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.

När det kommer till allmänt skapande så anser jag att det handlar mycket om att komma på idéer. Att ta vara på sina vardagliga möten och sin omgivning runt omkring sig kan vara användbart material för att bli inspirerad och motiverad till att skapa något. Från arkitekter som ritar hus till tekniker som skapar inom medieteknik, så har många idéer inspirerats från någon grund, för att sedan fått existens. I mitt fall har jag inspirerats av Walt Disney’s Fantasia (1940) och fått idéen att testa skapa en metod om hur karaktärer kan frambringas med stöd av instrumentalmusik. Oavsett när det kommer till film, spel eller litteraturer så har karaktärer en oerhört stor betydelse i alla typer av berättelser. Det finns till visshet en mångfald olika sätt hur karaktärer kan skapas och jag har haft som mål att skapa en egen metod för de som är i behov eller har intresse av skapa karaktärer. I detta kandidatarbete kommer mitt tillvägagångssätt presenteras om hur jag har skapat tre olika karaktärer med hjälp av tre olika instrumentallåtar. I detta kandidatarbete kommer det presenteras forskning om hur vi kan uppleva musik, användbar information om karaktärsskapande och vilka metoder jag har använt mig av under min karaktärprocess. I slutet har tre stycken grundkaraktärer frambringats med hjälp från mina tre utvalda instrumentallåtar, och en gestaltning kommer introducera förslag om hur karaktärerna kan se ut. / I think when it comes to overall creation, it's a lot about getting ideas. When it comes to finding ideas, I think it’s about paying attention to your everyday meetings and surroundings to find useful materials that can be inspiring and create motivation to design. From architects who draw houses, to technicians who create in media technology, so have many ideas been inspired for some kind of basic. In my case, I have been inspired by Walt Disney’s Fantasia (1940) and got the idea of ​​trying to create a method about how characters can be produced with help from instrumental music. When it comes to movies, games or literatures, characters have a enormous importance in all kinds of stories. There are surely a variety of ways in how characters can be created, and my goal in this bachelor thesis have been to create an usable method for those who are in need or have interest in creating characters. In this bachelor thesis, my approach will be presented, about how I’ve created three different characters with help of using three different instrumental songs. In this bachelor thesis will research be presented on how we can experience music, useful information about character creation, and the methods that have been used in my character process. In the end, three different basic characters will be presented with various personalities and a design will introduce proposals on how the characters might look like.

Made available in DSpace on 2014-06-11T19:27:27Z (GMT). No. of bitstreams: 0 Previous issue date: 2009Bitstream added on 2014-06-13T19:15:00Z : No. of bitstreams: 1 sousa_mbtrn_me_ia.pdf: 1518149 bytes, checksum: e9a6da7b19b32aaea722d6f799f282c3 (MD5) / Universidade Estadual Paulista (UNESP) / Esse trabalho tem por objetivo estudar o Clube do Choro de São Paulo, que funcionou entre os anos de 1977 e 1979. O Clube foi uma entidade criada por músicos, jornalistas e aficcionados do gênero, com o objetivo de promover a música instrumental brasileira, editar discos e partituras, recolher depoimentos de artistas e promover o intercâmbio entre músicos antigos e jovens, visando à preservação do choro. Foi utilizada uma abordagem histórico-musicológica, isto é, procurou-se não apenas estudar o Clube e suas ações, mas também a conjuntura política e social em que ele esteve inserido, e os efeitos que este entorno pode ter tido sobre suas realizações. Procurou-se demarcar quais dessas ações foram mais significativas e provocaram maior impacto no cenário musical paulistano. Paralelamente ocorreu a recuperação do material bibliográfico produzido pelo Clube, que soma mais de cem artigos de jornal, além de cartas, fotos e anotações. O material sonoro encontra-se em fase de recuperação, isto é, as fitas de rolo passam atualmente por processo de digitalização, onde serão convertidas em arquivos eletrônicos. Por meio desse processo, essas gravações podem ser preservadas em mídias mais modernas, tais como Cds e Dvds, e disponibilizadas aos interessados. / This paper aims to study the São Paulo’s ‘Clube do Choro’, which existed in that city between 1977 and 1979. The Clube was an organization created by musicians, jornalists and fans of the choro style, and its objectives were: promoting the brazilian instrumental music; releasing records and editing sheet music; collecting interviews with artists exchanging informacion between musicians of the old and new schools, aiming to preserve the choro. An historical-musicological approach to the subject was used, i.e., the Clube do Choro and its actions were studied inserted in its political and social context, and the effects that this context might have had in the Clube’s deeds. We tried to mark which of those acts were more significant ou promoted a bigger impact on the musical scene of São Paulo. At the same time, we proceeded the recovery of the bibliographical material produced by the Clube, which amounts to more than one hundred newspaper articles, besides letters, photos and notes. The sound material produced by the Clube is still in restoration, i.e., tapes are being digitalized, in a process that will convert them to electronical archives. Through this process, the recordings can be stores in modern midia, such as CDs and DVDs, making its handling easier for those interested in this subject.

