Submitted by Maike Costa (maiksebas@gmail.com) on 2017-03-10T13:59:34Z No. of bitstreams: 1 arquivototal.pdf: 8953311 bytes, checksum: 11a1725cde889b19a5c091731e42b037 (MD5) / Made available in DSpace on 2017-03-10T13:59:35Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 8953311 bytes, checksum: 11a1725cde889b19a5c091731e42b037 (MD5) Previous issue date: 2016-03-31 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / Miklós Rózsa claimed to keep a "double life": composer of concert music versus composer of films soundtrack. In this paper, we sought to answer questions such as: would have the composer really a "double life" articulated this way? His work would have a consistent poetic of music, common to both genres to which the composer had dedicated himself? It is known that Rózsa had the Hungarian folk music as basis for his music. To better understand them was made a profound bibliographic research on the subject, in which several articles of Hungarian musicologists were used in order to give more consistency to it. With the aim of to see if Rózsa maintained the same musical poetic in both genres, were realized several comparative analyzes of the composer's works, both in his movies soundtracks as in his concert music, to cover all productive periods of the composer (opus 1-1927 to opus 45- 1989), period which he also worked in several companies and composed for various filmic genres (drama, fantasy, comedy, noir, thriller, epic, among others). Prior to the preparation of this work, there was the assumption that the composer would have a consistent musical poetics in the two musical genres to which he was dedicated. Thus, another question would arise: Did Rózsa innovate the Hollywood filmic music or did he adapt himself to it? To answer this question, it was necessary also to investigate the characteristics of the soundtracks of Hollywood movies before the arrival of the Hungarian composer to the Californian district. / Miklós Rózsa afirmava possuir uma “vida dupla”: compositor de música de concerto versus compositor de trilha sonora de filmes. No presente trabalho, buscamos responder a questões como: teria mesmo o compositor uma “vida dupla” articulada dessa maneira? Sua obra teria uma consistente poética musical, comum a ambos os gêneros aos quais o compositor se dedicara? Sabe-se que Rózsa tinha a música folclórica húngara como base para as suas músicas. Para melhor compreendê-las foi feita uma profunda pesquisa bibliográfica sobre o assunto, na qual foram utilizados diversos artigos de musicólogos húngaros, a fim de dar mais consistência à pesquisa. Com o intuito de comprovar se Rózsa mantinha a mesma poética musical em ambos os gêneros, foram realizadas diversas análises comparativas de obras do compositor, tanto de suas trilhas sonoras para filmes quanto de suas músicas de concerto, de modo a cobrir todos os períodos produtivos do compositor (do Opus 1 - 1927 ao Opus 45 - 1989), período em que trabalhou também em diversas produtoras e compôs para diversos gêneros fílmicos (drama, fantasia, comédia, noir, suspense, épicos, entre outros). Antes da elaboração do presente trabalho, havia a hipótese de que o compositor teria, sim, uma poética musical consistente nos dois gêneros musicais aos quais se dedicou. Sendo assim, surgiria outra questão: Rózsa inovou a música fílmica hollywoodiana ou adaptou-se a ela? Para responder a esta pergunta, foi necessário também investigar as características das trilhas sonoras dos filmes de Hollywood antes da chegada do compositor húngaro ao distrito californiano.

