Cette thèse se propose de démontrer que, au-delà de son image d’interprète de la musique de Jean-Sébastien Bach, le pianiste Glenn Gould a développé, à travers ses nombreux écrits, une véritable pensée musicologique, qui surprend par sa cohérence et dont les racines sont à chercher en réalité du côté d’Arnold Schoenberg, le compositeur qui l’aura le plus influencé. Nous nous attachons donc ici à l’observation et à l’analyse de cette pensée à travers les écrits du musicien canadien, l’objectif étant la mise en évidence du rapport existant avec la pensée de Schoenberg. L’analyse comparative menée ici repose sur les principes que Gould avait lui-même placés au fondement de sa pensée : le raisonnement justifiable, l’esprit de re-création, le concept inductif et la musicologie scientifique. Pour ce faire, nous avons adopté un cheminement logique passant successivement par les domaines suivants : méthode, création musicale, interprétation, critique, pédagogie et enregistrement. / This research tends to demonstrate that, beyond the picture of the performer of Johann Sebastian Bach’s music, Glenn Gould, the pianist, has developed through his numerous writings a real musicological thought which is distinguished by a strong coherence ; its roots are in fact to be found in Arnold Schoenberg’s thought, the composer whose influence was the most important for Gould. We intend here to propose an analytical and critical observation of Glenn Gould’s musicological thought by using the principles upon which he had himself set his thought, which are : justified reasoning, re-creation spirit, inductive concept and scientific musicology. With that aim, we used a logical progression examining successively the following themes : the method, the musical creation, the musical performance, the criticism, the pedagogy and finally the recording.

Though largely overlooked in academia, Manhattan public access television became a forum that allowed a variety of behaviors, sexualities, and genders to invade a highly controlled hegemonic apparatus in the 1970s and early 1980s. In this thesis, I argue that Anton Perich’s Anton Perich Presents (1973-c.1978) and Glenn O’Brien’s TV Party (1978-1982) worked to actively queer the form and content of television. Since these shows grew from rather exclusive underground communities, I argue that the broadcasting of these fringe personalities, genders, sexualities, and behaviors to a broader, cable-viewing public formed unique queer counterpublics. I situate Anton Perich Presents and TV Party in relation to the norms of broadcast television in order to establish the limits, norms, and codes of these diverse genres and in order to ascertain viewer’s expectations of them. By positioning Anton Perich Presents and TV Party in conversation with mainstream television shows, I identify a queerness these public access shows lent to television and its viewers through their deliberate manipulations of the medium. / text

I en värld av påstådda dikotomiska ytterligheter söker studenterna svar på frågan om politisk korrekthet påverkar socionomens arbete. Studien hämtar inspiration från Glenn Lourys teoretisering av begreppet ”politisk korrekthet” för att finna konkreta mekanismer bakom begreppet som socialt fenomen. Studien är kvalitativ och utgår från 8 intervjuer av yrkessamma socionomer. Med hjälp av Goffmans dramaturgi och delvis narrativ analys finner studenterna, bland annat, att socionomen behandlar sina värderingar som ett tudelat ämne: privata och professionella. Detta ger socionomen en möjlighet att distansera sina egna uppfattningar och ta på sig en ”socionomkostym” för att utföra sitt arbete utan att uppleva negativa sanktioner från klienter, kollegor eller ledning. / In a world of alleged dichotomic extremes, students seek answers to the question if political correctness affects the social work. The study draws inspiration from Glenn Loury's theorization of the concept of "political correctness" to find concrete mechanisms behind the concept as a social phenomenon. The study is qualitative and is based on 8 interviews of professional social workers. With the help of Goffman's dramaturgy and partly narrative analysis, the students find, among other things, that the social worker treats his values as a two-part topic: private and professional. This gives the social worker the possibility to distance their own perceptions and wear a ”social worker suit” to carry out their work without experiencing negative sanctions from clients, colleagues or management.