La présente recherche aborde la notion d’écriture technomorphe dans la musique contemporaine. Ce procédé, consistant à transposer des modèles électroniques dans la domaine instrumental, est apparu peu après la création des studios de la Westdeutscher Rundfunk (WDR) et du Groupe de Recherche Musicale (GRM). Au cours de ce mémoire, nous verrons l’origine et l’évolution de cette écriture, ses possibles formes ainsi que des exemples de sa dissémination dans la musique contemporaine. Nous présenterons également quatre oeuvres, réalisées dans le cadre de la maîtrise, proposant l’idée de musique hantologique instrumentale, écriture technomorphe inspirée par les artéfacts audio venant de la défectuosité des supports d’enregistrement analogiques et numériques. / This research explores the notion of technomorphic writing in contemporary music. This process, consisting of transposing electronic models into instrumental music, appeared shortly after the creation of the Westdeutscher Rundfunk (WDR) and Groupe de Recherche Musicale (GRM) studios. This dissertation addresses the origin and evolution of this approach, its possible forms and examples of its dissemination in contemporary music. Four new pieces, created during this master's degree, further explore the idea of hauntological instrumental music, inspired by audio artifacts from the defective analog and digital recording media.

One of the most important compositional theories of Alexander Tcherepnin (1899-1977), Russian-American composer and pianist, is the Eurasian ideology, which was a result of the influence of Eastern culture. Inspired by this theory, Tcherepnin not only extricated himself from his own compositional techniques, but also intensified his search for musical folklore. In April, 1934, he began a world tour which was to include China, Japan, Singapore, the Philippines, Egypt, and Palestine, to search for "musical folklore." He became so fascinated with the culture of ancient China that he cancelled the rest of his arrangements, and, except for visits to Japan, he remained in China for three years, until the outbreak of the Sino-Japanese War in July, 1937. During his three-year stay in China, Tcherepnin was greatly attracted to Chinese culture, and as a result, Chinese culture influenced his music to a significant degree. This essay examines the manner in which Tcherepnin's music was influenced by his experiences in China. In order to precisely analyze the close affiliation between Chinese musical elements and Tcherepnin's "Chinese Mikrokosmos," many original Chinese sources proved indispensable in this study. These sources include Chinese folk music, theater music, instrumental music, religious music, and Chinese periodicals and newspapers that reported Tcherepnin's activities in China (1934-7). The organization of this dissertation as follows: Chapter I provides a brief biographical sketch of Tcherepnin, traces his activities in China, and introduces one of his greatest "Chinese" compositions, "Chinese Mikrokosmos," which represents the fruits of his labors to scrutinize and absorb Chinese musical language. Chapters II and III are devoted to exploring how Chinese folk and instrumental music inspired Tcherepnin's "Chinese Mikrokosmos." Chapter IV summarizes this study.

