Orientador: Paulo Augusto Castagna / Banca: Vitor Gabriel de Araújo / Banca: Carin Willing / Resumo: A fuga dupla foi um fenômeno essencialmente do século XVIII até meados do século XIX, introduzido em Portugal, e conseqüentemente no Brasil, a partir da italianização da cultura musical portuguesa promovida por D. João V. Encontra-se em arquivos brasileiros e portugueses fugas duplas de diversos compositores italianos como Domenico Scarlatti (1685 - 1757), Giovanni B. Pergolesi (1710 - 1736), David Perez (1711 - 1778), Niccolò Jommelli (1714 - 1774) e Giuseppe Totti (? - 1832). Também compuseram fugas duplas músicos portugueses como José Joaquim dos Santos (1747 - 1801), João José Baldi (1770 - 1816), André da Silva Gomes (1752 - 1844) e Marcos Portugal (1762 - 1830); e brasileiros como Luiz Álvares Pinto (1719 - 1789) e José Maurício Nunes Garcia (1767 - 1830). O objetivo desta pesquisa é demonstrar a evolução desta forma musical no repertório luso-brasileiro dos séculos XVIII e XIX. Para isso, além de serem analisadas uma série de vinte e cinco obras compostas pelos músicos acima mencionados, também foram estudados nove tratados musicais dos seguintes autores: Friedrich Wilhelm Marpurg (1718 - 1795), Giambattista Martini (1706 - 1784), Francisco Ignacio Solano (1720 - 1800), Johann Georg Albrechtsberger (1735 - 1809), Angel Moriggi (? - ?), André da Silva Gomes, Antonin Rejcha (1770 - 1783), Luigi Cherubini (1760 - 1842) e Hilarión Eslava (1807 - 1878). Esta forma fugal, presente no repertório luso-brasileiro, de extrema importância para a nossa história musical, permanece, até hoje, pouco conhecida, existindo poucos estudos modernos e até mesmo edições críticas de música portuguesa e brasileira onde ela esteja presente / Abstract: The double fugue was essentially a phenomenon of the 18th to the middle 19th centuries, introduced in Portugal, and consequently in Brazil, since the Italianization of the Portuguese musical culture promoted by Don João V. Double fugues from several Italian composers such as Domenico Scarlatti (1685 - 1757), Giovanni B. Pergolesi (1710 - 1736), David Perez (1711 - 1778), Niccolò Jommelli (1714 - 1774) and Giuseppe Totti (? - 1832), can still be found in Brazilian and Portuguese archives. Also composed double fugues Portuguese musicians like José Joaquim dos Santos (1747 - 1801), João José Baldi (1770 - 1816), André da Silva Gomes (1752 - 1844) and Marcos Portugal (1762 - 1830); and Brazilians like Luiz Álvares Pinto (1719 - 1789) and José Maurício Nunes Garcia (1767 - 1830). The aim of this research is to demonstrate how this musical form evolved in the Portuguese and Brazilian repertoire during the 18th and 19th centuries. For this purpose, besides of analyzing twenty five musical works from the above mentioned composers, nine musical treatises were studied from the following authors: Friedrich Wilhelm Marpurg (1718 - 1795), Giambattista Martini (1706 - 1784), Francisco Ignacio Solano (1720 - 1800), Johann Georg Albrechtsberger (1735 - 1809), Angel Moriggi (? - ?), André da Silva Gomes, Antonin Rejcha (1770 - 1783), Luigi Cherubini (1760 - 1842) and Hilarión Eslava (1807 - 1878). This musical form, found in the Portuguese and Brazilian repertoire, of extreme importance for our musical culture, remains, even now, little known, existing just a few modern studies and critical editions of Portuguese and Brazilian music where it can be found / Mestre

Doctorat en philosophie et lettres / info:eu-repo/semantics/nonPublished

