essa "música sertaneja", com o universo sertanejo, ou não, fizeram ou fazem com que esses cantores cantem dessa maneira hoje? Como essas experiências músico-profissionais podem ser compreendidas sob o ponto de vista da educação musical? Como desvendar as aprendizagens musicais e vocais que se dão nas experiências profissionais desses cantores? Dentro da abordagem qualitativa, a pesquisa adota como metodologia o estudo de caso, utilizando como técnica de coleta de dados a entrevista semiestruturada. Foram realizadas entrevistas com oito duplas sertanejas localizadas na região do Triângulo Mineiro/MG. Além disso, são considerados os documentos audiovisuais produzidos pelas e sobre as duplas sertanejas, disponíveis em redes sociais. A compreensão da socialização musical e profissionalização das duplas fundamenta-se nos conceitos de socialização primária (SETTON, 2008, BERGER; LUCKMAN, 1999), socialização profissional (DUBAR, 2005) e socialização musical (MÜLLER, 1992). As análises revelam que as aprendizagens musicais se dão de forma difusa, em diversas instâncias de socialização - família, amigos, mídias -, quando aprendem sem saber, de forma espontânea, ou sem terem a consciência de que se está aprendendo. A profissionalização se dá na socialização profissional, sobretudo quando passam a construir suas carreiras na profissão em música, e nos momentos de socialização músico-profissional - shows, gravações em estúdio, ensaios e no aprendizado do cantar em dupla. Compreender a socialização musical e a profissionalização de duplas sertanejas, além de contribuir para a área de educação musical, pode incentivar outras reflexões sobre as possibilidades do ensino/aprendizagem do canto popular e, também, sobre aprendizagens que se dão nas experiências e vivências com práticas musicais sertanejas. / The main objective of this study was to understand processes of musical and professional socialization through which singers who sing in duet “música sertaneja” came to constitute themselves as music professionals. The study aimed to understand: Why these people wanted to sing “música sertaneja”? How they formed? And how did they acted/act? What experiences with this "música sertaneja", with the sertanejo universe or not, have made or make these singers sing this way today? How these musician-professional experiences can be understood from the point of view of music education? How to uncover the musical and vocal learning that take place in professional experiences of these singers? Within the qualitative approach the research adopts as methodology the case study, using as data collection technique the semi-structured interview. Interviews were conducted with eight singers who sing in duet “música sertaneja” located in the region of Triangulo Mineiro/MG - Brazil.In addition, are considered the audiovisual documents produced by and about singers who sing in duetthat are available in social network.Understanding the musical socialization and professionalization of singers the singing in duet is based on concepts of primary socialization (SETTON, 2008, BERGER; LUCKMAN, 1999), professional socialization (DUBAR, 2005) and musical socialization (MÜLLER, 1992).Analysis reveals that musical learning takes place diffusely in different instances of socialization - family, friends, media - when they learn without knowing, spontaneously or without being aware that they are learning.Professionalization takes place in professional socialization when they begin to build their careers in music professions and also occurs in moments of music-professional socialization - shows, studio recordings, rehearsals and the learning of sing in duet. Understand the musical socialization and the professionalization of singers who sing in duet as well as contributing to the area of music education can encourage other reflections on the possibilities of teaching/learning of popular sing and also about learning that occur in the experiences and livingness with “sertanejo” musical practices.

The name “Berlin School” refers to the group of composers who worked in the orchestra of Frederick the Great in Berlin. The first musicians were engaged in 1732, and the group expanded rapidly to its full strength of about 42 after Frederick’s coronation in 1740. All of the most significant composers were engaged in the first 10 years. Most of these composers wrote music for the viola da gamba, an instrument which by 1740 was already becoming obsolete in most places. The gamba composers are C. P. E. Bach, F. Benda, C. H. Graun, J. G. Graun, J. G. Janitsch and C. Schaffrath. They were encouraged to write for the viola da gamba by the presence in the orchestra from 1741 of Ludwig Christian Hesse, one of the last great virtuosi of the viola da gamba. Hesse was taught by his father Ernst Christian Hesse, who studied the French style in Paris. Hesse junior brought the French style to Berlin, where the Berlin School composers produced a synthesis of French and Italian styles by applying French textural techniques, some of them specific to the viola da gamba, to Italian forms. This study shows how the unique situation which existed in Berlin produced the last major corpus of music written for the viola da gamba. This music was the result of close collaboration between Hesse and the Berlin School composers.