Orientador: Aci Taveira Meyer / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-25T21:35:14Z (GMT). No. of bitstreams: 1 Nascimento_AndreiaMirandadeMoraes_D.pdf: 96342335 bytes, checksum: 51433fb2817364742413bfc716f483fe (MD5) Previous issue date: 2014 / Resumo: O principal objetivo deste trabalho foi realizar um estudo analítico e pedagógico das Brasilianas para piano de Osvaldo Lacerda (1927-2011), compostas entre 1965 e 1993. Visou ao estudo, à análise e à divulgação da música brasileira e de um de seus mais significativos representantes, além de destacar a importância destas obras no contexto artístico-musical-educacional brasileiro. Justifica-se pela crescente importância em se valorizar a produção nacional nos meios acadêmicos, divulgando e desenvolvendo estudos técnicos e difundindo novos repertórios. Com o estudo analítico, procurou-se investigar os elementos técnicos utilizados pelo compositor e como ele os manipulou. Para introduzir e contextualizar essa análise, realizou-se um levantamento biográfico e histórico da vida do compositor, fundamentado por bibliografia já existente e entrevista com o mesmo. O estudo pedagógico iniciou uma discussão sobre a aplicabilidade didática destas obras na formação de professores de música, especificamente em cursos de licenciatura em música, pensando em um público que atuará em escolas de educação básica. A conclusão deste trabalho traz os aspectos mais relevantes de cada obra, identificando elementos unificadores e mostrando o uso variado de constâncias melódicas e rítmicas da música brasileira; além de direcionar esses dados ao contexto educacional, possibilitando uma integração entre teoria e prática dos gêneros abordados / Abstract: The main objective of this work was to carry out an analytical and pedagogical study of Brasilianas for piano by Osvaldo Lacerda (1927-2011), composed between 1965 and 1993. This work aimed at the study, analysis and dissemination of Brazilian music and one of its most significant representatives, in addition to highlighting the importance of these works in the Brazilian musical-artistic-educational context. Justifying by the growing importance of valuing domestic production in academia, publishing and developing technical studies and disseminating new repertoires. Through by the analytical study, we sought to investigate the technical elements used by the composer and how he manipulated them. To introduce and contextualize this analysis, there was a biographical and historical survey of the composer¿s life, based on existing literature and interviews with him. The pedagogical study sought to initiate a discussion on the didactic applicability of these works in teacher education in music, specifically in undergraduate courses in music, thinking about an audience that will work in elementary schools. The conclusion of this paper presents the most relevant aspects of each work, identifyin unifying elements and showing the varied use of typical melodic and rhythmic of brazilian music patterns; in addition to target these data to the educational context, allowing an integration of theory and practice of genres covered / Doutorado / Fundamentos Teoricos / Doutora em Música

Orientador: José Roberto Zan / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-20T10:01:07Z (GMT). No. of bitstreams: 1 Pereira_ViniciusMuniz_M.pdf: 56101342 bytes, checksum: 514793000f3a81a61f247c0ccd82a831 (MD5) Previous issue date: 2011 / Resumo: Em meados da década de 1970, o compositor e instrumentista mineiro Renato Andrade lança seu primeiro disco solo intitulado A fantástica viola de Renato Andrade. No repertório, composições instrumentais interpretadas com muito virtuosismo na viola caipira. Esse é o início de uma produção precursora dentro da música sertaneja e que acabou por criar um novo segmento desse gênero. Resultado das transformações formais e estéticas da música popular brasileira a partir dos anos 70, a obra de Renato Andrade reflete o surgimento de fronteiras tênues entre a esfera popular e erudita, na qual compositores e instrumentistas vão buscar nas "tradições" populares elementos destinados a dar "autenticidade" e "legitimidade" às suas produções, ao mesmo tempo adotam procedimentos da música erudita para dar corpo e organicidade a suas músicas. Esta dissertação buscou investigar a obra do compositor e violeiro Renato Andrade. Para isso, partiu dos dados biográficos do artista, do levantamento de sua produção fonográfica e a partir desses dados procurou compreender as estratégias criativas de Renato Andrade, a maneira com qual o músico organiza o material musical na viola caipira e a consolidação daquilo que identificamos como sendo o seu idioma composicional. Num segundo momento, o foco deste trabalho foi compreender o performer Renato Andrade, sua atuação nos palcos e a construção do que identificamos como o personagem Renato Andrade / Abstract: In the 1970's, the composer and performer from Minas Gerais Renato Andrade releases his first record playing solo. It was called A fantástica viola de Renato Andrade. The album was made of instrumental compositions for viola caipira (Brazilian Ten String Guitar), an instrument that he played with a great virtuosity. This was the beginning of a one of a kind production in Brazil that ended up creating a new segment in the field of a genre known as "Música Caipira". As a result of the Brazilian's Popular Music formal and aesthetic transformations, ever since the seventies, Renato Andrade's work reflects the emergence of fine lines between the popular and the classical. In order to compose their plays, composers and musicians searched for Brazilian popular traditions so they could give to them "authenticity" and "legitimacy". At the same time, they adopt classic procedures to make the plays coherent and dense. This dissertation has the intent to explore Renato Andrade's work. It aims to expose the musical elements used in his compositions and his musical influences and tendencies and also, the construction of a specific style of the author, either through his music or through his ten string Brazilian guitar execution. To do that, we researched his biography and his music production in order to understand his creative procedures, his way to organize the musical materials in the Ten String Guitar and, finally, the consolidation of what we call his compositional language. On a second moment, we describe Renato Andrade as a performer: his performance on stage, and the construction of the "character" Renato Andrade / Mestrado / Fundamentos Teoricos / Mestre em Música