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This thesis develops an analytical approach to the instrumental music of Orlando Gibbons (1583-1625) based on close readings of historical theory sources, primarily by Thomas Morley, John Coprario and Thomas Campion. Music of the early seventeenth century can be difficult to analyse, since it falls between the more extensively studied and theorised practices of classic vocal polyphony and common-practice tonality. Although English music theory of this period is recognised as strikingly modern in many respects, innovative aspects of English compositions from the same period receive little attention in standard accounts of the seventeenth century. I argue that concepts taken from this body of historical theory provide the basic terms of a technical vocabulary for analysis, which should be further refined through application to real compositions. Successive chapters deal with common counterpoint models or patterns, imitative invention and disposition, cadential progressions, and overall tonal structure. I argue that these analyses show Gibbons's music to be a contribution to new ways of conceiving of instrumental polyphony and tonal structure, which deserves re-evaluation in the context of broader seventeenth-century trends. In particular, Gibbons's use of extended cadential expectations as an expressive element, fascination with sequential progressions, and sectional structuring by harmonic area have clear parallels with later practices. At the same time, early seventeenth century style allows the composer considerably more freedom of harmonic procedures and implications than the musical styles which immediately followed it. Analysis grounded in historical theory provides the best approach to understanding and appreciating this unique musical language.

Made available in DSpace on 2014-06-11T19:27:26Z (GMT). No. of bitstreams: 0 Previous issue date: 2010-09-28Bitstream added on 2014-06-13T20:35:56Z : No. of bitstreams: 1 rohl_aco_me_ia.pdf: 8342153 bytes, checksum: f018190ba8148671d447a516f042a820 (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / A fuga dupla foi um fenômeno essencialmente do século XVIII até meados do século XIX, introduzido em Portugal, e conseqüentemente no Brasil, a partir da italianização da cultura musical portuguesa promovida por D. João V. Encontra-se em arquivos brasileiros e portugueses fugas duplas de diversos compositores italianos como Domenico Scarlatti (1685 – 1757), Giovanni B. Pergolesi (1710 – 1736), David Perez (1711 – 1778), Niccolò Jommelli (1714 – 1774) e Giuseppe Totti (? - 1832). Também compuseram fugas duplas músicos portugueses como José Joaquim dos Santos (1747 – 1801), João José Baldi (1770 – 1816), André da Silva Gomes (1752 – 1844) e Marcos Portugal (1762 – 1830); e brasileiros como Luiz Álvares Pinto (1719 – 1789) e José Maurício Nunes Garcia (1767 – 1830). O objetivo desta pesquisa é demonstrar a evolução desta forma musical no repertório luso-brasileiro dos séculos XVIII e XIX. Para isso, além de serem analisadas uma série de vinte e cinco obras compostas pelos músicos acima mencionados, também foram estudados nove tratados musicais dos seguintes autores: Friedrich Wilhelm Marpurg (1718 – 1795), Giambattista Martini (1706 – 1784), Francisco Ignacio Solano (1720 – 1800), Johann Georg Albrechtsberger (1735 – 1809), Angel Moriggi (? - ?), André da Silva Gomes, Antonin Rejcha (1770 – 1783), Luigi Cherubini (1760 – 1842) e Hilarión Eslava (1807 - 1878). Esta forma fugal, presente no repertório luso-brasileiro, de extrema importância para a nossa história musical, permanece, até hoje, pouco conhecida, existindo poucos estudos modernos e até mesmo edições críticas de música portuguesa e brasileira onde ela esteja presente / The double fugue was essentially a phenomenon of the 18th to the middle 19th centuries, introduced in Portugal, and consequently in Brazil, since the Italianization of the Portuguese musical culture promoted by Don João V. Double fugues from several Italian composers such as Domenico Scarlatti (1685 – 1757), Giovanni B. Pergolesi (1710 – 1736), David Perez (1711 – 1778), Niccolò Jommelli (1714 – 1774) and Giuseppe Totti (? - 1832), can still be found in Brazilian and Portuguese archives. Also composed double fugues Portuguese musicians like José Joaquim dos Santos (1747 – 1801), João José Baldi (1770 – 1816), André da Silva Gomes (1752 – 1844) and Marcos Portugal (1762 – 1830); and Brazilians like Luiz Álvares Pinto (1719 – 1789) and José Maurício Nunes Garcia (1767 – 1830). The aim of this research is to demonstrate