Syftet med detta arbete är att undersöka huruvida bel canto-teknik kan vara ett verktyg för sångutveckling inom kadens och koloratursång. Arbetet görs utifrån ett antal frågeställningar där analys görs till stor del utifrån bel canto-övningarnas resultat på tre olika koloraturkadenser i en Bellini aria. Mina frågeställningar är: Kan jag med hjälp av bel canto-teknik få mer egaliserad och övertonsrik röstklang? Hur påverkas intoneringen i kadenserna med hjälp av bel canto? Hur påverkar bel canto-övningarna balansen i avspänning-anspänning? För att kunna svara på dessa frågor kommer ett antal frågeställningar ligga till grund för mina reflektioner. Frågorna är: Hur känns det att göra dessa övningar? Hur känns det att sjunga kadenserna i arian? Kan jag lättare stanna i samma klangliga rum med god placering? Att undersöka om bel canto-övningar fungerar som ett bra verktyg för att arbeta med för koloraturer och kadenser.Metoden jag använde för detta arbete är en kvalitativ metod där jag med loggbok dokumenterat varje övningspass. I loggboken beskrev jag min dagsform, hur passet gick och kändes. För att ha möjlighet att analysera detta spelas det in löpande under dessa pass. Jag använde mig även utav en musikhistorisk metod för att hitta de övningar jag valt men också för att få en större förståelse för sångteknikens historia. Slutligen gick jag igenom mitt material av undersökningen genom att lyssna och analysera resultaten av övningarna och arian utifrån min loggbok och inspelningar.Mitt resultat visar att bel canto kan användas för sångutveckling inom kadens och koloratursång men för att få ett större resultat behövs en större utredning göras då sångteknik tar tid att befästa och utveckla.

This dissertation explores verbal and visual representations of the abject body in Federico García Lorca’s Poeta en Nueva York (published 1940), Viaje a la luna (1929), El público (1930-1931), and his drawings from 1929-1930. Grounded in queer theory, transgender studies, and Blackness studies, I explore how Lorca’s images of somatic abjection challenge hegemonic ideas of gender, sexuality, and race in the depiction of queer and otherwise marginalized identities. The dissertation focuses on abjection in three major poems from Poeta en Nueva York, beginning with “Oda a Walt Whitman.” In Chapter 1, I identify an Apollonian-Dionysian dichotomy between the figure of Whitman and the urban maricas, and explore how the abject effeminacy of the latter, and their excessively feminine performances, challenge the heterosexual reproductive order. Chapter 2 examines the abject fluids of vomit and blood in “Paisaje de la multitud que vomita” and “El Rey de Harlem.” I analyze the correlation between the mujer gorda’s physical size and her abject, Dionysian “vomiting multitude.” The second part of the chapter reads “El Rey de Harlem” in the light of Frantz Fanon’s racial phenomenology in order to explore Lorca’s representations of Blackness and masculinity. I argue that the primitivist motifs of blood, music, and nature associated here with erotic representations of the Black masculine body create an ambivalent poem that is at once empowering and exoticizing. Chapter 3 analyzes the uncompleted film scenario Viaje a la luna, which I contend portrays queer anxieties about gender and sexuality through the “nervous gestures” and exposed body of the protagonist. Discussion of the scenario leads to discussion of abjection in the drawing Muerte de Santa Rodegunda. I argue that in Lorca’s drawings of mutilated and plant-like bodies, we see a transformative vision of what a body can be, one that pushes at the boundaries of the human. Finally, in Chapter 4, I argue for a genderqueer reading of the transgressive play El público. Performance theory, queer theory of sadomasochism and anality, transgender theory, and explorations of X-ray technology in the twentieth century help me dissect what has been called Lorca’s “impossible play.”