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Cette version de la thèse a été tronquée de certains éléments protégés par le droit d’auteur. Les partitions et enregistrements des compositions musicales qui accompagnent cette thèse peuvent être consultés par les membres de la communauté de l’Université de Montréal dans une des bibliothèques UdeM. / Cette thèse présente une approche personnelle du thématisme. Traditionnellement, la théorie et la pratique thématiques traitent d'entités mélodiques ou rythmiques (thèmes, motifs, séries) qui imprègnent le contenu et l'organisation d'un morceau de musique à travers de nombreuses techniques de dérivation et d'élaboration. L'objectif principal de cette approche est d'assurer l'unité de l'oeuvre musicale en présentant de multiples expressions d'une ou de quelques idées de base. Essentiellement, mon approche reprend la notion de description paramétrique — déjà présente dans l'approche traditionnelle par rapport aux hauteurs et aux rythmes des entités récurrentes — et l'applique à la description de périodes de temps ou de niveaux formels. Trois chapitres m'aident à développer cette vision. Le premier donne un aperçu des fondements sur lesquels repose mon approche, notamment le thématisme, la hiérarchie et la temporalité. Le second présente l'approche elle-même. En particulier, il introduit le concept de réseau paramétrique et le relie à des notions telles que description paramétrique et niveau formel. Le dernier chapitre consiste en plusieurs analyses de pièces conçues à travers cette manière personnelle de penser le thématisme. / This thesis presents a personal approach to thematicism. Traditionally, thematic theory and practice deal with melodic or rhythmic entities (themes, motives, series) that permeate the content and organization of a piece of music through numerous derivation and elaboration techniques. The main objective of this approach is to ensure the unity of the musical work by presenting multiple expressions of one or a few basic ideas. Essentially, my approach takes the notion of parametric description —already present in the traditional approach in relation to the pitches and durations of the recurrent entities— and applies it to the description of periods of time or formal levels. Three chapters help me develop this vision. The first provides an overview of the foundations on which my approach is based, most notably thematicism, hierarchy, and temporality. The second presents the approach itself. In particular, it introduces the concept of parametric network and relates it to notions such as parametric description and formal level. The last chapter consists of several analyses of pieces conceived through this personal way of thinking of thematicism.

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Made available in DSpace on 2014-07-29T16:25:16Z (GMT). No. of bitstreams: 1 Preliminares.pdf: 153854 bytes, checksum: fe019cb49b69622b03ceb1a9cc8aa297 (MD5) Previous issue date: 2010-03-31 / This paper discusses the use of bowing technique in improvisation with the bass in the Brazilian Instrumental Popular Music (MPBI). The main objective is to develop study strategies through a brief literature review on the bowing technique, its application in North American jazz and the characteristics of improvisation in MPBI. Thus, the paper discusses the results and presents them in the form of suggestion implementation. The paper is organized into three parts: 1) Review of literature on the use of the bow on strings instruments, 2) MPBI improvisation and 3) strategies for improvisation study on double bass with the use of bowing technique in MPBI. It can be concluded that the processes involved in improvisation on the double bass with bowing technique in MPBI have some particularities that should be objects of attention and study. Moreover, there are similarities in the use of the bowing technique in Classical Music, particularly the technique preparation. It also follows that the greater the knowledge of the peculiarities of bowing technique in improvisation, preparing technical and stylistic knowledge of the bassist, the performance will be better. / O presente trabalho discute a utilização da técnica de arco na improvisação ao contrabaixo acústico na Música Popular Brasileira Instrumental (MPBI). O objetivo principal é desenvolver estratégias de estudo, através de uma breve revisão de literatura sobre a técnica de arco, sua aplicação no jazz norte americano e as características da improvisação na MPBI. Assim, o trabalho discute os resultados obtidos e os apresenta em forma de sugestão de aplicação. O artigo está organizado em três partes: 1) Revisão de literatura sobre o uso do arco nos instrumentos de cordas friccionadas; 2) A improvisação na MPBI e 3) Estratégias de estudo para a improvisação ao contrabaixo com uso de arco na MPBI. Pode-se concluir que os processos envolvidos na improvisação ao contrabaixo com uso de arco na MPBI apresentam particularidades que devem ser objetos de atenção e estudo. Por outro lado, há semelhanças quanto ao uso do arco na prática da música de concerto, sobretudo à preparação técnica. Conclui-se também que quanto maior for o conhecimento das particularidades do uso do arco na improvisação, o preparo técnico e conhecimento estilístico do contrabaixista, melhor será o resultado de sua performance.