La tradition se balance entre la continuité de l’ancien et l’évolution, le changement. C’est le cas du sinawi, une des musiques instrumentales populaires de la Corée. Cette musique complexe, improvisée et hétérophonique, interprétée par un ensemble instrumental qui était utilisée lors des rituels chamaniques comme accompagnement du chant et de la danse des chamanes, est devenu au fil du temps une musique purement instrumentale de scène et artistique représentant la tradition populaire du pays. Dans cette thèse, l’auteur propose particulièrement une étude analytique des caractéristiques musicales (phrases musicales, forme) des divers sinawi à partir de ses transcriptions pour percevoir comment le sinawi parle, exprime la vie du peuple puis comment celui-ci évolue dans le temps et pour observer ainsi son évolution et son artistisation jusqu’à nos jours où il est présenté comme une musique purement instrumentale de scène. Cette musique qui est à l’origine des musiques populaires coréennes les plus connues comme le sanjo ou le p’ansori est aujourd’hui influencée de retour par ces genres. Aussi, les analyses permettent de constater que l’improvisation et l’hétérophonie qui qualifiaient cette musique complexe sont remplacées par la simplicité et la structure. / The tradition emerges from a balance between the continuity and the evolution, the change of the old. This is the case of sinawi, one of the Korean traditional instrumental music. This complex, improvised and heterophonic music played by an instrumental ensemble was used in shamanic rituals as accompaniment of song and dance of shamans. Over time, it became an artistic instrumental music representing the popular tradition of the country. Throughout this thesis, the author proposes the analytical studies of various sinawi’s musical characteristics (e.g., musical phrases, form) from her own transcriptions. This study characterizes how the sinawi speaks, expresses the life of the people and how it has been changing over time. The author also presents sinawi’s evolution and its artistisation process to the present day where it is performed on stage as a pure instrumental music. The sinawi, which is at the origin of the Korean popular music, the best known as sanjo or p'ansori, is now influenced back by these genres. Also, the analysis reveals that the improvisation and the heterophony that rated this complex music are replaced by the structure and the simplicity.

‘Metsän väki - Forest Dwellers’ was my Professional Integration Project (PIP). The project consisted of creating a performance titled ‘Metsän väki’, which was performed on May 9th 2016 in Helsinki, Finland and of writing this thesis. The performance was a collaboration between different artists and it involved music, visual art, dance and performance art. The starting point for creating the performance was my collaboration with sculptor and environmental artist Jenni Tieaho. In addition to traditional instruments, sounding objects were used in creating the music. There were both written and improvised music as well as improvised dance in the performance. The performance took place in a former psychiatric hospital. In the outcomes and conclusion I present my expectations for the performance and describe how those where met. I also examine the role of cross-artistic collaboration in the project. I give examples of my own artistic development as well as my development as a project leader. I also reflect on the relevance of the project to the community. The outcomes are presented through my own reflections and through discussion where I point to literature concerning the differences and similarities between different art forms. The outcomes of the project include audience feedback from the performance. This is presented in the appendices. My conclusion shows that I was also able to create a rich and diverse performance by using simple (low-tech) methods. The performance was inspired by my experiences, interests and background. In my thesis I also show how creating and structuring the ‘Metsän väki’ performance can help me to develop as an artist doing cross-artistic collaboration. / Professional Integration Project

This thesis argues that how-to manuals and cue sheets are indicative of ideal performance practice amongst musicians from the silent film era. Pre-scored music was widely practiced amongst musicians. How-to manuals and cue sheets helped the musician accurately and consistently accompany a film. Authors of period manuals include W. Tyacke George, Edith Lang and George West, Ernst Luz and George Tootell. Compilers of cue sheet include James C. Bradford, Ernst Luz, Edward Kilenyi and Michael P. Krueger. Cue by cue analyses of The Cat and the Canary and The Gaucho show a high repetition of music, establishing continuity between the music played and the image on the screen. This shows how compilers associated music and film. These manuals and cue sheets prove that the musician community strove for a close connection between the image on screen and accompaniment. By 1920, arbitrary improvisation was unacceptable.