As it was established in its origins, the compositional form of the bolero consists of 32 measures divided into two sections of 16 measures. The melodies incorporate sequences of melodic lines that are usually 4 measures long and are easily accessible, helping students to practice musical memory and stimulating their ear-training development. The poetry in Spanish gives the student the opportunity to be trained to sing pure vowels that are essential for the unification of the registers and the development of a healthy singing technique. This dissertation discusses the teaching the Latin American bolero genre to undergraduate mezzo-sopranos, combining it with the bel canto approach, as found in four elements from the method of the famous pedagogue, Manuel Garcia (1805-1906). These four elements are the clean onset or coup de la glotte, the unification of the registers, legato, and expressive devices or bel canto idioms like timbre and tempo rubato. The guidelines used to choose the repertoire are range, tessitura, simple meter and rhythm, tonal melodic lines, and piece duration. The boleros chosen for this study are "Solamente una vez" by Agustín Lara (1897-1970), "La gloria eres tú" by José Antonio Méndez (1927-1989), "Bésame mucho" by Consuelo Velázquez (1916-2005), "Aquellos ojos verdes" by Nilo Menéndez (1902-1987), "La mentira" by Álvaro Carrillo (1921-1969), "Tú me acostumbraste" by Frank Domínguez (1927-2014), "Alma mía," and "Así" by María Grever (1885-1951).

The poet Larry Levis often employed ekphrasis as an elegiac device—particularly with his verbal descriptions of photographic images—to explore human suffering and reconcile feelings of loss. Through the ekphrastic mode, Levis could juxtapose otherwise disparate images, manipulating their temporal and spatial relationships, to achieve what he conceived an authentic portrait of the human experience. The poet, through his verbal descriptions of photographic images, does not try to evade the pain or joy of being human; instead, he confronts his grief directly and, in so doing, transcends that suffering to better understand himself and his own human position. This thesis analyzes the following poems by Larry Levis: “My Only Photograph of Weldon Kees,” “García Lorca: A Photograph of the Granada Cemetery, 1966,” “The Assimilation of the Gypsies,” “Sensationalism,” and “Photograph: Migrant Worker, Parlier, California, 1967.”

The traditional cante jondo is a song unique to Andalusia as it developed from the "mosaic" of cultures that have inhabited its borders, including Arabs, Jews and Gypsies. The genre expresses the history of the region, reveals the typography of the landscape and cries the tears of its people. "Deep song," the translation for cante jondo, is the forerunner of the flamenco, but it is a communication of a dark soul rather than an exuberant entertainment. The original folk idiom is a medium less concerned with beauty than the cathartic release of pain of every day life. It expresses the soul of Andalusia. This study explores the history and the poetic and musical forms Andalusian cante jondo as the inspiration for the poetry of Federico Garcia Lorca set by Elisenda Fabregas in the song cycle, Five Poems of Garcia Lorca (1992). Lorca felt the validity of "deep song" and he was disturbed that it was being corrupted by commercialism and was afraid it would be lost to posterity. His goal was to preserve the essence of the song and lift it to an artistic plain. He saw folk music as the core of the national musical and literary identity in Germany, France and Russia and worked to establish Spain as an artistic equal. Lorca's writings were not imitations of the traditional cante jondo. They echoed the history, the landscape and the tears, but they did so through symbolism and vivid imagery. The poet communicated on several levels, one as a voice of Andalusia, Spain and ultimately mankind and another with his own private message. His life was short, but his legacy is long. Fabregas, like Lorca, has taken a folk medium and expanded it beyond its original boundaries. Being of Spanish heritage, but not Andalusian, she is less committed to the local musical constraints. She felt the humanity in Lorca's poetic cries and expressed them through her own language. As a result her songs are intensely dramatic and are exciting pieces to perform.

