O debate humanista das práticas artísticas no Renascimento italiano fomentou especialmente no século XVI uma das mais complexas e profícuas elaborações textuais da produção tratadística da música. A contextualização teórica daquela prática musical bem como a investigação do papel dos seus artífices profissionais e diletantes, objetivos dessa pesquisa, pretende situar analiticamente a partir das publicações quinhentistas impressas em língua italiana e latina o exercício e a formação epistêmica do antigo músico. Fundamental ferramenta para a compreensão dos tratados tanto escritos por músicos profissionais quanto por diletantes cortesãos, a Retórica é chave de leitura do \"texto além do texto\" e conhecimento também comum àqueles autores que, apresentavam em suas publicações, além do domínio técnico esperado, extenso aparelho humanista. Ao confrontar as disciplinas e habilidades fomentadas pelo estudo da musica prattica italiana com a studia humanitatis comum a cortesãos e músicos durante o Renascimento, pretendemos demonstrar bibliograficamente o alto grau de importância dos conhecimentos extrínsecos à pura ação do instrumentista ou cantor, explicitando os elementos retóricos, poéticos e científicos contidos naquelas edições musicais italianas. Uma vez que o próprio entendimento de música e músico é complexamente diverso e amplo naquele contexto, é coerente recuperar tal horizonte de sentido - conceitos e ideias - através dos documentos musicais artísticos e inartísticos que expõem, além das sede argumentorum filosóficas, as emendas e os tópicos visitados e empreendidos na redação dos tratados. Literariamente, o tratadista humanista, também referido à época como perfetto musico, age como um gentil-homem que transita discursivamente entre os nobres cortesãos de seu tempo, elaborando e amplificando o discurso técnico com vistas ao decoro de seus leitores e ao fim do seu ofício. Por essa razão, é oportuno considerar as disciplinas práticas do exercício do músico no Renascimento como parte de uma complexa rede de conhecimentos, na qual é proeminente o discurso e suas poéticas, empreendendo a recuperação das preceptivas e do arrazoado quinhentista daquele exercício artístico. / The humanistic debate of artistic practices in the Italian Renaissance, especially in the sixteenth century, fostered one of the most complex and fruitful textual elaborations of music treatises. The theoretical contextualization of that musical practice, as well as an investigation on the role of their professional and dilettante musicians, which are the goals of this research, aim at analytically contextualizing the epistemic formation of Renaissance musicians based on 16th century publications printed in Italian and Latin. An essential tool for understanding the treatises in question, Rhetoric is the appropriate tool for reading the \"text beyond the text,\" in addition to being common knowledge to those authors who showed a broad humanistic baggage in their publications, as well the expected technical mastering. By paragoning disciplines and skills fostered by the study of Italian musica prattica and the studia humanitatis among courtiers and musicians in Renaissance, we intend to bibliographically point out the high degree of importance of extrinsic knowledge to the pure action of players or singers, explaining the rhetorical, poetic, and scientific elements contained in those Italian musical editions. Since the very understanding of music and musicians is intricately diverse and broad in that context, it is fair to recover that horizon of meaning--concepts and ideas--through artistic and non-artistic musical documents that outline, beyond the philosophical sedes argumentorum, amendments and topics dealt with in those treatises. Literarily speaking, the humanistic musician, also referred to, at the time, as a perfetto musico, acts as a gentilhuomo who moves, discursively speaking, amongst the nobles and courtiers of his time, developing and broadening technical discourse in view of the decorum of his readers and for the sake of his craft. Therefore, it is appropriate to consider the practical disciplines of Renaissance musicians\' exercise as part of a complex network of knowledge that highlights the poetic speech, recovering preceptives and 16th-century reasoning behind that artistic exercise.

