Submitted by JÚLIO HEBER SILVA (julioheber@yahoo.com.br) on 2017-06-29T19:43:27Z No. of bitstreams: 2 Dissertação - Jorge Luiz de Oliveira Júnior - 2016.pdf: 13207768 bytes, checksum: d446b3a78d91064c1ca76b18ef28861b (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Cláudia Bueno (claudiamoura18@gmail.com) on 2017-07-07T19:36:59Z (GMT) No. of bitstreams: 2 Dissertação - Jorge Luiz de Oliveira Júnior - 2016.pdf: 13207768 bytes, checksum: d446b3a78d91064c1ca76b18ef28861b (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2017-07-07T19:36:59Z (GMT). No. of bitstreams: 2 Dissertação - Jorge Luiz de Oliveira Júnior - 2016.pdf: 13207768 bytes, checksum: d446b3a78d91064c1ca76b18ef28861b (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2016-03-29 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / The goal of the present work consists in the development of a mixed edition (critical and diplomatic-interpretative) for solo guitar of Homenaje a Debussy (1920) by spanish composer Manuel de Falla (1876-1946).The produced edition is entirely composed for musical elements derived from documentary sources which do not suffer interference from third parties. The documents were used as it follows: 1. autograph manuscript for guitar (1920), 2. autograph manuscript for piano (1920), 3. edition of the arrangement for orchestra made by the composer (1938). The work was divided into three parts: the first deals with the historical context of Homenaje a Debussy, analysis of stylistic and referential elements in the work, presentation of the work's genealogy and of the 11 documentary sources; in the second we discuss the choice of the edition types and presented a screening of the documentary sources in order to exclude documents, which would have any third party interference; the third and last part consists in the development of the mixed edition from documentary product of the screening in the second part. Finally we present the mixed edition made from the process described herein. / Este trabalho tem por objetivo a elaboração de uma edição mista (crítica e diplomático- interpretativa) para violão solo da Homenaje a Debussy (1920) do compositor espanhol Manuel de Falla (1876 - 1946). A edição produzida é constituída integralmente por elementos musicais oriundos de fontes documentárias que não sofreram interferências de terceiros. Foram utilizados os seguintes documentos: manuscrito autógrafo para violão (1920), manuscrito autógrafo para piano (1920) e edição do arranjo para orquestra feito pelo compositor (1938). O trabalho foi dividido em três partes: a primeira se trata da contextualização histórica da Homenaje a Debussy, análise de elementos estilísticos e referenciais na obra, apresentação da árvore cronológica da obra e das 11 fontes documentárias; na segunda parte dissertamos a respeito da escolha dos tipos de edição e fizemos uma triagem das fontes documentárias visando a exclusão de documentos compostos por qualquer tipo de interferência de terceiros; a terceira e última parte consiste na elaboração da edição mista a partir das fontes documentárias eleitas após triagem feita na segunda parte do trabalho. Ao final apresentamos a edição mista proveniente do processo aqui descrito.

O objetivo deste trabalho é ajudar a solucionar alguns dos problemas interpretativos encontrados nas partes de percussão da música sinfônica brasileira. Rica em timbres e ritmos, essas partes podem trazer dúvidas que vão desde a nomenclatura dos instrumentos a assuntos editoriais ou ainda de natureza técnica. Foi selecionado um número delimitado de obras de diferentes compositores, especialmente apropriadas para um profundo estudo dessas dificuldades. Quando necessário, os manuscritos originais foram consultados, assim como fontes que tiveram acesso direto aos compositores, na procura de suas reais intenções e assim ajudar a esclarecer as dúvidas surgidas. Esta análise, associada à experiência na execução e gravação dessas e outras obras, ajudaram a levar a conclusões importantes quanto ao uso e notação do vasto arsenal dos instrumentos de percussão convencionais ou não que inclui a revisão de partes existentes e a solução de problemas de nomenclatura e performance encontrados em obras de Antônio Carlos Gomes, Mozart Camargo Guarnieri, César Guerra-Peixe, Francisco Mignone, Claudio Santoro, Rubens Ricciardi e Heitor Villa-Lobos. / The objective of this dissertation is to help solve some of the interpretation problems which arise in the percussion parts of Brazilian symphonic music. Rich in timbre and rhythm, these parts may cause doubts which stem from the nomenclature of the instruments as well as editorial or technical issues. A number of works by different composers were selected that are especially suited for a thorough examination of these difficulties. When necessary the original manuscripts, as well as the sources which came directly from the composers, were consulted, in order to clarify the real intentions behind these usages and to help solve the problems that arise. This analysis, associated with the experience of playing and recording these and other pieces, has helped to arrive at important conclusions which regard the use and notation of the vast arsenal of percussion instruments - both common and uncommon - which include the revision of existing parts and the solution of nomenclature and performance practice problems found in works by Antônio Carlos Gomes, Mozart Camargo Guarnieri, César Guerra-Peixe, Franciso Mignone, Claudio Santoro, Rubens Ricciardi and Heitor Villa-Lobos.