[pt] A teus pés: desdobramentos estéticos e amorosos propõe o estudo tanto da obra A teus pés (1982), de Ana Cristina Cesar, quanto de outras obras que dela derivaram, a saber o também chamado A teus pés, uma publicação de artista de 2012, de Fabio Morais, e a garota de belfast ordena a teus pés alfabeticamente, poema e vídeo da poeta Marília Garcia, produzidos entre 2008 e 2013. O foco da dissertação está em observar os processos de apropriação que sustentam tais obras comentando referências e modos de fazer, além de abordar suas especificidades também materiais no contexto contemporâneo abrangendo possibilidades e ferramentas que não faziam parte do momento histórico de Ana Cristina Cesar e que se revelam potências suplementares para o contexto literário e artístico. Tais investigações incluem uma perspectiva também do amor ao identificar a apropriação não só como um gesto de amor, mas que age a partir desse amor. A pesquisa apresenta um panorama teórico das apropriações e mergulha nas obras citadas incluindo intervenções artísticas pontuais da artista-pesquisadora que também dialogam com Ana Cristina Cesar, com apropriações e com as visualidades da escrita. Como resultado, tem-se uma ampliação do alcance da palavra poética em conexão com as artes visuais e da prática apropriativa que se firma como modus operandi no cenário atual alinhando-se às demandas estéticas do momento contemporâneo. / [es] A teus pés: desarrollos estéticos y amorosos propone el estudio tanto de la obra A teus pés (1982), de Ana Cristina Cesar, como de otras obras que de ella derivaron, a saber la también llamada A teus pés, publicación de artista del año 2012, de Fabio Morais, y a garota de belfast ordena a teus pés alfabeticamente, un poema y video de la poeta Marília García, producido entre 2008 y 2013. El objetivo de la disertación es observar los procesos de apropiación que sustentan tales obras, comentando referencias y formas de hacer, abordando también sus especificidades materiales en el contexto contemporáneo, abarcando posibilidades y herramientas que no formaban parte del momento histórico de Ana Cristina César y que se revelan como potencias suplementarias para el contexto literario y artístico. Tales investigaciones también incluyen una perspectiva del amor al identificar la apropiación no sólo como un gesto de amor, sino el actuar desde ese amor. La investigación presenta un panorama teórico de las apropiaciones y profundiza en las obras mencionadas, incluyendo intervenciones artísticas específicas del artista-investigador que también dialoga con Ana Cristina César, con las apropiaciones y las visualidades de la escritura. Como resultado, se produce una ampliación del alcance de la palabra poética en conexión con las artes visuales y la práctica apropiativa que se establece como modus operandi en el escenario actual, alineándose con las exigencias estéticas del momento contemporáneo.

Submitted by Larissa Silva (larissasilva@ufpa.br) on 2018-06-11T16:31:32Z No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Dissertacao_SinvalGarciaLinguagens.pdf: 8899268 bytes, checksum: 0a27c95597bad8ca56e4571772ae6d20 (MD5) / Approved for entry into archive by Larissa Silva (larissasilva@ufpa.br) on 2018-06-11T16:32:34Z (GMT) No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Dissertacao_SinvalGarciaLinguagens.pdf: 8899268 bytes, checksum: 0a27c95597bad8ca56e4571772ae6d20 (MD5) / Made available in DSpace on 2018-06-11T16:32:34Z (GMT). No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Dissertacao_SinvalGarciaLinguagens.pdf: 8899268 bytes, checksum: 0a27c95597bad8ca56e4571772ae6d20 (MD5) Previous issue date: 2015-06-15 / CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / A presente pesquisa aborda parte da obra de Sinval Garcia (1966 - 2011), que realiza significante produção no âmbito das Artes Visuais no Brasil. Em sua produção, abordaremos as exposições Samsara (1997), Paisagens In-visíveis (2005) e A Câmara da Transmutação Secreta (2009). Este recorte de sua obra se constitui no interstício entre a fotografia e outras linguagens, nos concentrando, especialmente, na relação estabelecida com a pintura, observada nos vínculos entre os trabalhos dentro do contexto da produção do artista. Para tal foram utilizados os conceitos sobre fenomenologia de M.Merleau-Ponty, o estudo de Laura Gonzalez Flores sobre fotografia e pintura, além do pensamento de Vilém Flusser acerca de uma filosofia para a fotografia. Este trabalho pretende colaborar para as discussões de uma História da Fotografia Contemporânea no Pará e no Brasil, bem como contribuir para o posicionamento reflexivo e crítico da arte contemporânea em âmbito nacional. / The current research discourses part of the Sinval Garcia’s work (1966 - 2011) which performs major production in the Brazilian’s visual arts field. In his production, we will focus on the exhibition “Samsara” (1997) “Paisagens In-visíveis” (In-visible Landscapes) (2005) and “A Câmara da Transmutação Secreta” (The House of Secret Transmutation) (2009). This cut of his work constitutes by the interstices between photography and other languages, and it will be focused particularly on the established relationship with painting, observed over the links between the works within the artist's production context. To do this we used the concepts of phenomenology M.Merleau-Ponty, the study Laura Gonzalez Flores on photography and painting, beyond thought of Flusser about a philosophy for photography. This research contribute to the discussions of a story of contemporary photography in Pará and Brazil, and contribute to the reflective and critical stance of contemporary art nationwide.

