Esta tese se volta para a questão da morfologia em música através de duas atuações complementares em torno da música contemporânea, a composição e a pesquisa teórica. Ambas práticas desenvolvidas de modo complementar. A pesquisa aqui exposta estuda diferentes abordagens sobre a noção de morfologia na música contemporânea, elaboradas por compositores ao longo da segunda metade do século XX. São analisadas proposições voltadas sobre tal temática com o intuito de evidenciar novas aberturas sobre a criação musical e sobre o pensamento composicional, que surgem a partir de perspectivas morfológicas, propostas por compositores sobre o material musical e seus modos de estruturação. A partir do período do pós-guerra a noção de morfologia é incorporada ao repertório da música contemporânea, e dentre compositores que se voltaram sobre tal viés distinguimos duas abordagens distintas, uma que se volta para a morfologia sonora e outra que versa sobre morfologias estruturais. Os compositores selecionados para representar a prática composicional elaborada a partir de uma morfologia sonora são Pierre Schaeffer e Dennis Smalley. Para expor questões relativas à morfologia estrutural são Helmut Lachenmann, Gérard Grisey, Horacio Vaggione e Iannis Xenakis, que se destaca nessa pesquisa, e são analisamos os processos composicionais de fases distintas de Xenakis para evidenciar a forma de atuação de sua concepção morfológica em torno de seus processos composicionais. A atuação composicional desenvolvida paralelamente à pesquisa exposta é apresentada na segunda parte da tese, na qual se evidencia o processo composicional de obras compostas ao longo do período de elaboração dessa tese exposta. / This thesis turns to the question of morphology in music through two complementary interactions around contemporary music, composition and theoretical research. Both practices developed in a complementary way. The present research studies different approaches on the notion of morphology in contemporary music, elaborated by composers throughout the second half of the twentieth century. Proposals on this theme are analyzed in order to highlight new openings about musical creation and compositional thought, which arise from the morphological perspectives proposed by composers on the musical material and its structuring modes. From the postwar period, the notion of morphology is incorporated into the repertoire of contemporary music, and among composers who have turned on such a bias we distinguish two distinct approaches, one that focuses on sound morphology and another on structural morphologies. The composers selected to represent the compositional practice elaborated from a sound morphology are Pierre Schaeffer and Dennis Smalley. In order to expose questions regarding structural morphology we turn to Helmut Lachenmann, Gérard Grisey, Horacio Vaggione and Iannis Xenakis, who is highlighted in this research, and therefore we analyze compositional processes of distinct phases of Xenakis, to show how his morphological conception works around his compositional processes. The compositional practice developed parallel to the exposed research is presented in the second part of the thesis, in which the compositional process of works composed during the period of elaboration of the thesis.