Den här studien handlar om min upplevelse av att spela Johann Sebastian Bachs Chaconne med en barockstråke och med en modern stråke. Den handlar också om huruvida detta påverkar mitt val av hur jag väljer att spela stycket på i slutändan. På ett tidstroget sätt eller på ett modernt sätt. Mitt syfte är att undersöka om det är någon skillnad att spela ett stycke med en tidstrogen stråke samt med en modern stråke. Finns det några fördelar och nackdelar med samtliga och har någon utav dem bättre förutsättningar i valet av stycke som man ska spela. Arbetet har utförts i Kungliga Musikhögskolans lokaler och inspelningarna i min egen studio. Några av de resultat jag kommit fram till är att jag ännu inte har hittat endast ett sätt att spela chaconne på. Det beror helt från dag till dag och vilket humör jag är på. Det vill säga att jag väljer att spela på ett sätt som känns bäst i stunden. Jag har också upplevt att det känns bättre att spela med den barocka stråken när jag spelar på ett tidstroget sätt och vice versa.

O presente trabalho constitui a completa tradução em língua portuguesa do tratado italiano Il Transilvano de Girolamo Diruta publicado em Veneza, em dois volumes distintos, no ano de 1593 e 1609. Sob a forma retórica do Diálogo, esta obra versa sobre a maneira correta de tocar o órgão e outros antigos instrumentos de teclado e sobre os mais importantes assuntos da música italiana do século XVI. Objeto de interesse de músicos e cortesãos, Il Transilvano é ao mesmo tempo tratado de música dedicado ao ensino da arte do teclado aos nobres e também importante documento da escola tecladística veneziana, especialmente das preceptivas técnicas de Claudio Merulo, e da tradição polifônica de A. Willaert e G. Zarlino. Rico em exemplos da didática musical antiga, \"O Transilvano\" registra a formação do antigo músico e apresenta diversas peças do repertório quinhentista abordadas segundo as regras daquele período. A presente tradução é acompanhada de uma introdução sobre as suas tópicas fundamentais e pretende favorecer os estudiosos da música interessados naquela antiga. / This work constitutes the complete English translation of the Italian treatise \"Il Transilvano\" from Girolamo Diruta, published in Venice in two separate volumes, in 1593 and 1609. Rhetorically written in the form of the Dialogue, this historical work focuses on the true way to play the organ and others early Keyboard\'s instruments and on the most important issues of Italian music in the sixteenth century. Object of interest to musicians and courtiers, \"Il Transilvano\" is both Music Treatise dedicated to the art of the keyboard for the nobles but, also, important document of the Venetian music tradition, especially the precepts of Claudio Merulo, and the counterpoint from A. Willaert and G. Zarlino. Rich in examples of ancient musical didactic, The Transylvanian describes the formation of the old musician and has several of the sixteenth music\'s repertory analyzed under the rules of that period. This translation is accompanied by an introduction to their fundamental topics and aims to be useful for music scholars interested in early music.

O presente trabalho constitui a completa tradução em língua portuguesa do tratado italiano Il Transilvano de Girolamo Diruta publicado em Veneza, em dois volumes distintos, no ano de 1593 e 1609. Sob a forma retórica do Diálogo, esta obra versa sobre a maneira correta de tocar o órgão e outros antigos instrumentos de teclado e sobre os mais importantes assuntos da música italiana do século XVI. Objeto de interesse de músicos e cortesãos, Il Transilvano é ao mesmo tempo tratado de música dedicado ao ensino da arte do teclado aos nobres e também importante documento da escola tecladística veneziana, especialmente das preceptivas técnicas de Claudio Merulo, e da tradição polifônica de A. Willaert e G. Zarlino. Rico em exemplos da didática musical antiga, \"O Transilvano\" registra a formação do antigo músico e apresenta diversas peças do repertório quinhentista abordadas segundo as regras daquele período. A presente tradução é acompanhada de uma introdução sobre as suas tópicas fundamentais e pretende favorecer os estudiosos da música interessados naquela antiga. / This work constitutes the complete English translation of the Italian treatise \"Il Transilvano\" from Girolamo Diruta, published in Venice in two separate volumes, in 1593 and 1609. Rhetorically written in the form of the Dialogue, this historical work focuses on the true way to play the organ and others early Keyboard\'s instruments and on the most important issues of Italian music in the sixteenth century. Object of interest to musicians and courtiers, \"Il Transilvano\" is both Music Treatise dedicated to the art of the keyboard for the nobles but, also, important document of the Venetian music tradition, especially the precepts of Claudio Merulo, and the counterpoint from A. Willaert and G. Zarlino. Rich in examples of ancient musical didactic, The Transylvanian describes the formation of the old musician and has several of the sixteenth music\'s repertory analyzed under the rules of that period. This translation is accompanied by an introduction to their fundamental topics and aims to be useful for music scholars interested in early music.

