Made available in DSpace on 2014-07-29T16:25:13Z (GMT). No. of bitstreams: 1 Dissertacao GILBERTO STEFAN - textual.pdf: 843240 bytes, checksum: 2e71477ba00e922c86401cd8e474c8b0 (MD5) Previous issue date: 2012-03-31 / This work deals with teaching of tremolo and scordatura techniques as extended techniques. To do so, it is based on the repertoire of contemporary classical guitar, in this dissertation understood as that covering the period of the last 35 years. The goal is to demonstrate the use of these resources in the teaching of musical performance addressed to the musicians previously able to perform the tremolo and scordatura in the traditional way. Divided into three parts, this work presents, in Chapter I, the state of the art in concepts of extended techniques, tremolo, scordatura and guitar pedagogy. Books, articles, theses, dissertations and communications published in the last 10 years, both in Brazil and abroad, have been consulted in search of theoretical background to justify such research. The theoretical framework that supports this dissertation can be seen in the productions of Carinci, Oliveira and Ray (2010), Batista (2009), Ishii (2005), and Tokeshi (2003). Chapter II presents the selection criteria and the excerpts of works containing the resources of tremolo and scordatura. A demonstrative frame with the pieces is firstly exposed. Other relevant information, such as year of publication of the pieces, is presented along with a brief biography of their composers. The extended resources identified in each work are also presented so that they can be compared to their traditional techniques. Chapter III contains the analysis of the extended resources and suggests a pedagogical application for the teaching of guitar. The main considerations resulting from this dissertation summarize, besides the thought about the teaching of extended techniques to the guitar, initial reflections on the genesis and taxonomy of newly invented technical and composicional resources. / Este trabalho trata do ensino das técnicas de trêmolo e scordatura sob o viés de técnicas estendidas. Para tanto, apoia-se no repertório do violão erudito contemporâneo, compreendido nesta dissertação como aquele que abrange o período dos últimos 35 anos. O objetivo é demonstrar o uso destes recursos no ensino da performance musical dirigida a instrumentistas previamente aptos a executar o trêmolo e a scordatura por seu viés tradicional. Dividido em três partes, este trabalho apresenta no primeiro capítulo o estado da arte referente aos conceitos de técnicas estendidas, trêmolo, scordatura e pedagogia do violão. Foram consultados livros, artigos, teses, comunicações e dissertações publicadas nos últimos 10 anos, tanto no Brasil quanto no exterior, na busca de subsídio teórico que justificasse tal pesquisa. O quadro teórico que embasa esta dissertação apresenta-se na produção de Carinci, Oliveira e Ray (2010), Batista (2009), Ishii (2005), e Tokeshi (2003). O segundo capítulo apresenta os critérios de seleção e trechos de obras que contêm os recursos de trêmolo e scordatura. Um quadro demonstrativo com as peças é exposto de início. Outras informações relevantes, como o ano de publicação das peças, são apresentadas junto a uma breve biografia de seus compositores. Os recursos estendidos identificados em cada obra também são apresentados de modo que seja possível compará-los ao seu viés tradicional. O terceiro capítulo contém a análise dos recursos estendidos e aponta uma aplicação pedagógica para o ensino destes ao violão. As principais considerações resultantes desta dissertação sintetizam, além do pensamento sobre o ensino de técnicas estendidas ao violão, reflexões iniciais sobre a gênese e a taxonomia de recursos técnicos e composicionais recém-inventados.

Trataremos de posturas composicionais e interpretativas que abordam a questão da fisicalidade presente na atuação instrumental, em situações nas quais as potencialidades do conjunto executante - instrumento são levadas a situações limite. Isso se dará levando-se em consideração as seguintes variáveis: características intrínsecas do instrumento; interação do intérprete com o instrumento; elementos mecânicos de interferência nessa relação. Serão abordadas, especialmente, obras dos compositores Helmut Lachenmann, Iannis Xenakis, Brian Ferneyhough, Aaron Cassidy e Simon Steen-Andersen. Também será abordada a produção artística do autor do trabalho. / In this work we deal with music, both from the composition as well as from the performance viewpoints, in which the potentials of the relationship between performer and musical instrument are taken to limit situations. This is done with an analysis of the following elements: specific and intrinsic characteristics of an instrument; interaction between performer and instrument; mechanical elements of interference in this relationship. We will approach, specially, works of Helmut Lachenmann, Iannis Xenakis, Brian Ferneyhough, Aaron Cassidy and Simon Steen-Andersen. Recent musical pieces of the author of this work will also be mentioned.

Entr'actes and Sappho Fragments (1964) by English Composer Harrison Birtwistle represent extended notation, complex meters, and extended instrumental techniques. After World War II, the style and techniques of musical composition evolved considerably and musical trends began to continuously change. Conducting contemporary compositions requires new approaches in conducting methods. This paper examines a) introduce important elements of Birtwistle's compositions in the 1960, b) include an updated score of Entr'actes and Sappho Fragments (notated by the author), and c) provide a performance guide to the work.