Esta tese focaliza a ideia de sonoridade e sua centralidade no processo de produção de identidades de músicos compositores/artistas. O objetivo do trabalho é investigar como são escolhidos determinados modos de soar na constituição destes sujeitos, no âmbito do gênero musical que denomino como Música Instrumental Gaúcha. A partir das teorizações propostas pelos Estudos Culturais em Educação, busco compreender alguns processos de educação musical que vão além dos espaços escolares. Procuro, assim, entender como e quais instâncias e artefatos culturais atuam nesse processo como “pedagogos não-escolares”, analisando as relações que são estabelecidas em diferentes dimensões culturais nas quais práticas musicais são realizadas. Para isso, busquei fundamentação teórica em autores como Stuart Hall, Nestor Garcia Canclini e Zygmunt Bauman, retomando conceitos como cultura, identidade, discursos, narrativas, representação e sonoridade. A partir deste aporte teórico, aprofundei o estudo sobre algumas narrativas historiográficas e discográficas que trazem elementos recorrentes nas representações da(s) cultura(s) e da(s) música(s) gaúcha(s). Para a construção do material empírico, realizei entrevistas com quatro músicos/compositores que possuem carreiras expressivas na esfera do gênero musical aqui estudado, com o intuito de compreender as negociações simbólicas que estes sujeitos realizam ao criarem seus próprios modos de soar A análise aponta que há uma heterogeneidade de sonoridades que buscam representar a cultura gaúcha e que, apesar de encontrarmos algumas continuidades, as fronteiras entre o “soar” gaúcho –ou não gaúcho- são extremamente borradas. Neste contexto, observou-se que os músicos têm suas identidades constituídas a partir de um complexo processo que se efetiva desde práticas despretensiosas de utilizar o instrumento musical como um brinquedo, até o “ser” um profissional (artista/compositor). Os músicos, em suas narrativas, descrevem que suas trajetórias musicais são delineadas através do contato com diversas culturas musicais. Eles aprendem a tocar e atuam profissionalmente, em diferentes gêneros musicais − necessidade que a profissão, frequentemente, coloca para estes sujeitos. Neste contexto, os sujeitos aderem ao gênero Música Instrumental Gaúcha, e, ao mesmo tempo, apresentam sua própria sonoridade. Entre os cânones do gênero musical e outras múltiplas possibilidades musicais, o músico molda (e tem moldada) sua identidade. / This thesis focuses on the idea of sonority and its centrality in the process of production of identities of musicians composers / artists. The objective of the work is to investigate how certain ways of sounding in the constitution of these subjects are chosen, within the scope of the musical genre that I call Music Instrumental Gaúcha. From the theories proposed by Cultural Studies in Education, I try to understand some processes of musical education that go beyond school spaces. I therefore try to understand how and what cultural instances and artifacts act in this process as "non-school pedagogues", analyzing the relationships that are established in different cultural dimensions, in which musical practices are performed. For this, I sought theoretical foundation in authors such as Stuart Hall, Nestor Garcia Canclini and Zygmunt Bauman, retaking concepts such as culture, identity, speeches, narratives, representation and sonority. From this theoretical contribution, I deepened the study on some historiographical and discographic narratives that bring recurrent elements in the representations of the culture (s) and the music (s) of the gaúcha (s). For the construction of the empirical material, I conducted interviews with four musicians / composers who have expressive careers in the sphere of the musical genre studied here, in order to understand the symbolic negotiations that these subjects perform in creating their own ways of sounding. The analysis points out that there is a heterogeneity of sonorities that seek to represent the gaucho culture and that, although we find some continuities, the borders between the soar gaucho - or not gaucho - are extremely blurred. In this context, it has been observed that musicians have their identities constituted from a complex process that takes place from unpretentious practices of using the musical instrument as a toy, until the "being" a professional (artist / composer). The musicians, in their narratives, describe that their musical trajectories are delineated through the contact with diverse musical cultures. They learn to play and act professionally, in different musical genres, needs that the profession often poses for these subjects. In this context, the subjects belonging belong to the genre Música Instrumental Gaúcha, and, at the same time, present their own sonority. Between the canons of the musical genre and other multiple musical possibilities, the musician shapes (and has shaped) his identity.

O trabalho consiste na análise do processo de construção do sentido, a significação, na linguagem musical do compositor Hermeto Paschoal, por meio da Teoria Semiótica de linha francesa fundada por A. J. Greimas. Estudar a música instrumental, através da abordagem semiótica greimasiana, coloca-nos diante de uma série de questões teóricas, relativas à possibilidade de um sentido definido no plano de expressão, bem como à própria definição de sentido que procuramos desenvolver. Segundo a orientação que tomamos, procuramos verificar as possibilidades e os limites da teoria semiótica quando aplicada às linguagens abstratas, no nosso caso, a linguagem musical. Além dos problemas teóricos, encontramo-nos diante do desafio de investigar a intrigante música de Hermeto Paschoal que, se por um lado é realmente complexa, por outro, a capacidade do compositor transformar em música qualquer dado sonoro e criar incessantemente sobre todos os parâmetros do som, como altura, duração, intensidade e timbre, faz de sua obra um objeto muito rico para o trabalho que pretendemos desenvolver. Mais que isso, Hermeto vale ser estudado pela sua importância na cultura brasileira e no cenário da música internacional, tanto quanto pelo grande valor estético de sua arte. Embora nossa proposta seja a de investigar os problemas relativos ao plano da expressão e estudar a Teoria Semiótica aplicada linguagem musical, orientamo-nos, mais simplesmente, pela curiosidade de compreender o que ?diz? a música de Hermeto Paschoal, e pela convicção de que as sonoridades da música instrumental fazem sentido / This study analyzed the construction process of meaning of the musical language of Hermeto Paschoal\'s instrumental music using the A.J. Greimas\' semiotics theory. The evaluation of instrumental music using Greima\'s semiotic approach raises many theorical questions regarding the possibility of a defined meaning on the plan of expression, as well as the definition of meaning by itself, which we tried to develop. According to direction that we followed, we tried to verify the possibilities and limits when the Semiotic Theory is applied to abstract languages, such as the musical language. Besides the theoric issues, we faced the challenge of investigating the intriguing Hermeto Paschoal\'s music, which may be considerably complex, but on the other hand is an extremely rich object to be evaluated considering the composer\'s ability to convert to music any sound, and to incessantly create music varying all parameters such as volume duration, intensity and timbre. Furthermore, the study of Hermeto Paschoal\'s music is valuable not only because of the esthetic quality, but also due to its remarkable importance for the Brazilian culture and the International musical scenario. Although our aim is to investigate the issues related to the expression field and to study the Semiotic Theory applied to the musical language, we more simply attempted to focus and comprehend the meaning of Hermeto Paschoal\'s music and confirm the evidence that the sounds created on the instrumental music have a meaning