Submitted by Luciana Ferreira (lucgeral@gmail.com) on 2017-05-11T11:56:20Z No. of bitstreams: 2 Dissertação - José Antônio Silva - 2017.pdf: 4687068 bytes, checksum: 9871bab3c008cee78c95ffc1b1897f85 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2017-05-11T11:57:03Z (GMT) No. of bitstreams: 2 Dissertação - José Antônio Silva - 2017.pdf: 4687068 bytes, checksum: 9871bab3c008cee78c95ffc1b1897f85 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2017-05-11T11:57:03Z (GMT). No. of bitstreams: 2 Dissertação - José Antônio Silva - 2017.pdf: 4687068 bytes, checksum: 9871bab3c008cee78c95ffc1b1897f85 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2017-03-30 / The beginning of the career represents an important step in the constitution of the teaching profession and the experiences lived in this period have a direct influence on the decision of the teacher to continue or not in the career. The moment that corresponds to the first professional years is also recognized for presenting very specific characteristics that will reflect on the identity of the teacher in the course of the profession, representing the transition stage from student to teacher. Due to these characteristics, this research aims to analyze the process of initiation to the teaching of the music teacher in basic education in public schools in the city of Goiânia-GO, seeking to know the main challenges and difficulties of these teachers at the beginning of their careers. The research approach is qualitative and the instruments for data collection were the form and the semi-structured interview. Ten teachers of Music were interviewed, five of them belonging to the professional staff of the State Department of Education, Culture and Sport of Goiás (SEDUCE) and five of the Municipal Secretary of Education and Sport of Goiânia (SME). Professional profile, reception conditions for early music teachers, the relationships that teachers weave between the knowledge acquired in the academic formation and the needs of the field of action, and how the early-career teacher deals with the challenges of Reality of the classroom. In order to know the policies of insertion and continuous training of the two departments of education, four coordinating teachers were interviewed - two from each Network. The results show that the process of initiation to the teaching of music teachers is a challenging period, sometimes tense and even traumatic, but also conducive to intense learning. Through the reflections made, it was possible to perceive that there are several factors that motivate or discourage teachers at the beginning and the continuity of the career. The analysis of the data made it possible to know the challenges and dilemmas faced by the music teacher at the beginning of his career and to understand the various factors that influence the way he is inserted and reacts in the school environment during this period. The challenges faced by the teachers present common aspects, such as: difficulties with indiscipline, choice of teaching contents, lack of teaching materials and musical instruments, with little appreciation of music as a discipline, among others. Among the factors that influence how to face the initial challenges of teaching with a greater or lesser degree of difficulty, include: the diversity of profiles, the environmental, contextual, formative, personal and subjective factors of each teacher. Teachers point out several positive aspects related to the subject - beginning of teaching - however, their lines also show that there is a shortage in the form of reception of the beginning teacher, that the continued formation of the music teacher is unsatisfactory to enable him to constitute his professionalism of Full form and that it is necessary to have an approximation between the theoretical propositions of the university disciplines with the context of the public school and extension of the teaching practice in the stage, enabling the professional future the ability to articulate the theoretical knowledge with the teaching practice. In addition, it is necessary to unite efforts among teachers, universities and teaching networks to enable the construction of an increasingly qualified teacher initiation process. / O início da carreira representa uma etapa importante na constituição da profissionalidade docente e as experiências vivenciadas nesse período têm influência direta sobre a decisão de o professor continuar ou não na carreira. O momento que corresponde aos primeiros anos profissionais também é reconhecido por apresentar características bastante específicas que irão repercutir na identidade do professor no decurso da profissão, representando a etapa de transição de estudante a docente. Em razão dessas características, essa pesquisa tem como