Syftet med arbetet är att utforma och sammanställa mallar som organister kan ta hjälp av för att skapa förspel till psalmer. Med utgångspunkt i litteratur om orgelimprovisation har jag vid orgeln laborerat med olika improvisationstekniker för att utforska olika möjligheter till att presentera en psalmmelodi. Även samtal med lärare, konsertbesök och inspirerande medstudenter har hjälpt mig i processen. Resultatet blev fyra förspelsmallar som kan användas till att skapa psalmförspel. I arbetet har jag förklarat hur de fungerar, hur jag kom på dem, samt gett klingande och noterade exempel på hur de kan användas. Som kyrkomusiker tycker jag att det är roligt att försöka variera psalmförspelen så mycket som möjligt. En önskan om att lära mig fler sätt att preludiera gav mig idén till arbetet. Nyckelord: orgel, liturgisk orgel, orgelimprovisation, improvisation, förspel, preludium, psalmförspel, koralförspel, ostinato.

The master thesis explains the concept of marketing strategy of Jazz club Reduta and the improvisational group Improvariace. The theoretical part defines the marketing in general, marketing process and marketing mix focused on culture and the cultural product. This part of the thesis deals with the importance of marketing in culture and it describes the typology of audiences. Following the theory and the facts established in it, the practical part is set on monitoring a particular marketing strategy for improvisational group Improvariace and their performances in Jazz club Reduta. The goal is to critically evaluate their strategy and to propose improvements.

Orientador: Ricardo Goldemberg / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-07T19:38:17Z (GMT). No. of bitstreams: 1 Falleiros_ManuelSilveira_M.pdf: 2795982 bytes, checksum: 446009325898cb2f65c58e875074d173 (MD5) Previous issue date: 2006 / Resumo: Esta pesquisa teve por formalidade analisar o desenvolvimento da improvisação de Nailor Azevedo. Nailor Azevedo "Proveta" é saxofonista, clarinetista, arranjador e compositor. Suas obras têm sido destaque no cenário da música popular brasileira. Contudo, o fato mais peculiar de sua poética é a presença constante da improvisação musical em suas obras. Este fato é interessante pelo nível altamente desenvolvido e complexo que os solos improvisados de Nailor atingem no contexto da música brasileira. Apresentamos como Nailor adquiriu certas habilidades musicais e o tipo de prática que o levaram a elas. Estas habilidades foram determinantes para o desenvolvimento e consolidação de seu estilo de improvisação. Verificamos que Nailor atingiu um nível verdadeiramente profundo e original em sua improvisação. Isto foi comprovado através de transcrições e análises sobre seus solos improvisados. E por fim, reunimos as características mais particulares de seu estilo e as relacionamos com as fases de seu aprendizado musical. / Abstract: This research was dedicated to the analysis of the development os Nailor Azevedo' s improvisation. Nailor Azevedo "Proveta" is a saxophone and c1arinet player as well as an arranger and composer. His work has been a reference in the scenary os the brazilian music. Nevertheless, the most peculiar fact of his poetry is the permanet presence os musical improvisation in his work. This aspect is interesting due to the highly developed, and complex lelvel that Nailbr's improvised solos reach in the context os the brazilian music. Herein we present the way Nailor acquired certain music skills and the type of pratice that led him to them. These skills were fundamental for the development and consolidation of his style of improvisation. We verified that Nàilor reached a truly deep and original leveI in his Task of improvisation. This has been proven by transcriptions and analyses on his improvisad solos. Lastly we gathered the most peculiar features of his style and related them to the periods of his musical apprenticeship. / Mestrado / Mestre em Música