China in the twentieth century witnessed a series of revolutions that brought about political and economic changes. Traditional cultures also underwent various changes to survive the drastic impacts of these political revolutionary ideologies. This study takes the case of the Qingyin (locally referred to as the Sizhu), a silk and bamboo instrumental ensemble form that has survived these political impacts in China's recent history and is still thriving in the rural community of Nanhui, a district geographically neighbour to the cosmopolitan city Shanghai, with the aim to locate the reasons and ways of its transformation. / Under the influence of various political, economic, and cultural factors, the Qingyin has lived through different musical groups over time. From 1850 to 1949, within the framework of Confucianism, it took the form of non-professional ritual musical bands. From 1949 to 1976, under the socialistic slogan of "art serves political ideologies", the Qingyin survived within the organizations of local opera bands and propaganda units to spread Maoism. From 1977 to 2004, under the government policy that "culture goes hand-in-hand with economy", the Qingyin lived among "art factories" (non-governmental corporations combining art with commercial production) and semi-professional ritual-musical bands. This study discusses how this traditional form of musical ensemble underwent the three stages of ritual-musical culture, popular culture, and consumption culture, with their corresponding changes in music repertory, performance style, and social activities. The author sees those changes as ways to continue cultural traditions employed by musicians to adapt to the alienated cultural ecology, which the author describes as "mechanism of internal reaction" and gives its analysis and interpretation. / 齊琨. / 簡譜記譜. / 論文(哲學博士)--香港中文大學, 2005. / 參考文獻(p. 314-330). / Jian pu ji pu. / Adviser: Tsao Pou Yee. / Source: Dissertation Abstracts International, Volume: 67-07, Section: A, page: 2389. / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Electronic reproduction. [Ann Arbor, MI] : ProQuest Information and Learning, [200-] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstracts also in English. / School code: 1307. / Lun wen (Zhe xue bo shi)--Xianggang Zhong wen da xue, 2005. / Can kao wen xian (p. 314-330). / Qi Kun.

Orientador: Alberto Tsuyoshi Ikeda / Banca: Antonio Rago Filho / Banca: Paulo Castagna / Resumo: 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. / Abstract: 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. / Mestre