how this musical form evolved in the Portuguese and Brazilian repertoire during the 18th and 19th centuries. For this purpose, besides of analyzing twenty five musical works from the above mentioned composers, nine musical treatises were studied from the following authors: Friedrich Wilhelm Marpurg (1718 – 1795), Giambattista Martini (1706 – 1784), Francisco Ignacio Solano (1720 – 1800), Johann Georg Albrechtsberger (1735 – 1809), Angel Moriggi (? - ?), André da Silva Gomes, Antonin Rejcha (1770 – 1783), Luigi Cherubini (1760 – 1842) and Hilarión Eslava (1807 - 1878). This musical form, found in the Portuguese and Brazilian repertoire, of extreme importance for our musical culture, remains, even now, little known, existing just a few modern studies and critical editions of Portuguese and Brazilian music where it can be found

Submitted by Marlene Santos (marlene.bc.ufg@gmail.com) on 2014-11-13T20:41:28Z No. of bitstreams: 2 Dissertaçao - Nery André Borges de Oliveira - 2014.pdf: 19554984 bytes, checksum: 67993ab902a0fd34ee3890930ddef57f (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Approved for entry into archive by Jaqueline Silva (jtas29@gmail.com) on 2014-11-14T18:51:51Z (GMT) No. of bitstreams: 2 Dissertaçao - Nery André Borges de Oliveira - 2014.pdf: 19554984 bytes, checksum: 67993ab902a0fd34ee3890930ddef57f (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Made available in DSpace on 2014-11-14T18:51:52Z (GMT). No. of bitstreams: 2 Dissertaçao - Nery André Borges de Oliveira - 2014.pdf: 19554984 bytes, checksum: 67993ab902a0fd34ee3890930ddef57f (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Previous issue date: 2014-04-01 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / In this research we deal with the importance of the structured musical memorization process for the memory performances. The research has a semi-experimental character since it does not have a control group, and because the author is a participant subject. The methodology used follows the principles of memorization strategies explored by authors like Roger Chaffin, Aaron Williamon, Gerald Klickstein, Stewart Gordon, Jane Ginsborg, among others. The research lies on connecting these strategies and organize them into a study plan to be accomplished. The memorization plan follows the division established by Klickstein (2009), in four stages: perception, ingraining, maintenance and recall. However, it presents modifications resulting from the dialogue with other authors. The memorization plan was implemented in the Fugue BWV 997 of J. S. Bach. The proposed goal is to verify the viability and efficiency of strategies that help the memorization on the guitar. The detailed monitoring of his memorization was listed on a study memorial that provides the results achieved in each strategy, the number of application sessions and total time of application. / Nessa pesquisa tratamos da importância do processo de memorização musical estruturado para a realização de performances de memória. A pesquisa tem caráter semi-experimental por não possuir um grupo de controle e por ter o autor como sujeito participante. A metodologia utilizada segue os princípios de estratégias de memorização explorados por autores como Roger Chaffm, Aaron Williamon, Gerald Klickstein, Stewart Gordon, Jane Ginsborg, entre outros. A pesquisa consiste em relacionar tais estratégias e organizá-las em um plano de estudos a ser cumprido. O plano de memorização segue a divisão estabelecida por Klickstein (2009), em quatro estágios: percepção, enraizamento, manutenção e recordação. Contudo, este apresenta modificações resultantes do diálogo com outros autores. O plano de memorização foi aplicado na Fuga BWV 997 de J. S. Bach O objetivo proposto é verificar a viabilidade e eficiência de estratégias que auxiliem a memorização ao violão. O acompanhamento detalhado de sua memorização foi registrado em um memorial de estudo que fornece os resultados alcançados em cada estratégia, o número de sessões de aplicação e o tempo total de aplicação.

