Orientador: Marcelo Ramos Lazzaratto / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-26T18:38:33Z (GMT). No. of bitstreams: 5 Goncalves_MichelleCosta_M.pdf: 1421168 bytes, checksum: ac2ffb6364871c685e608e858c714245 (MD5) Goncalves_MichelleCosta_M_Arquivo2.zip: 686662621 bytes, checksum: 3bcd2fe31450507a68a05ecc2db845f6 (MD5) Goncalves_MichelleCosta_M_Arquivo3.zip: 2065791095 bytes, checksum: b936850242816b224c60c10d2fea6bfd (MD5) Goncalves_MichelleCosta_M_Arquivo4.zip: 1676352273 bytes, checksum: a2495e5a4a89abf2eb09facf709e72e8 (MD5) Goncalves_MichelleCosta_M_Arquivo1.zip: 658195522 bytes, checksum: 382b6f97a819a483bea46b41bc78717e (MD5) Previous issue date: 2015 / Resumo: Esta dissertação apresenta um inventário dos procedimentos utilizados na iniciação ao Campo de Visão ¿ sistema improvisacional coral, utilizado como prática do ator, formação de artistas da cena e criação poética de linguagem cênica ¿ investigado há 23 anos por Marcelo Lazzaratto e há 14 anos sistematizado com os atores da Cia. Elevador de Teatro Panorâmico. O inventário foi construído a partir do relato de uma experiência particular, no caso, os encontros iniciais de um curso ministrado em 2013 por Lazzaratto aos alunos do 2o ano do Curso de Graduação em Artes Cênicas da Unicamp. O trabalho se concentra nos aspectos formativos e voltados à prática do ator, mas em seus capítulos finais aborda a aplicação do Campo de Visão na construção poética da cena, através de uma breve análise do espetáculo Ifigênia / Abstract: This essay presents an inventory of the procedures applied in the Campo de Visão (Field of Vision) ¿ improvisational coral system, used as practice of actors, as artistic educational processes and as poetic creation of performing language ¿ a result of 23 years of research by Marcelo Lazzaratto and systematized for 14 years with the actors from Cia. Elevador de Teatro Panorâmico. The inventory has been made by a report of a specific experience, on this case, through the first meetings of a course ministered by Lazzaratto to the students of the 2nd grade from the Graduation Course in Performing Arts of Unicamp in 2013. This work focus on the Campo de Visão¿s (Field of Vision¿s) formative and directed to the actor¿s practice aspects, but discusses, its final chapters, the application of the system to poetic creation of scene, through a brief analysis of the play Ifigênia / Mestrado / Teatro, Dança e Performance / Mestra em Artes da Cena

Orientador: Grácia Maria Navarro / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-27T21:58:46Z (GMT). No. of bitstreams: 2 Giannetti_JuliaCorrea_M.pdf: 207669044 bytes, checksum: afcffbd3230f5302ec51d76e7b3e8499 (MD5) Giannetti_JuliaCorrea_M_ANEXO.zip: 148324128 bytes, checksum: bf9cc521572a5d90e46164bbe224a694 (MD5) Previous issue date: 2015 / Resumo: O trabalho traz à tona a vida e obra da artista da dança brasileira Maria Esther Stockler. Em parceria com José Agrippino de Paula - autor e diretor influente do tropicalismo - concentraram suas produção cênicas inovadoras nos anos de 1967 a 1970. Posterior a isso, o foco de suas pesquisas começa, cada vez mais, a ser conduzido para as experiências antropológicas em diferentes lugares que morou e viajou, como África, Arembepe-BA no Brasil, Peru e Bali. Maria Esther imprime essas experiências nas formas do seu corpo em movimento e apoiada no dispositivo criativo do vídeo, ambos realizam uma das primeiras produções experimentais unindo cinema e dança no Brasil. Representantes da contracultura, buscaram a construção de uma estética própria, mas muito sintonizados com aspectos presentes na arte de vanguarda do Ocidente. O trabalho situa a artista no contexto histórico e artístico da época, que mesmo à margem da produção das artes da cena, principalmente da dança, e com uma atuação teatral em um curto espaço de tempo, exerceu um papel de referência nos modos de produzir de uma geração de artistas desse período. Desse modo, a pesquisa segue os vestígios de uma figura peculiar da história da dança brasileira, a coloca em diálogo com a história da dança moderna, e também debate a questão de um corpo múltiplo de influências, culturas e costumes, que impulsionado pelo espírito libertário, articulou uma dança própria e autêntica / Abstract: The work brings to light the life and work of the artist of Brazilian dance Maria Esther Stockler. In partnership with José de Paula Agrippino ¿ author and director of the influential tropicalism - they focused their innovative scenic production from 1967 to 1970. Subsequently, the focus of her research starts beingin creasingly driven towards anthropological experiments in different places where she lived and traveled to such as Africa, Arembepe-BA in Brazil, Peru and Bali. Maria Esther prints theseexperiences into the shapes of her body in motion and supported by the creative video device, both held one of the first experimental productions combining theater and dance in Brazil. Counterculture representatives, sought to build its own aesthetic, but deeply tuned to theaspects present in the Western avant-garde art. The work puts the artist in the historical and artistic context of the time, which even at the margins of production of the arts scene, especially the dancing and a theatrical performances in short periods of time, played a role of reference in the ways of producing of a generation of artists of that period. There by, the research follows the traces of a peculiar figure in the history of the Brazilian dance, it creates a dialogue with the history of modern dance, and also debates the issue of a multiple body of influences, cultures and customs, which driven by the libertarian spirit articulated a distinctive, authentic dance / Mestrado / Teatro, Dança e Performance / Mestra em Artes da Cena