Esta tese se volta para a questão da morfologia em música através de duas atuações complementares em torno da música contemporânea, a composição e a pesquisa teórica. Ambas práticas desenvolvidas de modo complementar. A pesquisa aqui exposta estuda diferentes abordagens sobre a noção de morfologia na música contemporânea, elaboradas por compositores ao longo da segunda metade do século XX. São analisadas proposições voltadas sobre tal temática com o intuito de evidenciar novas aberturas sobre a criação musical e sobre o pensamento composicional, que surgem a partir de perspectivas morfológicas, propostas por compositores sobre o material musical e seus modos de estruturação. A partir do período do pós-guerra a noção de morfologia é incorporada ao repertório da música contemporânea, e dentre compositores que se voltaram sobre tal viés distinguimos duas abordagens distintas, uma que se volta para a morfologia sonora e outra que versa sobre morfologias estruturais. Os compositores selecionados para representar a prática composicional elaborada a partir de uma morfologia sonora são Pierre Schaeffer e Dennis Smalley. Para expor questões relativas à morfologia estrutural são Helmut Lachenmann, Gérard Grisey, Horacio Vaggione e Iannis Xenakis, que se destaca nessa pesquisa, e são analisamos os processos composicionais de fases distintas de Xenakis para evidenciar a forma de atuação de sua concepção morfológica em torno de seus processos composicionais. A atuação composicional desenvolvida paralelamente à pesquisa exposta é apresentada na segunda parte da tese, na qual se evidencia o processo composicional de obras compostas ao longo do período de elaboração dessa tese exposta. / This thesis turns to the question of morphology in music through two complementary interactions around contemporary music, composition and theoretical research. Both practices developed in a complementary way. The present research studies different approaches on the notion of morphology in contemporary music, elaborated by composers throughout the second half of the twentieth century. Proposals on this theme are analyzed in order to highlight new openings about musical creation and compositional thought, which arise from the morphological perspectives proposed by composers on the musical material and its structuring modes. From the postwar period, the notion of morphology is incorporated into the repertoire of contemporary music, and among composers who have turned on such a bias we distinguish two distinct approaches, one that focuses on sound morphology and another on structural morphologies. The composers selected to represent the compositional practice elaborated from a sound morphology are Pierre Schaeffer and Dennis Smalley. In order to expose questions regarding structural morphology we turn to Helmut Lachenmann, Gérard Grisey, Horacio Vaggione and Iannis Xenakis, who is highlighted in this research, and therefore we analyze compositional processes of distinct phases of Xenakis, to show how his morphological conception works around his compositional processes. The compositional practice developed parallel to the exposed research is presented in the second part of the thesis, in which the compositional process of works composed during the period of elaboration of the thesis.

O trabalho consiste na análise do processo de construção do sentido, a significação, na linguagem musical do compositor Hermeto Paschoal, por meio da Teoria Semiótica de linha francesa fundada por A. J. Greimas. Estudar a música instrumental, através da abordagem semiótica greimasiana, coloca-nos diante de uma série de questões teóricas, relativas à possibilidade de um sentido definido no plano de expressão, bem como à própria definição de sentido que procuramos desenvolver. Segundo a orientação que tomamos, procuramos verificar as possibilidades e os limites da teoria semiótica quando aplicada às linguagens abstratas, no nosso caso, a linguagem musical. Além dos problemas teóricos, encontramo-nos diante do desafio de investigar a intrigante música de Hermeto Paschoal que, se por um lado é realmente complexa, por outro, a capacidade do compositor transformar em música qualquer dado sonoro e criar incessantemente sobre todos os parâmetros do som, como altura, duração, intensidade e timbre, faz de sua obra um objeto muito rico para o trabalho que pretendemos desenvolver. Mais que isso, Hermeto vale ser estudado pela sua importância na cultura brasileira e no cenário da música internacional, tanto quanto pelo grande valor estético de sua arte. Embora nossa proposta seja a de investigar os problemas relativos ao plano da expressão e estudar a Teoria Semiótica aplicada linguagem musical, orientamo-nos, mais simplesmente, pela curiosidade de compreender o que ?diz? a música de Hermeto Paschoal, e pela convicção de que as sonoridades da música instrumental fazem sentido / This study analyzed the construction process of meaning of the musical language of Hermeto Paschoal\'s instrumental music using the A.J. Greimas\' semiotics theory. The evaluation of instrumental music using Greima\'s semiotic approach raises many theorical questions regarding the possibility of a defined meaning on the plan of expression, as well as the definition of meaning by itself, which we tried to develop. According to direction that we followed, we tried to verify the possibilities and limits when the Semiotic Theory is applied to abstract languages, such as the musical language. Besides the theoric issues, we faced the challenge of investigating the intriguing Hermeto Paschoal\'s music, which may be considerably complex, but on the other hand is an extremely rich object to be evaluated considering the composer\'s ability to convert to music any sound, and to incessantly create music varying all parameters such as volume duration, intensity and timbre. Furthermore, the study of Hermeto Paschoal\'s music is valuable not only because of the esthetic quality, but also due to its remarkable importance for the Brazilian culture and the International musical scenario. Although our aim is to investigate the issues related to the expression field and to study the Semiotic Theory applied to the musical language, we more simply attempted to focus and comprehend the meaning of Hermeto Paschoal\'s music and confirm the evidence that the sounds created on the instrumental music have a meaning