This Education Resource Guide includes activities regarding the following three topics related to P.S. Be Eleven, followed by discussion questions, and a list of books for further reading: Motown Vietnam War and PTSD Senator Robert F. Kennedy

Made available in DSpace on 2015-12-10T14:22:12Z (GMT). No. of bitstreams: 0 Previous issue date: 2015-06-29. Added 1 bitstream(s) on 2015-12-10T14:28:15Z : No. of bitstreams: 1 000853688.pdf: 6118742 bytes, checksum: 0899a7dccc5c539045351d6c407feb52 (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / No presente trabalho buscamos refletir a respeito de alguns dos diversos procedimentos extramusicais e interdisciplinares envolvidos na confecção da obra musical Romancero Gitano, de Autoria de Mario Castelnuovo-Tedesco com textos de Federico Garcia Lorca. Para o cumprimento desta tarefa foram considerados procedimentos como retórica e word-painting, bem como levantamento de dados biográficos de compositor e poeta, análises técnico -musicais de cada um dos movimentos da obra e leituras poéticas dos textos / In the present work our aim was to reflect on some of the various extra musical and interdisciplinary procedures involved in the confection of the musical work Romancero Gitano, Mario Castelnuovo-Tedesco's authorship, with texts by Federico Garcia Lorca. To achieve this aim we have considered procedures such as rhetoric and word-painting, as well as research on biographical data about composer and poet, technical -musical analysis of each one of the movements of the work and poetical readings of the texts

Made available in DSpace on 2015-06-17T19:33:56Z (GMT). No. of bitstreams: 0 Previous issue date: 2014-05-27. Added 1 bitstream(s) on 2015-06-18T12:47:48Z : No. of bitstreams: 1 000829460.pdf: 322357 bytes, checksum: d142f4c0eaa0599f1057003e8393edad (MD5) / Este trabalho tem por objetivo estudar Crônica de uma morte anunciada do autor colombiano Gabriel García Márquez. Essa narrativa é construída através de relatos que nos proporcionam o entendimento dos fatos que levam a personagem principal à morte. Analisamos a Crônica sob a perspectiva das narrativas de testemunho bem como da crônica (AIO: 2007), pois percebemos que existem características de ambos os tipos textuais na obra de García Márquez, o que a torna, portanto, a nosso ver, uma narrativa que apresenta a fusão de diferentes características textuais, uma vez que nos apresenta os testemunhos do narrador e das personagens que vivenciaram os acontecimentos fúnebres daquela segunda-feira, através da ficcionalização de um fato cotidiano. Esse hibridismo se acentua quando vemos que há sempre um mistério rondando a narrativa, já que a mesma apresenta características próximas ao romance policial (BOILEAUNARCEJAC: 1991), fornecendo-nos, assim, a tríade típica desse gênero: o criminoso, a vítima e o crime. Analisamos também as memórias individuais e coletivas (HALBWACHS: 2006; BOSI: 2003) apresentadas pelo narrador e pelas personagens. O narrador nos apresenta não somente as visões das personagens, mas também suas impressões pessoais acerca da história, deixando, portanto, suas marcas dentro da narrativa / The object of this research is to study the Chronicle of a Death Foretold written by the Colombian Gabriel García Márquez. This literary work is composed by accounts which provide the understanding of the facts about the death of the main character present in this narrative. It is analyzed from the perspectives of witness narratives and chronicle (AIO: 2007), because it is possible to notice that this both textual types exist in the Chronicle of a Death Foretold, demonstrating that this narrative contains different textual characteristics. The mixture of these textual characteristics is observed in the narrator and in the characters evidences of their mournful experiences through the daily events fictionalization. This hybridism is intensified because there is always a mystery around the narrative as it is also observed in detective novels (BOILEAU-NARCEJAC: 1991), in which there is the triad: victim, criminal and the crime. It is also analyzed the individual and collective memories presented by the narrator and the characters, as studied by (HALBWACHS: 2006; BOSI: 2003). In Chronicle of a Death Foretold, the narrator presents not just the characters views, but also his own impressions about the whole story, leaving his point of view about the narrative