The career of Osvaldo Lacerda (1927-2011) spanned a critical time in the development of Brazilian nationalist music. Though he was an outspoken nationalist composer, he was also influenced by European trends and training. Even within his nationalist compositions, evidence of a shift in style that mirrors the European movements of Modernism and Postmodernism is found in his works. Among his thirty-six chamber works, three are wind quintets, written between 1962 and 1997. Although all three works warrant extended discussion, Variações e Fuga para quinteto de sopros is particularly valuable for studying Lacerda's musical language. It was originally written in 1962. However, Lacerda made significant revisions in 1994, completely rewriting and expanding it. Through comparing the 1962 and 1994 versions of Variações e Fuga and analyzing the significant differences between the two, this document aims show that even with his strong stance as a Brazilian nationalist composer, Lacerda was clearly influenced by the movements of the broader music world. Examples from his other two woodwind quintets, Quinteto de sopro and Suíte pra cinco, written in 1988 and 1997 respectively, help to support the idea that this change in his musical language was not an anomaly, but rather a true evolution of style impacted by his own culture and that of the classical music world around him.

La fugue est une problématique importante pour les instances veillant à protéger la sécurité et le développement des enfants et adolescents. Au Québec, un jeune sur quatre hébergé en centre de réadaptation l'expérimente. Bien que le taux de jeunes fugueurs reste stable, au cours des dernières années, le nombre d’absences s'est avéré en hausse. Cela signifie que ceux qui ont quitté leur milieu de vie substitut l'ont fait plus souvent. Puisque ce comportement peut compromettre la sécurité et le développement des enfants sous la responsabilité de ces instances, il faut chercher à déterminer les facteurs de risque individuels qui y sont associés. Il importe également de comprendre les caractéristiques du milieu de vie substitut et, plus largement, du contexte social environnant qui peuvent venir augmenter ou diminuer le risque. Une gestion efficace du risque de fugue passe nécessairement par une compréhension systémique de différents facteurs de risque individuels, organisationnels et environnementaux qui s’influencent et interagissent. Afin de considérer l’ensemble des caractéristiques permettant de prédire l'occurrence et la récurrence de la fugue, cette thèse poursuit deux objectifs principaux, abordés à partir d’une méthodologie mixte, alliant les méthodes quantitative et qualitative. Premièrement, le Guide d’évaluation du risque de fugue, un outil permettant d’évaluer le risque de fugue chez les jeunes hébergés en centre de réadaptation a été développé et validé. Un modèle composé initialement de 25 facteurs de risque a été soumis à diverses analyses psychométriques pour mettre à l'épreuve sa fidélité et sa validité prédictive. Des analyses de courbes ROC ont permis de déterminer que le modèle offrant la meilleure valeur prédictive en est un qui regroupe 15 éléments. De ce nombre, huit concernent des enjeux relationnels (ex.: alliance thérapeutique, réseau social, conflits, etc.). Une part importante de la prévention de la fugue doit donc s’intéresser à la façon dont le jeune interagit avec son entourage. Deuxièmement, 15 entretiens ont été réalisés auprès d’acteurs-clés afin de mieux cerner les caractéristiques du milieu de vie substitut qui peuvent avoir une incidence sur le risque de fugue. L’étude de ces facteurs situationnels a permis de comprendre en quoi l'historique récent de fugues dans le milieu de vie substitut, l’encadrement physique, les équipes d’intervenants, les composantes organisationnelles et les caractéristiques de la prise en charge peuvent prévenir ou accroitre le risque de fugue. Ces entretiens ont également mis de l’avant l’importance du contexte social environnant dans la compréhension de la problématique. En somme, cette thèse avance que la gestion du risque implique non seulement qu'on identifie les caractéristiques du jeune qui le prédisposent à la fugue, mais que l'on comprenne également en quoi des facteurs situationnels réduisent ou exacerbent le risque. Enfin, elle soutient que cette compréhension reste incomplète si l’on ne tient pas compte de certaines composantes du contexte social environnant. / The subject of runaways is an important preoccupation for child welfare services responsible for youth protection. In