Doholla or Darbuka is a traditional Arab percussion instrument with a specific restricted secondary role. My project aims to challenge this role and expand the possibilities and horizons of this instrument by using it as a solo instrument breaking the norms and expectations ruling the instrument. My research focuses on answering the following question: can I present this instrument as a solo or main instrument? I used different methods to experiment with the instrument, including but not limited to, exploring sounds on parts of the instrument’s body that were not used before to create new sounds, or switching the classical loop role of the instrument with a new more varied one. In addition to using techniques that are from different cultures and others that are specific to other percussion instruments in general. As a result, I came to find a wide collection of new sounds that can be used in different contexts, which can be utilized in composing vibrant compositions. I was also able to compose and perform solo compositions with doholla/ darbuka that are written specifically to present the instrument’s richness as well as compositions where doholla had the main changing part while another melodic instrument was providing the background loop role. And finally I managed to prove that this instrument could exist successfully outside its traditionally known boundaries. / <p>George Oro: Darboka, Doholla</p><p>Jiro Kevork: Drums</p><p>Liliana Zavala: Conga</p><p>Mårten Hillbom: Drums</p><p>Composition 6; Composition 9; Dueto; Longa Nahawand; Solo; Trio; ss;Two Darboka</p>

The purpose of this paper is to identify Spanish elements in the sonatas of Domenico Scarlatti and to determine the extent of their use. All 555 sonatas in facsimile edition, edited by Ralph Kirkpatrick, were compared to the printed anthologies of Spanish folk music by Kurt Schindler and Felipe Pedrell as well as recordings of authentic Spanish folk music. The study concludes that Scarlatti incorporated Spanish musical elements extensively. In some sonatas, fragments of folk tunes occur, but always with some rhythmical alterations or melodic elaborations. Only K. 513 contains an entire folk tune. Scarlatti evidently wrote melodies of folk-like quality and did not merely copy the folk tunes.

The primary purpose of this study is to address performance issues in the Polish Fantasy, Op. 19, by examining characteristics of Polish folk dances and how they are incorporated in this unique work by Paderewski. The study includes a comprehensive history of the fantasy in order to understand how Paderewski used various codified generic aspects of the solo piano fantasy, as well as those of the one-movement concerto introduced by nineteenth-century composers such as Weber and Liszt. Given that the Polish Fantasy, Op. 19, as well as most of Paderewski's compositions, have been performed more frequently in the last twenty years, an analysis of the combination of the three characteristic aspects of the Polish Fantasy, Op.19 - Polish folk music, the generic rhetoric of a fantasy and the one-movement concerto - would aid scholars and performers alike in better understanding the composition's engagement with various traditions and how best to make decisions about those traditions when approaching the work in a concert setting. Chapter 1 provides biographical and factographical information about Paderewski as a composer, pianist, and statesman. Chapter 2 examines characteristics of Polish folk music with regard to melody, rhythm and tempo. Musical examples of the Polish folk songs from the book Lud by Oskar Kolberg, and the characteristics of Mazur, Kujawiak, Oberek and the Krakowiak, all of which are used in the Polish Fantasy, are examined. Aforementioned examples are paralleled by those selected from Chopin's Mazurkas, as well as selected sections from Paderewski's Polish Fantasy, and other pieces by Paderewski containing Polish folk music elements. Chapter 3 is divided into two sections. The first, the history of fantasy, presents various stylistic and formal aspects of the fantasies of the eighteenth century and nineteenth centuries. The second section offers an analysis of the Polish Fantasy in light of this history, and considers how Paderewski combined fantasy elements used by composers of earlier times with his own compositional technique style. Chapter 4 discusses performance issues including pedaling, tempo rubato, and composer's own fingering. Chapter 5 provides a summary and conclusion of the study.