Made available in DSpace on 2016-04-29T13:18:07Z (GMT). No. of bitstreams: 1 Flavia Matielli Julio.pdf: 3093164 bytes, checksum: 3885b58294a0b2e9409e8eaa30141159 (MD5) Previous issue date: 2008-04-24 / Often, the environment that has a behavioral function for us is the behavior of others (Glenn, 1991). This means that there is a similarity between the behavior's content of different individuals, characterizing a cultural practice (Glenn, 2004). The concepts of macrocontingência, and metacontingência characterize the contingencie's relation contained in these cultural practices and serve as "tools" to examine the culture. Considering that the before mentioned concepts are recent and that relatively few researches have employed them, the present study evaluated Malott and Glenn's (2006) proposal to classify interventions as involving either: operant contingency, macrocontingency, metacontingency or no selection of contingencies. For this evaluation, the path run by Malott and Glenn (2006) to classify the type of contingency intervention was, independently, remade for the researches classified as: operant contingencies, macrocontingencies or metacontingencies. Other articles were also classified. These articles were selected for addressing problems that involve several people. The results from this study showed that: (1) It was possible to identify the values of the criterion variables ("Number of people contributing to the product", "Variety of topographies contributing to product", "Product of interest", "Selecting consequence and Locus of change") from 16 of the 17 articles reviewed, but (2) it is necessary to consider that in analyses classified as containing relations of metacontingências, a detailed analysis for each relationship's component involved may reveal new relations, including macrocontingency. This study also showed that (3) it is not necessary to identify the five variables proposed to find the kind of contingency involved in researches / Muitas vezes, o ambiente que tem uma função comportamental para nós é o comportamento de outras pessoas (Glenn, 1991). Isso faz com que exista uma similaridade entre os conteúdos dos comportamentos de diferentes indivíduos, caracterizando uma prática cultural (Glenn, 2004). Os conceitos de macrocontingência e metacontingência caracterizam as relações de contingências contidas nessas práticas culturais e servem como "ferramentas" para analisar a cultura. Considerando-se que os conceitos mencionados são relativamente recentes, a presente pesquisa teve como objetivo avaliar a funcionalidade dos elementos propostos por M. Malott e Glenn (2006) para identificar e classificar intervenções como envolvendo: contingência operante, macrocontingência, metacontingência ou nenhuma seleção de contingências. Para isto, foi refeito, independentemente, os percursos por meio do qual M. Malott e Glenn (2006) classificaram os tipos de intervenções contidas em relatos de pesquisas como: contingências operantes, macrocontingências ou metacontingências. Também foram classificados outros artigos, selecionados por tratarem de problemas que envolvem diversas pessoas. Os resultados obtidos nesta pesquisa mostraram que: (1) Foi possível identificar os valores dessas variáveis de classificação ("Número de pessoas contribuindo para o produto", "Variedade das topografias que contribuem para o produto", "Produto de interesse", "Conseqüência selecionadora" e "Local da mudança") em 16 dos 17 artigos analisados, porém (2) é necessário considerar que em análises classificadas como contendo relações de metacontingências, ao ser analisado cada componente das relações envolvidas, é possível encontrar novas relações, incluindo relações de macrocontingências. A presente pesquisa também mostrou que (3) não é necessário identificar as cinco variáveis propostas para encontrar o tipo de contingência envolvida nas pesquisas

In this dissertation I examine arguments for teaching post-secondary violin students to be versatile musicians rather than specialists in one genre or area of music. In order to do this, I assess the professional and educational opportunities in Toronto based on interviews with nine professional violinists as well as teachers and administrators at four institutions that offer post-secondary instruction in violin performance. To supplement information gathered through interviews, violinists and violists performing with the National Ballet of Canada and the Esprit Orchestra were asked to respond to a questionnaire regarding their training and work experiences. Data collected through fieldwork is contextualized by an analysis of scholarly writing, periodicals and websites on the topic of current post-secondary music curriculum and pedagogy methods. Throughout the dissertation, I build the case that, despite strong opinions and many years of pedagogy that emphasize the contrary, versatility provides many advantages to professional violinists when compared to specialization. In order to maximize the benefits of versatility in a professional career, I draw on Benjamin Brinner’s notion of core competences (Brinner 1995) to posit the skills necessary for professional musicians to pursue successful, enduring careers in Toronto. Applying these core competences to an analysis of violinists’ training, I explore the violin curriculum of post-secondary music schools in Toronto: The University of Toronto, the Glenn Gould School, Humber College, and York University to examine how students are being trained. In particular, I query how students are being prepared to be profession violinists with a focus on whetherthey are being prepared to be versatile musicians or specialists in one style. I conclude by offering recommendations as to how to better teach versatility based on the findings of the previous chapters. I explain that versatility can be nurtured in the school environment through teacher training and curricular changes that emphasize informal learning approaches, shifts in conventionally held assumptions about musical value and career success, and by encouraging exploration and improvisation as a basis of developing creativity.