The name “Berlin School” refers to the group of composers who worked in the orchestra of Frederick the Great in Berlin. The first musicians were engaged in 1732, and the group expanded rapidly to its full strength of about 42 after Frederick’s coronation in 1740. All of the most significant composers were engaged in the first 10 years. Most of these composers wrote music for the viola da gamba, an instrument which by 1740 was already becoming obsolete in most places. The gamba composers are C. P. E. Bach, F. Benda, C. H. Graun, J. G. Graun, J. G. Janitsch and C. Schaffrath. They were encouraged to write for the viola da gamba by the presence in the orchestra from 1741 of Ludwig Christian Hesse, one of the last great virtuosi of the viola da gamba. Hesse was taught by his father Ernst Christian Hesse, who studied the French style in Paris. Hesse junior brought the French style to Berlin, where the Berlin School composers produced a synthesis of French and Italian styles by applying French textural techniques, some of them specific to the viola da gamba, to Italian forms. This study shows how the unique situation which existed in Berlin produced the last major corpus of music written for the viola da gamba. This music was the result of close collaboration between Hesse and the Berlin School composers.

Este estudo teve como objetivo central compreender os processos de socialização musical e profissional pelos quais as duplas sertanejas passaram para se constituírem como profissionais da música. A investigação buscou compreender: Por que essas pessoas quiseram cantar sertanejo? Como se formaram? E como atuaram/am? Que experiências com essa "música sertaneja", com o universo sertanejo, ou não, fizeram ou fazem com que esses cantores cantem dessa maneira hoje? Como essas experiências músico-profissionais podem ser compreendidas sob o ponto de vista da educação musical? Como desvendar as aprendizagens musicais e vocais que se dão nas experiências profissionais desses cantores? Dentro da abordagem qualitativa, a pesquisa adota como metodologia o estudo de caso, utilizando como técnica de coleta de dados a entrevista semiestruturada. Foram realizadas entrevistas com oito duplas sertanejas localizadas na região do Triângulo Mineiro/MG. Além disso, são considerados os documentos audiovisuais produzidos pelas e sobre as duplas sertanejas, disponíveis em redes sociais. A compreensão da socialização musical e profissionalização das duplas fundamenta-se nos conceitos de socialização primária (SETTON, 2008, BERGER; LUCKMAN, 1999), socialização profissional (DUBAR, 2005) e socialização musical (MÜLLER, 1992). As análises revelam que as aprendizagens musicais se dão de forma difusa, em diversas instâncias de socialização - família, amigos, mídias -, quando aprendem sem saber, de forma espontânea, ou sem terem a consciência de que se está aprendendo. A profissionalização se dá na socialização profissional, sobretudo quando passam a construir suas carreiras na profissão em música, e nos momentos de socialização músico-profissional - shows, gravações em estúdio, ensaios e no aprendizado do cantar em dupla. Compreender a socialização musical e a profissionalização de duplas sertanejas, além de contribuir para a área de educação musical, pode incentivar outras reflexões sobre as possibilidades do ensino/aprendizagem do canto popular e, também, sobre aprendizagens que se dão nas experiências e vivências com práticas musicais sertanejas. / The main objective of this study was to understand processes of musical and professional socialization through which singers who sing in duet “música sertaneja” came to constitute themselves as music professionals. The study aimed to understand: Why these people wanted to sing “música sertaneja”? How they formed? And how did they acted/act? What experiences with this "música sertaneja", with the sertanejo universe or not, have made or make these singers sing this way today? How these musician-professional experiences can be understood from the point of view of music education? How to uncover the musical and vocal learning that take place in professional experiences of these singers? Within the qualitative approach the research adopts as methodology the case study, using as data collection technique the semi-structured interview. Interviews were conducted with eight singers who sing in duet “música sertaneja” located in the region of Triangulo Mineiro/MG - Brazil.In addition, are considered the audiovisual documents produced by and about singers who sing in duetthat are available in social network.Understanding the musical socialization and professionalization of singers the singing in duet is based on concepts of primary socialization (SETTON, 2008, BERGER; LUCKMAN, 1999), professional socialization (DUBAR, 2005) and musical socialization (MÜLLER, 1992).Analysis reveals that musical learning takes place diffusely in different instances of socialization - family, friends, media - when they learn without knowing, spontaneously or without being aware that they are learning.Professionalization takes place in professional socialization when they begin to build their careers in music professions and also occurs in moments of music-professional socialization - shows, studio recordings, rehearsals and the learning of sing in duet. Understand the musical socialization and the professionalization of singers who sing in duet as well as contributing to the area of music education can encourage other reflections on the possibilities of teaching/learning of popular sing and also about learning that occur in the experiences and livingness with “sertanejo” musical practices.