Improvisation är konsten att komponera, uttala, arrangera eller framställa någonting ej förberett. Hur gör man då för att lära sig musikalisk improvisation? Vanligen sker detta med hjälp av en musikteoretisk ingång. Detta arbete syftar därför till att ta reda på vad ett inlärningssätt på en gehörsbaserad grund kan ha för effekter. Metoden har varit att planka olika pianisters solon på samma låt och göra en egen inspelning, även den på samma låt både före och efter plankningen för att kunna jämföra dessa båda inspelningar och observera vilka resultat arbetet givit. Det har även gjorts en inspelning på en annan liknande låt både före och efter plankningen för att undersöka om utveckling som skett i den första låten även är överförbart till andra låtar. Resultatet tyder på att ett plankningsarbete leder till utveckling inom parametrarna timing och frasering, men att andra tillvägagångssätt är nödvändiga för att stärka sådant som rytm och tonmaterial.

Letting the Body Lead is an exhibition and workshop series that focuses on embodiment in social context and invites attendees to engage with the work, both as viewers and active participants. Embodiment in social context refers to the understanding of lived experiences in the body. Within my creative practice, I explore the body's creativity, knowledge, and agency while bridging and brining together the fields of fine arts, movement-based and socially just art making. I believe in the transformative potential of how movement and contemplative practices can support a more liberated way of being both within an individual and, by extension, within broader communities and social movements.

Woody Shaw is one of the most influential jazz trumpet players of the past fifty years. Despite his importance, very few models exist that contextualize Shaw's improvisatory approach inside modern jazz pedagogy. Writers such as Rex Richardson, Eric O'Donnell, and Gavin Franklin have identified key elements of Shaw's style, and have begun a critical examination of Shaw's music. While extensive, these approaches do not take into consideration the impact free jazz had on Shaw's technique, nor do they provide a model for how to duplicate Shaw's style. This project examines four elements of Shaw's style as seen in three improvised solos on "The Moontrane." These solos are taken from early, middle, and late stages of Shaw's career. By studying scale choice, sequence and the sequential treatment of motifs, pentatonic approaches to harmonic sequence, and atypical rhythmic phrasing, this study is able to show (1) how these elements developed over the totality of Shaw's career, (2) provide a better understanding of Shaw's improvisational style, and (3) provide a basis for implementing these procedures in modern music.

This study examines the evolution of Ella Fitzgerald's scat syllable vocabulary during a key developmental period in her career when she was recording for Decca Records. Between 1943 and 1952, Fitzgerald established the syllabic vocabulary that would serve as a defining characteristic of her improvisational style for the rest of her career. Fitzgerald is commonly praised as the greatest vocal improviser in jazz history, but while much has been written about Fitzgerald's melodic and harmonic approach to jazz improvisation, little has been written about her syllabic approach. Timbre and articulation are considered to be vital elements of any jazz musician's style; the study examines the changes in Ella Fitzgerald's syllabic approach through transcription and analyses of thirteen scat solos recorded during this time period, using scat syllable choices to discuss timbre and articulation. This analysis provides a model for further research of its kind, as well as informing historically accurate performance practice by both teachers and students of jazz singing.