objetivo compreender o processo de iniciação à docência do professor de música na educação básica em escolas públicas na cidade de Goiânia-GO, buscando conhecer os principais desafios e dificuldades desses professores em início de carreira. A abordagem da pesquisa é qualitativa e os instrumentos para coleta de dados foram o formulário e a entrevista semiestruturada. Foram entrevistados dez professores de Música, sendo cinco pertencentes ao quadro de profissionais da Secretaria de Estado de Educação, Cultura e Esporte de Goiás (SEDUCE) e cinco da Secretaria Municipal de Educação e Esporte de Goiânia (SME), a fim de se conhecer o perfil profissional, as condições de acolhimento aos professores de música em início de carreira, as relações que os professores tecem entre os saberes adquiridos na formação acadêmico-profissional e as necessidades do campo de atuação, e como o docente em início de carreira lida com os desafios da realidade da sala de aula. Para conhecer as políticas de inserção e de formação continuada das duas secretarias de educação, foram entrevistadas quatro professoras coordenadoras – duas de cada Rede. Os resultados mostram que o processo de iniciação à docência dos professores de música configura-se como um período desafiador, algumas vezes tenso e até traumático, mas também propício a intensas aprendizagens. Por meio das reflexões feitas, pôde-se perceber que existem diversos fatores que motivam ou desmotivam os professores no início e na continuidade da carreira. A análise dos dados possibilitou conhecer os desafios e dilemas enfrentados pelo professor de música em início da carreira e perceber os diversos fatores que influem na forma como ele se insere e reage no ambiente escolar nesse período. Os desafios enfrentados pelos professores apresentam aspectos comuns, como por exemplo: dificuldades com a indisciplina, com a escolha dos conteúdos de ensino, com a falta de materiais didáticos e instrumentos musicais, com a pouca valorização da música enquanto disciplina, entre outros. Entre os fatores que influenciam na maneira de encarar os desafios iniciais da docência com maior ou menor grau de dificuldade, incluem-se: a diversidade de perfis, os fatores ambientais, contextuais, formativos, pessoais e subjetivos de cada professor. Os professores apontam vários aspectos positivos relativos ao tema – início da docência - no entanto, suas falas deixam transparecer também que há carências na forma de acolhimento do professor iniciante, que a formação continuada do professor de música é insatisfatória para lhe possibilitar constituir sua profissionalidade de forma plena, que é preciso haver aproximação entre as proposições teóricas das disciplinas universitárias com o contexto da escola pública e ampliação da prática docente no estágio, possibilitando ao futuro profissional a capacidade de articular os conhecimentos teóricos com a prática docente. Ademais, percebe-se a necessidade de uma união de esforços entre – professores, universidade e redes de ensino - para que se possibilite a construção de um processo de iniciação docente cada vez mais qualificado.

O debate humanista das práticas artísticas no Renascimento italiano fomentou especialmente no século XVI uma das mais complexas e profícuas elaborações textuais da produção tratadística da música. A contextualização teórica daquela prática musical bem como a investigação do papel dos seus artífices profissionais e diletantes, objetivos dessa pesquisa, pretende situar analiticamente a partir das publicações quinhentistas impressas em língua italiana e latina o exercício e a formação epistêmica do antigo músico. Fundamental ferramenta para a compreensão dos tratados tanto escritos por músicos profissionais quanto por diletantes cortesãos, a Retórica é chave de leitura do \"texto além do texto\" e conhecimento também comum àqueles autores que, apresentavam em suas publicações, além do domínio técnico esperado, extenso aparelho humanista. Ao confrontar as disciplinas e habilidades fomentadas pelo estudo da musica prattica italiana com a studia humanitatis comum a cortesãos e músicos durante o Renascimento, pretendemos demonstrar bibliograficamente o alto grau de importância dos conhecimentos extrínsecos à pura ação do instrumentista ou cantor, explicitando os elementos retóricos, poéticos e científicos contidos naquelas edições musicais italianas. Uma vez que o próprio entendimento de música e músico é complexamente diverso e amplo naquele contexto, é coerente recuperar tal horizonte de sentido - conceitos e ideias - através dos documentos musicais artísticos e inartísticos que expõem, além das sede argumentorum filosóficas, as emendas e os tópicos visitados e empreendidos na redação dos tratados. Literariamente, o tratadista humanista, também referido