Orientador: Marilia Vieira Soares / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de artes / Made available in DSpace on 2018-08-07T23:53:41Z (GMT). No. of bitstreams: 1 Alves_FlavioSoares_M.pdf: 2271387 bytes, checksum: 97ff36d3e0638c6b40ee33831ad017fa (MD5) Previous issue date: 2006 / Resumo: O objetivo é compreender a natureza do processo criativo, observando a experiência do corpo, que encerra, na tensão entre forças opostas, o movimento da dança. A investigação penetrou no interior da linguagem da dança, seguindo os rastros da atuação energética que emana do corpo. ¿Quem dança em mim quando danço?¿. Este ¿quem¿ pode não ter uma identidade concreta, mas nos mobiliza a criação. Frente a este estímulo intangível, de um atuante elíptico de si mesmo, o artista se encontra "Face a ecaF", ou seja, face ao estranho dentro de si. Aberto a esta atraente estranheza, o corpo dá vazão à experiência sensível, e é a partir deste rastro que nos lançamos à criação de uma obra artística. O caminho investigativo trilhado deixou a mostra um processo metodológico vulnerável à inscrita do instante, o que torna o criador um aventureiro que desbrava as brumas de um espaço-tempo por vir ¿ a dança ¿ no curso intempestivo de estados alterados da consciência / Abstract: The objective is to understand the nature of the creative process observing the body experience that embodied in the tension between opposite forces in the dance movement. This study concentrated in the dance language following the tracks of the energy performance that emanates from the body. "Who dances in me when I dance? This "who" may not have a concrete identity but it mobilizes us to the creation. In front of this intangible stimulus, of a performer occult of himself the artist is "Face a ecaF", that's, in front of a stranger inside of himself. This ¿attractive stranger¿ mobilized us to the creation of an artistic work. The investigation indicated a methodology process vulnerable to inscription of instant so the creator becomes an adventurer who tames the mist of a spacetime for coming - the dance - in the untimely course of states changed of the conscience / Mestrado / Mestre em Artes