This project is based on questions about the significance of the acoustic space for kulning (herding calls). Swedish vocal folk music and in particular kulning, is at the center of my expressive, musical language. I was seduced by the tonality, variety, flexibility in Swedish folk singing as well as the individual freedom of expression. In this work I want to reflect past and present, based on the voice and singing style from my own perspective. The questions were: How can I kula if I don´t have a forest, the natural environment for kulning? Can I create a virtual forest indoors, for my voice to sound in a similar way as outdoors, that would feel like kulning outdoors? Can I find an analog or electronic backdoor to a perfect kulning sound in indoor spaces? Can I create new music with the idea that the room is an extension of the kulning sound? and in the end, how do I convey the artistic qualities of kulning to someone else? I have investigated those questions in the artistic project - The Dome - Part I, Part II and Part III by creating spatial music for voices, in two different dome-shaped indoor spaces. The insight that the room is an extension of the sound of kulning made me understand the importance of uncompromising acoustics. I revalue techniques, directions and positions. Try out tools to create - virtual SoundScapesusing digital technology. Experiment with exercises that can give my voice long durability. Try out composition models to get musical ideas to implement in new music. The artistic outcomes of this research are new concepts for kulning in electroacoustic and analog indoor spaces. The result of the project has become a number of methods for composition, improvisation, performing and teaching.    The project has been documented in a website: http://footprints.mariamisgeld.se

El libro, dividido en dos tomos, tiene como objetivo principal abordar el tema de los negocios musicales desde una perspectiva poco narrada en el Perú. El tomo I introduce la administración, organización de los negocios y narra los casos de artistas y empresarios exitosos del quehacer musical. El tomo II presenta más casos de negocios musicales de compositores, orquestas, emprendedores, directivos de grupos radiales y un análisis sobre el entorno legal, financiero y de las nuevas tendencias en marketing. / The publication’s main objective is to address the subject of the musical business with a new little perspective treated in Perú. The book is divided in two volumes. Volume I introduces the management, organization of business and chronicles the cases of artists and successful entrepreneurs in the musical environment. Volumen II presents more cases of business related to composers, orchestas, entrepreneurs, managers of radio, groups and an analysis of the legal, financial and new trends in marketing.

Geographically Albania is divided into two main regions: northern Ghegeria and southern Toskeria. The southern part (Toskeria) consists of two sub-regions, Toske and Laberia. These share many commonalities yet the musical styles of each are distinctly different. The Shkumbini River serves as a boundary between the two main regions, as well as a cultural divide distinguishing the varying musical performances and styles. Monodic music is practiced mainly in the north whilst polyphonic music is most commonly performed in the south. These two diverse systems impact on the folk songs of the two regions making them sound significantly different. In addition, different folk instruments are used in both regions. The instrumental and vocal monodic music of the north (Ghegeria) is based on the modal system, with Dorian, Aeolian, Mixolydian, Phrygian, Lydian, Ionian and Hypolydian modes being used. The songs of the north typically portray important historical events or heroic deeds, while the southern songs are not as nationalistic and cover various social themes. They are in general a lot softer and more melodic in character. The folk music of the south (Toskeria) is based on the pentatonic scale, with significant differences which are noticed within the two sub-regions (Toske and Laberia). The vocal music of the south consists of two, three or four vocal parts singing a capella, although sometimes instrumental accompaniment is added. The polyphonic music of the sub-region of Toske is characterized by imitative elements utilized in both the melodies and rhythms of the songs, providing a sense of thematic unity, whereas in Laberia contrasting elements are more dominant throughout the songs. Despite these differences, iso (or drone) is performed similarly in both sub-regions, and is another important element in the polyphonic music of the south. A notable form of instrumental polyphonic music of Toskeria is that of Kaba, performed by Saze folk ensembles. What distinguishes Albanian polyphonic folk music from its counterparts in other areas of the world is that it has not only survived but is flourishing in modern times. Unlike many other cultures that have excluded polyphonic music from mainstream society, Albanian polyphonic music is known by most Albanians and is well practiced and enjoyed by all age groups, and rural as well as urban Albanians, regardless of their degree of formal musical training / Dissertation (MMus)--University of Pretoria, 2011. / Music / unrestricted

Heejo Kim (1920-2001) is one of the most prominent Korean composers of the twentieth century. He is primarily known for his works that incorporate aspects of traditional Korean music. However, at the same time, his efforts in choral arrangements, especially of Korean folk tunes are highly acclaimed by professional choirs and conductors. The purpose of this study is to provide performance guidance on Heejo Kim's choral work, Bat-no-rae, by presenting his biographical background, discussing the use of traditional Korean rhythmic patterns (Jangdan) and modes, and the appropriate application of traditional ornamentations.