Este estudo teve como objetivo central compreender os processos de socialização musical e profissional pelos quais as duplas sertanejas passaram para se constituírem como profissionais da música. A investigação buscou compreender: Por que essas pessoas quiseram cantar sertanejo? Como se formaram? E como atuaram/am? Que experiências com essa "música sertaneja", com o universo sertanejo, ou não, fizeram ou fazem com que esses cantores cantem dessa maneira hoje? Como essas experiências músico-profissionais podem ser compreendidas sob o ponto de vista da educação musical? Como desvendar as aprendizagens musicais e vocais que se dão nas experiências profissionais desses cantores? Dentro da abordagem qualitativa, a pesquisa adota como metodologia o estudo de caso, utilizando como técnica de coleta de dados a entrevista semiestruturada. Foram realizadas entrevistas com oito duplas sertanejas localizadas na região do Triângulo Mineiro/MG. Além disso, são considerados os documentos audiovisuais produzidos pelas e sobre as duplas sertanejas, disponíveis em redes sociais. A compreensão da socialização musical e profissionalização das duplas fundamenta-se nos conceitos de socialização primária (SETTON, 2008, BERGER; LUCKMAN, 1999), socialização profissional (DUBAR, 2005) e socialização musical (MÜLLER, 1992). As análises revelam que as aprendizagens musicais se dão de forma difusa, em diversas instâncias de socialização - família, amigos, mídias -, quando aprendem sem saber, de forma espontânea, ou sem terem a consciência de que se está aprendendo. A profissionalização se dá na socialização profissional, sobretudo quando passam a construir suas carreiras na profissão em música, e nos momentos de socialização músico-profissional - shows, gravações em estúdio, ensaios e no aprendizado do cantar em dupla. Compreender a socialização musical e a profissionalização de duplas sertanejas, além de contribuir para a área de educação musical, pode incentivar outras reflexões sobre as possibilidades do ensino/aprendizagem do canto popular e, também, sobre aprendizagens que se dão nas experiências e vivências com práticas musicais sertanejas. / The main objective of this study was to understand processes of musical and professional socialization through which singers who sing in duet “música sertaneja” came to constitute themselves as music professionals. The study aimed to understand: Why these people wanted to sing “música sertaneja”? How they formed? And how did they acted/act? What experiences with this "música sertaneja", with the sertanejo universe or not, have made or make these singers sing this way today? How these musician-professional experiences can be understood from the point of view of music education? How to uncover the musical and vocal learning that take place in professional experiences of these singers? Within the qualitative approach the research adopts as methodology the case study, using as data collection technique the semi-structured interview. Interviews were conducted with eight singers who sing in duet “música sertaneja” located in the region of Triangulo Mineiro/MG - Brazil.In addition, are considered the audiovisual documents produced by and about singers who sing in duetthat are available in social network.Understanding the musical socialization and professionalization of singers the singing in duet is based on concepts of primary socialization (SETTON, 2008, BERGER; LUCKMAN, 1999), professional socialization (DUBAR, 2005) and musical socialization (MÜLLER, 1992).Analysis reveals that musical learning takes place diffusely in different instances of socialization - family, friends, media - when they learn without knowing, spontaneously or without being aware that they are learning.Professionalization takes place in professional socialization when they begin to build their careers in music professions and also occurs in moments of music-professional socialization - shows, studio recordings, rehearsals and the learning of sing in duet. Understand the musical socialization and the professionalization of singers who sing in duet as well as contributing to the area of music education can encourage other reflections on the possibilities of teaching/learning of popular sing and also about learning that occur in the experiences and livingness with “sertanejo” musical practices.

Throughout centuries of great classical music, many viola compositions have been crafted from a wealth of literature for instruments of similar range. Clarinet, violin, and cello concerti and ensemble literature often adapt into challenging literature for the viola. In November 2009, Oxford Music Publishing gave me permission to transcribe and perform the Prelude, Allegro, and Pastorale by Rebecca Clarke in New York's famed Carnegie Hall - Weill Recital Hall. This dissertation explains the process by which I transcribed the Prelude, Allegro, and Pastorale from an original Bb-clarinet/viola duo, to a new arrangement for two violas (approved by Oxford Music Press arrangement license #7007940), and discusses challenges faced throughout the transcription process.

This document discusses the relationship between trumpet and percussion over the past centuries, the development of music for trumpet and percussion ensembles, trumpet and percussion in twentieth-century chamber music and the creation of music for trumpet and marimba. A listing of all known trumpet and percussion duos is included. An exploration of the development of the Wilder Duo and a listing of all known trumpet and marimba duos is also included. There are analyses of works by Gordon Stout, Paul Turok and Alec Wilder. These analyses examine sound, form, harmony, melody and rhythm for each piece. Musical illustrations are included. These analyses are divided into chapters. Each chapter begins with a short biography of each composer. A short description of each work is also given. Summaries are included at the end of each analytical chapter.