Orientador: Jorge Luiz Schroeder / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-26T14:49:03Z (GMT). No. of bitstreams: 1 Silveira_JairoPerin_M.pdf: 3197468 bytes, checksum: 78d677feff8fcb1d28686d8a821001c6 (MD5) Previous issue date: 2014 / Resumo: No mundo em que vivemos, percebemos aumentar, a cada dia, a quantidade de sons em todos os ambientes e muitas vezes, esses sons característicos, nem sempre são saudáveis. A audição é um dos sentidos que tem sido muito estimulada nos dias atuais, porém, não se trata de um escuta voltada para uma percepção de mundo, mas ao contrário, uma escuta que é quase como um anestésico para a poluição sonora que tem se estabelecido. Diante disso, é possível pensar uma educação musical que possa atuar através da criação levando em consideração diferentes sonoridades e um novo "fazer musical". O presente trabalho apresenta o relato de duas experiências realizadas com alunos do Ensino Fundamental I na disciplina de Educação Musical ¿ Ecos da Floresta: suíte em quatro movimentos para orquestra de papel e Festa de São João -, onde é apresentada uma abordagem de aprendizagem significativa que objetiva convidar os alunos a buscarem, de forma lúdica, experiências e informações musicais, que os levem a adquirir novos conhecimentos e habilidades artísticas, enquanto participam de um projeto de cunho fortemente interdisciplinar. A primeira experiência se baseia nos preceitos da Ecologia Acústica, um termo cunhado por Murray Schafer e os modelos de improvisação proposto por Koellreutter. Trata-se de uma atividade educacional que gera artificialmente o correspondente a uma paisagem sonora de uma floresta tropical ¿ explorando o desenvolvimento cronológico de sua formação, sua deterioração e da sua reconstituição. Foram utilizados como matéria prima sonora, ruídos feitos com diferentes tipos de papel. Nesta proposta de criação artística, com elementos da música tonal e pós-tonal ¿ nas fronteiras entre o som, o silêncio e o ruído ¿ focou-se o desenvolvimento de uma ação interdisciplinar que promova o desenvolvimento individual e a evolução social dos alunos. A segunda experiência, além de propor uma investigação sobre os diversos modos de perceber, compreender e realizar as músicas, busca uma reflexão sobre como a preparação de um ambiente propício à aprendizagem é tão importante quanto os conteúdos e consequentemente, os novos papéis que cabem ao professor desempenhar nesta outra situação: os diálogos entre culturas. Isto inclui, dentre várias atitudes, considerar a possibilidade de diferentes formas de participação dos alunos nos eventos musicais propostos em aula. Trafego pelas áreas da educação musical e da etnomusicologia para compreender outras formas de concepção e mesmo de relação significativa com as músicas geradas pelas manifestações populares brasileiras. A partir, então, dos conceitos de "música participativa", proporcionar uma experiência estética baseada no fazer artístico e na interpretação de músicas que envolvem a voz, o gesto e a técnica instrumental. O exemplo do ator brincante, do mestre popular, pode servir como parâmetro de revisão do papel do professor de música em sala de aula. A partir da ideia de experiências multiculturais, buscar formas criativas capazes de envolver os alunos em práticas musicais que sejam significativas para eles. Propor, então, uma ação educativa interdisciplinar pautada numa arte expressiva, auxiliadora na construção de valores sociais / Abstract: In the world we live in, we notice more and more, the increase of sound in all the environment and many times, they are not considered good for your health. Currently, the sense of hearing has been stimulated a great deal, however, not in the aspect of listening directed to the perception of the world around us, but the kind seen almost as an anesthetic against noise pollution. According to this, we could consider a type of music learning to work through creativity dealing with new sounds and a new "music creation". This work lists two experiments performed on grade school students in the Music Learning subject ¬¿ Ecos da Floresta (Forest Echos): suíte in four movements for the Orquestra de Papel (Paper Orchestra) and Festa de São João ¿, in which a crucial learning approach that focuses on helping students to find, in a playful way, experiences and music information that will allow them to acquire know-how and artistic skills while taking part of a multitask project. The first experiment is based on the Acoustic Ecology perception, a terminology coined by Murray Schafer as well as the improvisation models proposed by Koellreutter. This is a learning activity that creates artificially something similar to a noise soundscape from a tropical Forest ¿ exploring the chronological development of its creating, deterioration and reconstruction. As the raw material, sound and noise were created with different kinds of paper. In the proposed artistic creation, using elements from tonal and post tonal ¿ in the border between sound, silence and noise ¿ the focus was on developing a multitask action that would promote the individual development as well as the social evolution of students. The second experiment, in addition to the proposition to investigate the several methods of perception, understanding and play the music, deals with a reflection on how to prepare a suitable environment for learning which is as important as the content and consequently, the new roles of teachers in other aspects, i.e., dialogue between cultures. This also includes, among other attitudes, considering different ways from the students to participate in musical events that are proposed during classes. In addition it suggests going through music classes and ethnomusicology to understand other manners of conception as well as the important relationship with the music originating from popular manifestations in Brazil. Based on the "participative music", it should provide an esthetic experience based on the artistic performance and the interpretation of music that involve voice, gestures and musical techniques. The role of a playful actor, the popular teacher, can be used as a parameter to review the role of the music teacher during classes. Based on the multicultural experiences, they are creative methods able to involve students to perform music that mean something to them. Therefore, it proposes multitask learning aspects guided by expressive art to help build social values / Mestrado / Fundamentos Teoricos / Mestre em Música