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

Proyecto FONDECYT de iniciación N°11150789 “Glocal urban governance between neoliberalism, risk and resilience: re-assembling urban strategies in three chilean cities” Memoria para optar al título de Geógrafo / Memoria para optar al título de Geógrafo / “Urbanya Ciudad Global” y “Praderas de Lo Aguirre” en Pudahuel serán las urbanizaciones privadas más grandes que se desarrollarán en Chile, y al mismo tiempo, son megaproyectos inmobiliarios cuyos procesos de aprobación han tomado largos 24 años, pasando por la participación de asociaciones públicas-privadas y por desarticulaciones en niveles de gobierno regional y local. En esta investigación, se realiza un análisis cualitativo de la evolución de las formas de gobernanza en Pudahuel asociado a estos megaproyectos inmobiliarios, a través del lente de la gobernanza urbana analítica (Pierre, 1999; DiGaetano & Strom, 2003; Martí-Costa & Tomás, 2016, Lukas, 2018) y las relaciones de poder (Lukes, 2007; Howarth, 2010), concebidas como micropolíticas y macrodiscursos. Se identifican en los resultados cuatro grandes fases de gobernanza entre 1994 y 2018, en las cuales es posible reconocer una transición desde un régimen urbano (Stone, 1989) y un régimen pluralista de carácter corporacionista a escala local, en los que existe una fuerte presencia de la Comisión Mixta como asociación pública-privada, hacia una forma de gobernanza de carácter regional, con mixturas entre formas gerencialistas y clientelistas, donde la burocracia estatal y las diferentes visiones de los servicios públicos implicados retrasan el proceso. Se concluye que existen tres lógicas transversales que articulan los 24 años de gobernanza en Pudahuel: i) una fragmentación en los espacios de toma de decisiones de carácter multiescalar, ii) diferentes estrategias escalares de los desarrolladores inmobiliarios para afrontar las fases de gobernanza y iii) una improvisación de carácter reactiva por parte del diseño institucional chileno en lo que respecta a planificación y gestión urbana en Pudahuel. / "Urbanya Ciudad Global" and "Praderas de Lo Aguirre" in Pudahuel will be the largest private urbanizations to be developed in Chile, and at the same time, are real estate megaprojects whose approval processes have taken 24 long years, with the participation of public-private partnerships and several disarticulations at regional and local government levels. In this research, a qualitative analysis of the evolution of the ways of governance in Pudahuel associated with these real estate megaprojects is made, through the lens of analytical urban governance (Pierre, 1999, DiGaetano & Strom, 2003, Martí-Costa & Tomás, 2016, Lukas, 2018) and power relations (Lukes, 2007; Howarth, 2010), conceived as micro-politics and macro-discourses. In the results, four governance stages are identified between 1994 and 2018, in which it is possible to recognize a transition from an urban regime (Stone, 1989) and a pluralist corporatist regime at local scale, with a strong presence of the Comisión Mixta as a public-private partnership until 2003, towards a form of regional governance since 2004, with mixtures between managerialist and clientelist forms, where the state bureaucracy and the different visions of the public services involved delay the process. It is concluded that there are three transversal logics that articulate the 24 years of governance in Pudahuel: i) a multi scalar fragmentation in decision-making spaces, ii) different scalar strategies from real estate developers to face the governance stages and iii) the presence of a reactive improvisation on Chilean institutional design in both urban planning and urban management in Pudahuel.

The idea that dance can be understood as an act of communication and a form of language has been already taken into account by scholars. The hypothesis that will be discussed in this MA dissertation concerns a more specific matter: a semiotic approach to different forms of dance improvisation, and notably the method traditionally labeled "intuitive dance". To understand this phenomena two main concepts will be conveyed: that of "quotation" understood via W. Benjamin's essays on Brecht, and that of "notation", as defined by N. Goodman in his Languages of art. Can we understand dance as a language - id est a quotable and notable code - even in its more intuitive forms? How is it possible to "understand", "quote" and "address" gestures, even in front of a wide heterogeneous audience and without any prefixed choreography but only on the base of a free and in-time creating process? Can we understand improvisation as a complex code? what and how does this code mean? Keywords: improvisation, Intuitive Dance, semiotics, notation, gesture, Nelson Goodman, Walter Benjamin, dance, code

In Part I of this thesis, I examine the use of Latin American rituals, ceremonies, and traditional folklore as conceptual and compositional material; studying and re-contextualizing concepts, cultures, and ideologies, and introducing them to foreign audiences. I explore issues such as laptop improvisation, interaction with other performance forces, and the utilization of the social elements of non-western celebrations, as explored in Clestrinye, a work for live and fixed electronics, mixed ensemble, dancers, and painters.