In this dissertation I examine arguments for teaching post-secondary violin students to be versatile musicians rather than specialists in one genre or area of music. In order to do this, I assess the professional and educational opportunities in Toronto based on interviews with nine professional violinists as well as teachers and administrators at four institutions that offer post-secondary instruction in violin performance. To supplement information gathered through interviews, violinists and violists performing with the National Ballet of Canada and the Esprit Orchestra were asked to respond to a questionnaire regarding their training and work experiences. Data collected through fieldwork is contextualized by an analysis of scholarly writing, periodicals and websites on the topic of current post-secondary music curriculum and pedagogy methods. Throughout the dissertation, I build the case that, despite strong opinions and many years of pedagogy that emphasize the contrary, versatility provides many advantages to professional violinists when compared to specialization. In order to maximize the benefits of versatility in a professional career, I draw on Benjamin Brinner’s notion of core competences (Brinner 1995) to posit the skills necessary for professional musicians to pursue successful, enduring careers in Toronto. Applying these core competences to an analysis of violinists’ training, I explore the violin curriculum of post-secondary music schools in Toronto: The University of Toronto, the Glenn Gould School, Humber College, and York University to examine how students are being trained. In particular, I query how students are being prepared to be profession violinists with a focus on whetherthey are being prepared to be versatile musicians or specialists in one style. I conclude by offering recommendations as to how to better teach versatility based on the findings of the previous chapters. I explain that versatility can be nurtured in the school environment through teacher training and curricular changes that emphasize informal learning approaches, shifts in conventionally held assumptions about musical value and career success, and by encouraging exploration and improvisation as a basis of developing creativity.

Made available in DSpace on 2016-12-08T17:06:42Z (GMT). No. of bitstreams: 1 113289.pdf: 1053134 bytes, checksum: 9927653fda0bb011605fa720b589c1db (MD5) Previous issue date: 2013-04-02 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The consolidated public concerts during the nineteenth century remained the same size, which led to the crystallization of the performer-audience relationship to the present. With the autonomy gained by the composer, its function is separated from the figures performer and the listener, which established a new configuration under the musical season. However, despite the legacy of nineteenth-century tradition in the twentieth century, the Canadian pianist Glenn Gould pointed out new aspects in the unfolding of this relationship. His intense relationship with the studio recording, radio and television, has proposed a different positioning in respect to the figure of the interpreter in relation to his own art and the public. This research is focused on addressing these new designs proposed by Gould, in order to rethink the artistic practice of contemporary pianist. The work is divided into three parts. Chapter 1 is a plot of the historical tradition of concerts, from the end of the eighteenth century to its emergence during the nineteenth century. It also parallels Gould with public concerts and his preference for media (recording studio, radio and television). In chapter 2, is presented in depth about the prospect of Gould presentations in public and also the relationship of the spectator with his interpreter. The last chapter is reflecting about the interpretive process of Gould as an aid to a rethinking of the interpreter today. / Os concertos públicos consolidados durante o século XIX permaneceram com o mesmo formato, o que suscitou a cristalização da relação intérprete-público até a atualidade. Com a autonomia adquirida pelo compositor, sua função se separou das figuras do intérprete e do público, o que estabeleceu uma nova configuração no âmbito musical da época. Contudo, apesar da herança da tradição oitocentista, no século XX, o pianista canadense Glenn Gould apontou novos aspectos no desdobramento dessa relação. Seu vínculo intenso com o estúdio de gravação, o rádio e a televisão, propôs um posicionamento diferente em respeito à figura do intérprete na relação com sua própria arte e com o público. A presente pesquisa tem como foco a abordagem destes novos delineamentos propostos por Gould, com o intuito de repensar a prática artística do pianista contemporâneo. O trabalho está dividido em três partes. No capítulo 1 é um traçado histórico da tradição dos concertos, a contar do final do século XVIII até sua eclosão durante o século XIX. Também é feito um paralelo de Gould com os concertos públicos e sua preferência pelas mídias (estúdio de gravação, rádio e televisão). No capítulo 2, é apresentada de forma aprofundada a perspectiva de Gould acerca das apresentações em público e também da relação do intérprete com seu espectador. O último capítulo reflete acerca do processo interpretativo de Gould, como auxílio para um repensar da prática do intérprete na atualidade.