Esta dissertação trata da questão do significado da música segundo a filosofia da arte de G. W. F. Hegel e as problematizações musicológicas de E. Hanslick, tendo como principal objetivo apresentar o modo como cada autor tratou desse tema, mas apontando alguns aspectos referentes à maneira como Hanslick dialogou com Hegel, e que estariam diretamente vinculados a uma transformação do modo de conceber a música autônoma instrumental, principalmente no que se refere ao significado da forma musical, em função da maneira como cada autor concebeu sua relação com o conteúdo tendo em vista que Hegel se posicionou como filósofo da arte e Hanslick como musicólogo. O cerne do trabalho está fundamentado na análise do capítulo referente à música dos Cursos de Estética, de Hegel, e na análise de Do Belo Musical, de Hanslick, assim como no repertório musical a que cada autor esteve exposto. / This dissertation deals with the question of the meaning of music according to the philosophy of art of G. W. F. Hegel and the musicological problematizations of E. Hanslick. The main objective is to present the way in which each author deals with this theme, but pointing out some aspects referring to the way Hanslick dialogued with the Hegelian aesthetics and that would be directly linked to a transformation of the way of conceiving autonomous instrumental music, especially with regard to the meaning of the musical form, in function of the way each author conceived its relation with the content, in view of the fact that Hegel was a philosopher of art and Hanslick a musicologist. The core of this work is based on the analysis of the chapter on music of Hegel\'s Lectures on Aesthetics and Hanslick\'s essay On the Musically Beautiful, as well as on the musical repertoire that both authors were exposed to.

The use of keyboard percussion instruments in choro, one of the earliest forms of Brazilian popular music, is a relatively recent phenomenon and its expansion into university music programs and relocation from small clubs and private homes to concert halls has changed the way that choro is learned and performed. For many Brazilians, this kind of innovation in a “traditional” genre represents a challenge to their notion of a Brazilian cultural identity. This study examines the dynamic relationship that Brazilians have with representations of their culture, especially in the area of popular music, through an in depth discussion of the use of keyboard percussion instruments within the genre of choro. I discuss the implications of using keyboard percussion in choro with a detailed description of its contemporary practice and a critical examination of the sociological and academic issues that surround choro historically and as practiced today. This includes an historical overview of choro and organology of keyboard percussion instruments in Brazil. I discuss multiple perspectives on the genre including a consideration of choro as part of the “world music” movement and choro’s ambiguous relationship to jazz. Through an examination of the typical instrumentation and performance conventions used in choro, I address the meanings and implications of the adaptation of those practices and of the various instrumental roles found in choro to keyboard percussion instruments. Solutions to problems relating to instrumental adaptation are offered, with particular attention to issues of notation, improvisation, rhythmic approach and the role of the cavaquinho. I also discuss the significance of rhythmic feel and suingue (swing) in relation to the concept of brasilidade (brazilianness) as informed by and expressed through Brazilian popular music.

The use of keyboard percussion instruments in choro, one of the earliest forms of Brazilian popular music, is a relatively recent phenomenon and its expansion into university music programs and relocation from small clubs and private homes to concert halls has changed the way that choro is learned and performed. For many Brazilians, this kind of innovation in a “traditional” genre represents a challenge to their notion of a Brazilian cultural identity. This study examines the dynamic relationship that Brazilians have with representations of their culture, especially in the area of popular music, through an in depth discussion of the use of keyboard percussion instruments within the genre of choro. I discuss the implications of using keyboard percussion in choro with a detailed description of its contemporary practice and a critical examination of the sociological and academic issues that surround choro historically and as practiced today. This includes an historical overview of choro and organology of keyboard percussion instruments in Brazil. I discuss multiple perspectives on the genre including a consideration of choro as part of the “world music” movement and choro’s ambiguous relationship to jazz. Through an examination of the typical instrumentation and performance conventions used in choro, I address the meanings and implications of the adaptation of those practices and of the various instrumental roles found in choro to keyboard percussion instruments. Solutions to problems relating to instrumental adaptation are offered, with particular attention to issues of notation, improvisation, rhythmic approach and the role of the cavaquinho. I also discuss the significance of rhythmic feel and suingue (swing) in relation to the concept of brasilidade (brazilianness) as informed by and expressed through Brazilian popular music.