Québec, one in four youths living in a residential treatment center will experiment running away. Although these statistics tend to remain stable, in recent years an increase in absences has been observed. This can lead us to believe that those who leave the substitute care, do it more frequently. Managing risks in the youth protection system is a high stakes endeavor. In fact, runaway behaviors can potentially compromise the security and development of the youths for whom child welfare services have a responsibility. An optimal management of these risks implies evaluating them. Such an evaluation must not only determine the factors predisposing the youth to run away, it must also aim to identify the characteristics of the environment, how they influence the phenomena and eventually how they contribute to heighten or lessen these risks. A systemic understanding of the different individual and environmental risk factors, influencing and interacting with one another, must be considered when managing such risks in a protection setting. Considering these overall characteristics and their predictive value, this thesis has targeted two main objectives, based on a mix-méthod. A first goal was to develop a clinically valid tool evaluating the risk of running away for youths living in a residential treatment center. Applicating a model initially including 25 risk factors, diversified psychometric analysis measured the fidelity and predictive validity of the Guide d’évaluation du risque de fugue. In particular, ROC curves analysis helped determine that the model offering the best predictive value uses 15 risk factors. Of these 15 factors, 8 are pertaining to the quality of the relationships the youth has with his environment (quality of therapeutic alliance, conflictual relationships, peer and social relationships, etc…). This supposes that to better prevent the phenomena of running away in these contexts, a large part of these evaluations must take into account how the youth interacts with his environment. In second place, 15 interviews were conducted with key actors to better understand the characteristics and organisation of these residential treatment centers, and eventually their incidence on the risks of runaway behaviors. The careful study of situational factors has helped understand the influence of the actual presence of runaway behaviors, the physical environment, the teams of professionals; the characteristics of psychosocial treatment and finally the organisational components, and how they can prevent or increase these risks. These interviews have also highlighted the importance of the exterior environment in which the child welfare system is rooted and how this context affects the comprehension on these behaviors. Ultimately the results of this thesis lead us to believe that managing the risks of runaway behaviors not only implies evaluating the youth’s characteristics and how they predispose them to such behaviors but equally implies that situational factors have a role in preventing or increasing the risks. Although it should be mentioned that this evaluation is incomplete without the analysis of the exterior environment’s components and how they will facilitate or limit the risk management of professionals and child welfare organisations.

La présente recherche s'intéresse à la première fugue chez l'adolescent de son domicile familial. Elle vise à mieux comprendre le contexte dans lequel s'inscrit la fugue et à cerner le processus de réunification familiale qui fait suite à une fugue. L'analyse du discours de cinq jeunes et quatre de leur parent ayant vécu une première fugue est la démarche priorisée afin d'atteindre ses objectifs. L'approche systémique familiale et la situation de crise comme cadre d'analyse ont permis d'explorer le sens de la fugue et les dimensions de la réunification familiale. Le contexte familial, marqué par des relations parents-enfants conflictuelles, est la principale cause de la fugue chez les adolescents. Toutefois, la fugue s'inscrit aussi dans un contexte où les jeunes présentent des difficultés scolaires, avec les pairs et de consommation. Suite à la réunification familiale, la communication et les pratiques parentales sont les aspects les plus modifiés au sein des familles. L'expérience de fugue pour les jeunes et les parents comportent autant de points positifs que négatifs. Les résultats de cette étude mettent en évidence quelques pistes d'interventions à privilégier auprès des familles à risque ou en période de réunification familiale afin de diminuer les risques de récidives.