à época como perfetto musico, age como um gentil-homem que transita discursivamente entre os nobres cortesãos de seu tempo, elaborando e amplificando o discurso técnico com vistas ao decoro de seus leitores e ao fim do seu ofício. Por essa razão, é oportuno considerar as disciplinas práticas do exercício do músico no Renascimento como parte de uma complexa rede de conhecimentos, na qual é proeminente o discurso e suas poéticas, empreendendo a recuperação das preceptivas e do arrazoado quinhentista daquele exercício artístico. / The humanistic debate of artistic practices in the Italian Renaissance, especially in the sixteenth century, fostered one of the most complex and fruitful textual elaborations of music treatises. The theoretical contextualization of that musical practice, as well as an investigation on the role of their professional and dilettante musicians, which are the goals of this research, aim at analytically contextualizing the epistemic formation of Renaissance musicians based on 16th century publications printed in Italian and Latin. An essential tool for understanding the treatises in question, Rhetoric is the appropriate tool for reading the \"text beyond the text,\" in addition to being common knowledge to those authors who showed a broad humanistic baggage in their publications, as well the expected technical mastering. By paragoning disciplines and skills fostered by the study of Italian musica prattica and the studia humanitatis among courtiers and musicians in Renaissance, we intend to bibliographically point out the high degree of importance of extrinsic knowledge to the pure action of players or singers, explaining the rhetorical, poetic, and scientific elements contained in those Italian musical editions. Since the very understanding of music and musicians is intricately diverse and broad in that context, it is fair to recover that horizon of meaning--concepts and ideas--through artistic and non-artistic musical documents that outline, beyond the philosophical sedes argumentorum, amendments and topics dealt with in those treatises. Literarily speaking, the humanistic musician, also referred to, at the time, as a perfetto musico, acts as a gentilhuomo who moves, discursively speaking, amongst the nobles and courtiers of his time, developing and broadening technical discourse in view of the decorum of his readers and for the sake of his craft. Therefore, it is appropriate to consider the practical disciplines of Renaissance musicians\' exercise as part of a complex network of knowledge that highlights the poetic speech, recovering preceptives and 16th-century reasoning behind that artistic exercise.

Before 1933, Erwin Bodky actively participated in musical life in Berlin. When he was a student, the Prussian Government had given him grants in 1920 and 1921 to study with the distinguished composers Richard Strauss and Ferruccio Busoni. His international performing career was launched when, at the last minute, Bodky was asked to replace a pianist for a performance with Wilhelm Furtwängler. When he became a professor at the Staatlich Akademie für Kirchen- und Schulmusik in Charlottenburg in 1926, he immersed himself in early music, performing on harpsichord and clavichord and founding his own collegium musicum. His publications, Der Vortrag alter Klaviermusik (Berlin: Hesse, 1932) and Das Charakterstück (Berlin: Vieweg, 1933), promised a future wealth of scholarship. However, in 1933, Bodky was expelled from his teaching position because he was a Jew. After officials came to seize part of his instrument collection, he and his family fled to Amsterdam, where they were in exile for five years. In 1938, he managed to escape Europe by securing a position at the Longy School of Music in Cambridge, Massachusetts. Bodky would become one of the most important proponents of early music in the United States. Over the last twenty years of his life, he promoted historical instruments, performance practice, and forgotten early music repertoire. His many accomplishments in the United States include the founding of the Music Department at Brandeis University and the Cambridge Society for Early Music, the introduction and promotion of the collegium musicum, and the publication of the treatise The Interpretation of Bach’s Keyboard Works (Cambridge, MA: Harvard University Press, 1960). This thesis provides the first detailed examination of his influence in the United States. His roles as performer, scholar, and teacher are each explored. Relying upon unpublished archival material, academic records, memoirs, and numerous concert programs in addition to Bodky’s published writings, this study reveals that Bodky had a significant impact on how early music was performed, taught, and received in the United States.