The Quebec City festivals of 1927 and 1928 represent a unique instance of close collaboration between prominent figures in Canadian musical and cultural history, John Murray Gibbon and Marius Barbeau. Based on Anglocentric concerns for a unique Canadian identity and corresponding school of composition, the festivals served as points of contact between many artists and performers, including Juliette Gauthier and Florence Glenn. An analysis of specific performances at the CPR festivals and over the course of Glenn and Gauthier’s respective careers showcase how racialized attitudes towards Indigenous populations, and the static conceptualization of French-Canadian folk culture were navigated to perform “Canadian folksong.”

The State of California has for some time been con- fronted with the great number of school districts, each an independent political division. In the past, several attempts have been made to enlarge these existing districts through consolidation or unionization, and provisions have been made in the school code whereby districts may consolidate. So far, little progress has been made. California, like many other states, has inherited the Now England tradition of the district school. This is the chief reason why she has to many school districts.

Le nouveau conservatisme noir voit le jour dans les années 1975-1980 et s’impose comme une idéologie singulière, représentée par une élite intellectuelle (Thomas Sowell, Shelby Steele, Glenn Loury, Stephen L. Carter) graduellement institutionnalisée dans l’establishment conservateur. L’initiative personnelle, le self-help et le rejet des programmes politiques libéraux constituent les axes majeurs de cette doctrine. Les néoconservateurs afro-américains manifestent une grande confiance dans les principes économiques du libre-échange et rejettent l’interventionnisme d’État en faveur de la communauté raciale. L’attaque contre l’affirmative action s’accompagne du plaidoyer pour l’instauration de la norme de color blindness. Les actions entreprises dans le but de mettre un terme aux traitements préférentiels accordés aux minorités et aux femmes sont attentivement organisées par les acteurs de la droite américaine. Un réseau bien coordonné d’individus, des fondations conservatrices, organisations et groupes de réflexion se consacre à la promotion des stratégies color blind. Ward Connerly, homme d’affaires noir de Californie, est à la tête du mouvement pour l’abolition des traitements préférentiels accordés aux minorités et aux femmes. Bénéficiant d’un soutien fort de la part des institutions conservatrices, ses campagnes contre la politique préférentielle se concrétisent dans les États de Californie, du Washington, du Michigan et du Nebraska. / The new Black Conservatism emerges between 1975-1980 and is considered as a unique ideology. Its major representatives are intellectuals (Thomas Sowell, Shelby Steele, Glenn Loury, Stephen L. Carter) who are gradually “institutionalized” and integrated into the conservative establishment. Personal initiative, self-help and the contestation of liberal political programs represent the major axes of this ideology. Black neoconservatives greatly rely on the principles of free market economics and reject state interventionism in favor of the African-American community. Their attack on affirmative action is accompanied by attempts at instituting color blind politics. Actions undertaken in order to outlaw preferential treatment granted to minorities and women constitute a carefully organized operation. A well coordinated network of individuals, conservative foundations, organizations and think tanks are connected in this process and dedicate their efforts to advancing a color blind agenda. Ward Connerly, a black businessman from California, leads the movement for the abolition of preferential treatments granted to women and minorities. With the help of conservative institutions, his campaigns against preferential treatment put a ban of affirmative action in the States of California, Washington, Michigan and Nebraska.