Esta dissertação tem como objetivo analisar o trabalho de jornalistas que editam livros, sejam eles donos de editoras ou editores contratados. Foram entrevistados, a partir de um questionário não-diretivo, editores de livros que se declaram jornalistas por formação acadêmica ou prática profissional, e também editores de livros com formação direcionada a este mercado. As entrevistas foram analisadas e divididas em temas, determinados a partir de técnicas de análise de conteúdo. A pesquisa permite afirmar que os jornalistas, mesmo quando trabalham em outro campo como a edição de livros, se sentem ainda muito aderentes ao jornalismo, veem o livro como um objeto a ser reverenciado e têm uma percepção diferente dos editores de outras formações no que diz respeito às etapas de produção do livro, nas quais declaram utilizar muito da experiência obtida nos veículos jornalísticos. / The aim of this dissertation is to analyze the working process of journalists who edit books, whether publishing company owners or hired editors. Based on a nondirective questionnaire, interviews were applied to book editors who declared themselves as journalists by academic education or professional experience, and editors majored in book editing as well. The interviews were examined and categorized by themes, settled by content analysis techniques. This research allows to assert that journalists, even when working in other field as book editing, still feel themselves related to journalism, see book as an object to be venerated and have a different perception of book production from traditional editors\' perspective, in which the journalist-editors claim to use their news background.

The earliest-known printed version of 'Los hijos de la Barbuda', which is that found in the Tercera parte de las comedias de Lope de Vega y otros autores (Barcelona 1612) t provides the copy-text for this critical edition. Obvious errors have been corrected, but the original spelling has been preserved, the punctuation altered as little as possible, and the copy-text's method of capitalisation and accentuation has been retained. The play is preceded by an introduction which includes a description of all known versions of the text of Los hijos de la Barbuda, a chapter on the transmission of the text., one on the date of composition and performances, and chapters on staging, theme and presentation, language, and versification. Four sets of notes follow the text of the play: textual notes showing substantive departures in the present edition from the copy-text, a list of emendations of accidentals, a collation of the early texts, and a set of notes elucidating the text. Extra lines and scenes appearing in the seventeenth and eighteenth-century manuscripts are included in an appendix.

La publication en 1492, par Marsile Ficin, de la première traduction latine des Ennéades et du monumental commentaire qui l’accompagne marque le retour de Plotin en Occident. Le manuscrit de travail de Ficin, le Parisinus graecus 1816 de la Bibliothèque nationale de France nous offre un témoignage exceptionnel concernant les principales étapes philosophiques et historiques qui ont marqué l’élaboration du Plotinus latinus. Les quelque 2500 annotations inscrites par Ficin sur les marges de ce manuscrit qui fut mis à sa disposition par Côme l’Ancien sont ici éditées, traduites et commentées. Cet important apparat exégétique jusque là inédit éclaire les différentes facettes du travail accompli par Ficin durant plusieurs décennies sur le texte très difficile de Plotin : des corrections apportées au texte transmis – une partie de ces interventions ont trouvé leur chemin jusque dans les éditions contemporaines sans toutefois que leur origine ait toujours été reconnue – à la confrontation doctrinale avec le néoplatonisme profondément original de Plotin, le manuscrit met en scène un Ficin soucieux d’intégrer les Ennéades dans sa vision à la fois chrétienne et platonicienne de la concordia philosophorum, mais aussi conscient des aspérités et audaces difficilement récupérables du texte plotinien. Cette lecture ficinienne des Ennéades produit à son tour de multiples échos dans l’oeuvre propre de Ficin et contribue ainsi à irriguer les débats philosophiques de la Renaissance et au-delà. / The publication in 1492 of the first Latin translation by Ficino of the Enneads and his monumental accompanying commentary marks the return of Plotinus in the West. Ficino's working manuscript, Par. gr. 1816 of the French Bibliothèque Nationale, offers us exceptional evidence concerning the major philosophical and historical milestones in the elaboration of the Plotinus latinus. The nearly 2,500 annotations written by Ficino in the margins of this manuscript, put at his disposition by Cosimo de' Medici, are here edited, translated and commented upon. This important, previously unpublished exegetical instrument illustrates the various facets of Ficino's work over several decades on Plotinus's very difficult text: through his corrections of the transmitted text – some of these interventions have found their way into contemporary editions though their origin has not always been recognised – in doctrinal confrontation with the profoundly original Platonism of Plotinus, the manuscript reveals a Ficino anxious to integrate the Enneads in his own vision – at once Christian and Platonic – of the concordia philosophorum, whilst at the same time conscious of the sneering and audacity hardly worth saving of the Plotinian text. This Ficinian reading of the Enneads found diverse echoes in Ficino's own work and thus contributed to philosophical debate in the Renaissance and beyond.

By the eighteenth century, the business of music publishing in Europe had exploded. Europe had become more culturally international, and interest in purchasing and performing music written by foreign composers was in vogue. Unfortunately laws governing copyright and editing of music were either difficult to enforce or non-existent, and most were not applicable on an international level. Around 1750 music publishers Leclerc and Boivin published an edition of flute sonatas in Paris. This edition was attributed to Georg Friderich Handel, whose work, at the time, was the most sought after in Western Europe. This particular collection is identical to an earlier edition published in 1729 in Hamburg, Germany by an unknown German composer, Johann Christoph Schultze. This paper is the first modern critical edition of Schultze’s Six Sonate â Doi Flauti Traversi Senza Basso Con una Ciacconna tra mischiata di doi Canoni nella medesima nascosti (Six Sonatas for Two Flute without Basso and A Chaconne for Two Equal Voices in Canon) and marks the first time the Chaconne has appeared in modern notation. The edition aims to be as true as possible to the 1729 publication, notes standard performance practices, and answers the question as to why the 1750 edition may have been falsely attributed to Handel.

Univ., Diss./03--Münster, 2002. / Literaturverz. S. [331] - 354.

This critical edition presents to the reader, for the first time, a definitive text of Charles Dickens's short story, "George Silverman's explanation". This edition presents a critical unmodernized text. Besides the text of the story, this edition includes historical and textual introductions; lists of substantive and accidental variants; word-division; and of collated editions. / Graduate / 0593

Stuttgart, Univ., Diplomarb., 2003.

Stuttgart, Univ., Diplomarb., 2003.