The seventeenth century in England produced a large and historically significant body of music for the viola da gamba played "lyra-way." Broadly defined, playing "lyra-way" on the viol meant playing from tablature notation in a polyphonic style. Most players of plucked strings such as lute and guitar are familiar with tablature and, as a result, have a decisive advantage when attempting to explore this music. Other factors that make lyra viol repertory potentially attractive to the modern guitarist are its chordal textures, similarities in physical properties of the instruments, and many points of connection regarding the principles of left hand technique. The purpose of this study is two-fold: 1) to illuminate the historical and cultural context of the seventeenth-century English lyra viol music in general and that of Tobias Hume (c. 1579-1645) in particular; and 2) to present an idiomatic transcription for the modern guitar of four representative pieces from Hume's 1605 collection Musicall Humours. Musicall Humours, published in London in 1605, is one of the first and most significant collections of music for the lyra viol. The collection is both ambitious and groundbreaking, being the largest repertory of solo music for the lyra viol by a single composer in the early seventeenth century. Since the modern guitar, although not as contrapuntally facile as the keyboard, is nevertheless capable of executing two- or three-voice polyphony, reconstruction of the polyphonic implications of solo lyra viol music becomes the first step in creating an idiomatic arrangement. The differences in acoustical properties and technical capabilities between the viol and the modern guitar have to be taken into consideration when deciding on the degree to which harmony must be filled in. Generally, thinner textures of the lyra viol music, when transferred directly to the guitar, tend to sound incomplete. The arranger's musical sensitivity and intimate familiarity with both instruments must guide the final stages of the transcription process.

[EN] The PhD thesis "INCIPIT: The search for a multidisciplinary language at the crossroads of Antiquity and Contemporaneity" focusses on the influence of the methodology of Historically Informed Performance practice on the creation of a Contemporary Music Theatre performance. The framework and creative basis for their connection is the Divina Commedia of Dante Alighieri (1265-1321). In music theatre it is not only about music as one of the scenic elements; musical thinking structures the entire theatrical process. It is a genre-between-genre, where various art disciplines interact. Historically Informed Performance practice is a characteristic musical approach of the Early Music movement. It includes study of historical documents and objects in order to obtain a more profound understanding of the music and a performance practice which is based upon this comprehension. In our thesis, Historically Informed Performance practice has been connected with Contemporary Music Theatre through a mise-en-scene of Dante's Commedia, principally based upon its sonorous non-musical and musical references. Also references of movement, gesture, colour and light were taken into account for the mise-en-scene, but always in relation to the sonorous references. In this way, the mise-en-scene is a sonorous journey through Dante's Afterworld as he might have imagined it, but also a contemporary visual and dramatical journey. This research has been done through artistic practice: the creation and performance of a contemporary music theatre work called Incipit. It is based upon thorough knowledge of the Commedia and, through its methodology of Historically Informed Performance Practice, it has mostly made used of 14th century musical sources. An audio file was created as a sonorous element for Incipit, based on previously existing sounds and recording of songs and texts.The performance was recorded in video format. The research question was: How do the work methods taken from Historically Informed Performance practice contribute to the creation of a contemporary music theatre performance in a mise-en-scene of the Divina Commedia? For this practice-based research not only historical-musical knowledge was necessary but also literary knowledge of Dante's Commedia and its underlying meanings. Theoretical knowledge thus was an important basis for the practice. However, the practice itself also provided information for the theory. For the composition of three-voice "simple polyphony" according to the rules for polyphonic improvisation around 1300, theoretical knowledge was essential, but their practice led to historical-musical insights of its performance and its rules for intervallic and rhythmic matters. The practice provided a new perspective on Dante's narrative from a sonorous point of view. Finally, the practice combined two disciplines, Early Music and Contemporary Music Theatre, which are not commonly combined, and it provides us new theoretical insights of creative processes and musical-theatrical languages. / [ES] La tesis doctoral "INCIPIT: La búsqueda de un lenguaje multidisciplinario en el punto de encuentro entre la antigüedad y contemporaneidad" trata sobre la influencia de la metodología de la práctica de interpretación históricamente informada en la creación de una puesta en escena de Teatro Musical Contemporáneo. El marco y la base creativa para su combinación es la Divina Comedia de Dante Alighieri (1265 - 1321). El teatro musical no se centra solamente en la música como uno de los elementos escénicos; el pensamiento musical estructura todo el proceso teatral. Es un género-entre-géneros donde interactúan varias disciplinas artísticas. La interpretación históricamente informada es una manera de abordar la música que caracterizan los intérpretes especializados en la Música Antigua. Incluye el estudio de documentos y objetos históricos con el fin de llegar a una comprensión más profunda de la música antigua y una práctica interpretativa que se basa en este entendimiento. En esta tesis, se ha relacionado la interpretación históricamente informada con el teatro musical contemporáneo a través de una puesta en escena de la Comedia de Dante basada principalmente en sus referencias sonoras, tanto musicales como no musicales. Además se tomaron en cuenta las referencias de movimiento, gesto, color y luz para la puesta en escena pero siempre en relación con las referencias sonoras. De esta forma, la puesta en escena se ha convertido en un viaje sonoro a través del Más Allá de Dante como él mismo podría haberlo imaginado, pero también siendo un viaje visualmente y dramáticamente de carácter contemporáneo. Esta investigación se ha realizado a través de la práctica artística: la creación e interpretación de una obra de teatro musical contemporáneo llamada Incipit. Se basa en un conocimiento profundo de la Comedia y, a través de la metodología de la práctica interpretativa históricamente informada, se ha hecho principalmente uso de fuentes musicales del siglo XIV. Un archivo de audio fue creado como elemento sonoro para Incipit, compuesto de sonidos previamente existentes y la grabación de cantos y textos. La actuación fue grabada en formato de vídeo. La pregunta de investigación fue: ¿Cómo contribuyen los métodos de trabajo tomados de la práctica interpretativa históricamente informada a la creación de una actuación de teatro musical contemporáneo en una puesta en escena de la Divina Comedia? Para esta investigación basada en la práctica, no sólo fue necesario el conocimiento histórico-musical, sino también el conocimiento literario de la Comedia de Dante y sus significados subyacentes. Por lo tanto el conocimiento teórico ha constituido una base importante para la práctica. Sin embargo, la práctica en sí también proporciona información para la teoría. En cuanto a la composición de "polifonía sencilla" a tres voces, de acuerdo con las reglas para la improvisación polifónica de principios del siglo XIV, ha sido esencial recurrir a un gran conocimiento teórico, pero su práctica interpretativa dio lugar a ideas histórico-musicales de su interpretación y sus normas acerca de cuestiones de intervalos y ritmos musicales. La práctica proporciona, desde un punto de vista sonoro, una nueva perspectiva de la narrativa de Dante. Por último, la interpretación junta dos disciplinas que no han sido combinadas frecuentemente: la Música Antigua y el Teatro Musical Contemporáneo, proporcionándonos nuevos conocimientos teóricos de los procesos creativos y los lenguajes musical-teatrales. / [CA] La tesi doctoral "INCIPIT: La recerca d'un llenguatge multidisciplinari en el punt de trobada entre l'antiguitat i contemporaneïtat" tracta sobre la influència de la metodologia de la pràctica d'interpretació històricament informada en la creació d'una posada en escena de Teatre Musical Contemporani. El marc i la base creativa per la seua combinació és la Divina Comèdia de Dante Alighieri (1265-1321). El teatre musical no se centra només en la música com un dels elements escènics; el pensament musical estructura tot el procés teatral. És un gènere-entre-gèneres on interactuen diverses disciplines artístiques. La interpretació històricament informada és una manera d'abordar la música que caracteritzen els intèrprets especialitzats en la Música Antiga. Inclou l'estudi de documents i objectes històrics per tal d'arribar a una comprensió més profunda de la música antiga i una pràctica interpretativa que es basa en aquest endement. En aquesta tesi, s'ha relacionat la interpretació històricament informada amb el teatre musical contemporani a través d'una posada en escena de la Comèdia de Dante basada principalment en les seues referències sonores, tant musicals com no musicals. A més es van prendre en compte les referències de moviment, gest, color i llum per a la posada en escena però sempre en relació amb les referències sonores. D'aquesta manera, la posada en escena s'ha convertit en un viatge sonor a través del Més Enllà de Dante com ell mateix podria haver-ho imaginat, però també sent un viatge visualment i dramàticament de caràcter contemporani. Aquesta investigació s'ha realitzat a través de la