Mario Lavista (b. 1943) is a dominant figure in Mexican classical music. In the second half of the twentieth century, he promoted the use of contemporary techniques, leading to a series of collaborations with expert instrumentalists to explore extended techniques. Marsias for Oboe and Crystal Glasses is one of those pieces. Due to the nature of contemporary techniques, different oboes and reed styles produce different effects with the same fingerings. This document analyzes the contemporary fingerings in the two published editions of the work in consideration of the long-scrape reed style and oboes commonly used in the United States. The contemporary techniques were played on twelve professional oboe models as a way to collect data on how the printed fingerings work. The data is the foundation for the performance guide, which details every contemporary technique in the work. The performance guide also provides comprehensive information about the crystal glass logistics. The document also presents an electronic accompaniment created with Max/MSP in the event that the crystal glasses or crystal glass players are unavailable.

Contemporary repertoire is not commonly taught or explored by teachers during the intermediate level, when a student's musical training is transitioning to an advanced level. Nonetheless, it is important for piano instructors to be open-minded about contemporary music and have some perspective on the development of music repertoire in the future. The purpose of this dissertation is to provide a performance and pedagogical guide to Stephen Chatman's (b. 1950) Fantasies, from both technical and artistic viewpoints. The collection, which consists of eleven pieces, features a wide variety of contemporary idioms, styles, and means of notation. For instance, there are jazz-like syncopated rhythms, asymmetrical accents reminiscent of Primitivism, and Impressionistic or dissonant sonorities. Fantasies is not only a valuable tool for students to explore new sounds and improve their performing techniques while executing nontraditional notations and contemporary idioms, it is also a great teaching resource for instructors to promote students' musicality through hearing, seeing, and thinking. In this study, I provide individual, detailed descriptions for each of the pieces in the score, adding examples on how to address the difficulties they present to the performer. As a result, instructors can better understand how to help students prepare to perform this collection and spark their interest in playing contemporary music.

Many, if not most, student trombonists have perhaps had little or no previous experience with "extended techniques"-novel or unconventional modes of sound production. To address this deficiency of experience, this document sets forth a progressive sequence of descriptive explanations and supplementary studies, which are specifically designed to assist trombonists in mastering the particular extended techniques that will prepare them to perform three of the most popular late Twentieth-Century pieces for trombone that include extended techniques-Luciano Berio's Sequenza V, Folke Rabe's Basta, and Mark Phillips' T.Rex. Following the introductory chapter, the body of the document consists of three chapters, each of which deals with one of the three solos, presenting descriptive explanations of relevant extended techniques interspersed with performance commentary (solicited from prominent trombonists) and supplementary studies (composed by the author). The studies presented in each chapter are specifically geared toward mastering the extended techniques as they relate to the music of each particular solo. They are also especially focused toward learning the more difficult passages of music in each solo.

This dissertation aims to address the pedagogical gap in introductory material for contemporary clarinet instruction. Through examining the most prominent contemporary methods for the clarinet, the pedagogical gap is highlighted, particularly regarding material aimed at newcomers and early undergraduate students. To address these needs, a new collection of etudes is proposed, introducing extended techniques and contemporary notation for newcomers to modern music.

A Poem Carved in Stone, a work for piano solo by Washington DC-based Chinese composer Wu Yiming was composed in Spring 2020 and is dedicated to the author of this dissertation. The piece is inspired by the poetry of Han Shan, a recluse who lived during the Tang Dynasty (618-907 A.D.). His poetry is in Chan (Zen) tradition. Wu depicts the imagery and philosophy in Han Shan's poetry through highly complex rhythms, extreme sound effects and pitches, tone clusters, and extended piano techniques. This dissertation provides practical instructions for achieving these effects and executing the unconventional techniques found in this piece, which include playing inside of the piano, various standing and sitting positions, and coordination and balance. A guide to interpret this piece is from both the composer's and the performer's perspective. Observations are drawn directly from communications and coaching received from the composer. This study briefly explores the historical and cultural context of Han Shan's poetry and discusses how Wu's use of modern western compositional devices reflects the Zen philosophy. An interview with the composer is included along with an overview of both his compositions and those of composers who influenced him. It is hoped that this dissertation will encourage pianists who are not experienced with non-traditional techniques to explore new music from living composers.

Arnold Schoenberg's String Quartet No. 1, Op. 7 stands out as being the first chamber music piece to use a vast number and variety of extended string techniques within one composition. This paper examines a brief history of extended string techniques in chamber music, analyses the unique ways in which Schoenberg applied extended string techniques to manipulate motives in his Op. 7 quartet, and ultimately shows that Schoenberg's use of extended string techniques influenced future composers to employ even more extended techniques and special effects in their own twentieth-century chamber music.

This dissertation explores the analysis and creation of compositions from the standpoint of texture and momentum. It is comprised of four chapters. The first presents a number of concepts as tools for analysis, including textural typography and transformation, perception of time and psychological engagement of an audience, and respiration as a metaphor for musical momentum. The second and third chapters apply these tools to Gerard Grisey's "Periodes" and "Partiels," and Brian Ferneyhough's "Lemma-Icon-Epigram." The fourth explores specific methodologies used in composing my dissertation piece, "Phase," including the application of number systems ranging from formal to local levels.