Orientador: Ana Cristina Colla / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-26T17:11:06Z (GMT). No. of bitstreams: 1 Millas_ClaudiaReginaGarcia_M.pdf: 43008708 bytes, checksum: 0b83159366444447ccdf0babcc38a358 (MD5) Previous issue date: 2014 / Resumo: Falar de criação cênica a partir do uso dos espaços vertical e aéreo é sobretudo falar de uma prática híbrida que requer diálogo com diversas formas de conhecimento como a dança, o circo, o teatro e a escalada. Partindo de um estudo de caso, realizado com a Cia Suspensa de Minas Gerais, a pesquisa avançou para a experimentação prática dos espaços em laboratórios com um grupo de estudos a partir de três frentes: o espaço aéreo com o uso de uma cadeira suspensa, aparelho construído especialmente para a pesquisa; o espaço vertical por meio de uma parede de escalada; e exercícios de preparação no solo com treinamentos corporais. Destas práticas surgiram reflexões, diálogos de experiência e a composição de dois estudos cênicos, Ao Vestir Vertigens e De Olhos Fechados, apresentados em eventos culturais ao longo dos anos de 2013 e 2014. Tem-se como desafio colocar em palavras as experiências vividas e torna-las partilháveis, trazendo para isso parceiros de escrita e a cartografia como procedimento de trabalho. Discute-se sobre os riscos envolvidos na prática, os treinamentos necessários e as possibilidades de criação cênica a partir do uso dos espaços vertical e aéreo. Propõe-se que os espaços em questão possam servir como catalisadores do processo criativo, colocando o sujeito no campo de experiência, que gera conhecimento / Abstract: Discussing scenic creation based on vertical and aerial spaces is above all discussing a hybrid practice requiring a dialogue between several areas of knowledge, including dance, circus, theater and climbing. After starting with a case study, accomplished in collaboration with the Cia Suspensa of Minas Gerais, this research then moves on to explore those spaces in three different contexts: the aerial space, using a suspended chair built specifically for this research; the vertical space, using a climbing wall; and ground warm-up exercises with body training. This exploration gave rise to reflections, dialogues, and the elaboration of two scenic studies, "Ao Vestir Vertigens" and "De Olhos Fechados", performed in cultural events during 2013 and 2014. We then faced the challenge of putting our experiences into words so that we could share them with others; to achieve this, we enlisted the aid of writing partners and cartography techniques. Here, we discuss the practical risks, required training, and possibilities for scenic creation based on vertical and aerial spaces. We propose that such spaces can act as catalysts for the creative process, placing the subject in the field of experiment and thereby generating knowledge / Mestrado / Teatro, Dança e Performance / Mestra em Artes da Cena

Orientador: Matteo Bonfitto Júnior / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-27T09:42:02Z (GMT). No. of bitstreams: 1 Minozzi_CarolinaNicolino_M.pdf: 3593026 bytes, checksum: 221bbb0215dfff4a5ee1f5cf38b32764 (MD5) Previous issue date: 2015 / Resumo: A presente pesquisa tem como campo de investigação os "estados corporais" que permeiam as criações em dança contemporânea. A investigação, que possui um caráter teórico-prático, tem como principal fonte o diário de campo com registros e reflexões sobre processos de criação e exploração de "estados corporais". A pesquisa corporal se deu principalmente dentro do contexto do Núcleo Artérias (São Paulo-SP), dirigido por Adriana Grechi e, paralelamente, com o Grupo Vão (São Paulo-SP), coletivo de dança do qual a pesquisadora é integrante e codiretora. A partir da prática e das questões geradas por esse fazer, a dissertação traça paralelos entre artistas e pesquisadores que possam contribuir para a contextualização e problematização em torno do termo "estado corporal", discutindo os elementos presentes na criação artística e analisando qualitativamente as atividades experimentais da pesquisa. Desse modo, a reflexão emerge do entrelaçamento entre experiências em processos criativos, leitura dos materiais bibliográficos, análise de obras coreográficas e entrevista com artistas, com o interesse de abordar o campo de pesquisa "estados corporais" como catalisador de questões para a dança na contemporaneidade / Abstract: This dissertation has as its research field the "body states" that are related to creation in contemporary dance. The investigation, which has a theorist practical study, has as its main source the journey about experience of the "body states" creation. The body research mainly happened inside of the Núcleo Artérias (São Paulo-SP) context and at the same time with Grupo Vão (São Paulo-SP), a dance collective that the researcher is dancer and codirect. Taking the practice as a starting point, the dissertation draws parallel between artists and researchers that may contribute to the discussion around "body states" by discussing the elements in artistic creation and by qualitative analyzing of experimental activities of this research. By this way, the reflection emerges from de interlacement between the experience in creative processes, reading the bibliography, analyses of choreographic works and interviews with artists, aiming to approach the field research "body states" as a catalyzer of issues to the contemporary dance / Mestrado / Teatro, Dança e Performance / Mestra em Artes da Cena