pràctica artística: la creació i interpretació d'una obra de teatre musical contemporani anomenada Incipit. Es basa en un coneixement profund de la Comèdia i, a través de la metodologia de la pràctica interpretativa històricament informada, s'ha fet principalment ús de fonts musicals del segle XIV. Un arxiu d'àudio va ser creat com a element sonor per a Incipit, compost de sons prèviament existents i de la gravació de cants i textos. L'actuació va ser gravada en format de vídeo. La pregunta d'investigació va ser: Com contribueixen els mètodes de treball presos de la pràctica interpretativa històricament informada a la creació d'una actuació de teatre musical contemporani en una posada en escena de la Divina Comèdia? Per a aquesta investigació basada en la pràctica, no només va ser necessari el coneixement històric-musical, sinó també el coneixement literari de la Comèdia de Dante i els seus significats subjacents. Per tant el coneixement teòric ha constituït una base important per a la pràctica. No obstant això, la pràctica en si també proporciona informació per a la teoria. Pel que fa a la composició de "polifonia senzilla" a tres veus, d'acord amb les regles per a la improvisació polifònica de principis del segle XIV, ha sigut essencial recórrer a un gran coneixement teòric, però la seua pràctica interpretativa va donar lloc a idees historicomusicals de la seua interpretació i les seues normes sobre qüestions d'intervals i ritmes musicals. La pràctica proporciona, des d'un punt de vista sonor, una nova perspectiva de la narrativa de Dante. Finalment, la interpretació junta dues disciplines que no han estat combinades freqüentment: la Música Antiga i el Teatre Musical Contemporani, proporcionant-nos nous coneixements teòrics dels processos creatius i els llenguatges musical-teatrals. / Sprenkeling, L. (2016). INCIPIT: The search for a multidisciplinary language at the crossroads of Antiquity and Contemporaneity [Tesis doctoral no publicada]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/62682

This study investigates the status of Historically Informed Performance Practice among the South African flute-playing fraternity. Consequently, grounds are established on which to claim a lack of the implementation of Historically Informed Performance Practice in South African flute pedagogy and playing. The main research question that underpins this study is: <ul> <li>Why is there a lack of integration of Historically Informed Performance Practice into the mainstream of current flute performance practice among South African flute pedagogues and players?</li></ul> This research question is addressed through three sub-questions: <ul> <li>Is there an awareness of Historically Informed Performance Practice in South Africa as outlined by performance and pedagogy internationally?</li> <li>How is Historically Informed Performance Practice incorporated into the South African flute examinations system? </li> <li>Does the knowledge of Historically Informed Performance Practice prepare one to be a balanced musician or flautist?</li> </ul> The findings that emerge from the investigation of the research questions are: <ul> <li>South African flute pedagogues fail to differentiate between Historically Informed Performance Practice and ‘authenticity’. This could be attributed to the fact that relatively little research and discourse into Historically Informed Performance Practice has been conducted by South African scholars and musicologists. </li> <li>While Historically Informed Performance Practice is thought to enhance students’ performances of Early Music, resulting in better-balanced musicians, it has not been significantly exploited by South African flute players.</li> <li>South African flute students are superficially aware of some elements of performance practice, but are generally not historically informed with regard to the performance of Early Music.</li> <li>There is no clear indication of Historically Informed Performance Practice being incorporated into the South African independent flute examination system.</li> <li>While there are numerous specialists in Early Music locally, flute pedagogues and players perceive them to be scarce, perhaps due to a lack of discernable demand for historically informed performances by South African audiences.</li> </ul> The research synthesises questionnaire and interview data from local flute pedagogues, Early Music specialists and both national and international flute students in an attempt to discover the reason for the lack of Historically Informed Performance Practice in South Africa. Additionally, a survey of websites detailing South African Early Music activity is performed using the Internet, in order to ascertain if the basis for a future in Historically Informed Performance Practice exists nationally. Lastly, content analyses of the three primary South African independent examination boards’ syllabi and of the former flute periodical, Flufsa News, elucidate the status of Historically Informed Performance Practice nationally. / Dissertation (MMus)--University of Pretoria, 2008. / Music / unrestricted