Essa pesquisa tem como foco principal explorar como obras musicais de Villa-Lobos são passíveis de serem lidas ou analisadas por meio de uma racionalidade matemática. O intuito é buscar um enfoque didático alternativa didática para a abordagem de conceitos oriundos da Teoria dos Conjuntos, baseados nos estudos do matemático Georg Cantor (Teoria Ingênua dos Conjuntos) e nos estudos de Allen Forte (Teoria dos Conjuntos aplicada à Música). Busca-se trazer para o universo da Música e da Matemática ambas as teorias, por meio de um enfoque transdisciplinar, e situar o saber em regiões em que o aspecto afetivo já adquiriu níveis capazes de dar sentido ao conhecimento e propiciar a assimilação de significados relacionados à outra área. Em busca desses objetivos, e ainda estudar possíveis indicações das relações entre Matemática e Música em um cenário didático/pedagógico, essa obra lança mão da afetividade, transdisciplinaridade e pensamento analógico como forma de articular áreas aparentemente distantes, mas com forte semelhança em suas estruturas. Esse estudo pretende explorar (1) trabalhos que usaram a Teoria dos Conjuntos em análises de obras de Villa-Lobos, (2) processos criativos e composicionais presentes em obras musicais de Villa-Lobos, (3) técnicas matemáticas de análise musical, (4) tipos e estruturas matemáticas que possam auxiliar em análises musicais e verificar de que maneira a racionalidade matemática está presente na composição musical. Este estudo ao pesquisar trabalhos que usaram a Teoria dos Conjuntos em análise musical de obras de Villa-Lobos preenche uma lacuna na teoria musical; evidencia estruturas matemáticas que auxiliam na análise musical, mostrando a presença da racionalidade matemática. Uma das grandes contribuições desse trabalho é estabelecer relações de analogia entre conteúdos do currículo da matemática, frequentemente traduzidos por códigos numéricos, e aspectos da área musical, reconhecidos por sons. / This research is mainly focused on exploring how musical works by Villa-Lobos are likely to be read or analyzed by a mathematical rationality. The aim is to seek a didactic approach a teaching alternative in order to deal with concepts from the Set Theory, based on studies by mathematician Georg Cantor (Naive Set Theory), and from studies of Allen Forte (Set Theory applied to Music). It intentsthe following: to bring both theories into the world of Music and Mathematics through a transdisciplinary approach; to situate knowledge in areas where the affective aspect has already acquired levels able to make sense of such knowledge; to encourage the assimilation of related meanings from area to the other. In the pursuit of such goals, and still researching possible indications of the relationship between Mathematics and Music in a didactic/pedagogical scenario, this work makes use of affection and transdisciplinarity analogical thinking as a way of articulating seemingly distant areas with yet strong similarities in their structures. This research therefore explores (1) studies that used the Set Theory in analysis of works by Villa-Lobos, (2) creative and compositional processes present in musical works by Villa-Lobos, (3) mathematical techniques of musical analysis, (4) types and mathematical structures that can assist in musical analysis, and it verifies how the mathematical reasoning is present in the composite musical work. The present study, by researching papers that used the Set Theory in musical analysis of works by Villa-Lobos, fills a gap in music theory; it shows evidence of mathematical structures that can assist in musical analysis, showing the presence of mathematical reasoning. A major contribution of this work is to establish relations of analogy between the mathematical content of the curriculum, often translated by numerical codes, and aspects of Music recognized by sounds.

O presente trabalho constitui-se numa pequena colaboração para o estabelecimento de um panorama dos Concertos para Violão e Orquestra. Desde suas primeiras obras no século XIX até a primeira metade do século XX. Buscamos identificar nessa exposição, personagens, fatos e eventos de fundamental relevância para o desenvolvimento do gênero e uma análise do Concerto para Violão e Pequena Orquestra de Heitor Villa-Lobos. / This work is a small collaboration to establish a panorama of Guitar Concertos since the initial works of the 19th century until the works of the first half of the 20th century. In this exposition, we focused on identifying characters, facts and events of fundamental relevance to the development of the genre. Especially, we developed a detailed analysis of the Concerto para Violão e Pequena Orquestra by Heitor Villa-Lobos.

A presente dissertação apresenta uma reflexão sobre o ensino coletivo de instrumentos de cordas, com foco direcionado ao violino, através da crítica comparativa dos principais métodos de ensino coletivo desse instrumento; e aponta caminhos para a elaboração de uma nova metodologia coletiva baseada em melodias do folclore brasileiro. A primeira parte do presente trabalho apresenta uma análise histórica do surgimento do ensino coletivo de instrumentos de cordas nos EUA e Inglaterra; aborda paralelamente parte da história musical brasileira, com o advento do canto orfeônico nas escolas públicas sob direção de Heitor Villa-Lobos, e o início dessa metodologia no Brasil. Na segunda parte é feita uma análise crítica e comparativa dos mais importantes métodos de ensino coletivo e dos conteúdos programáticos das principais escolas onde são aplicados. Segue uma análise do conteúdo técnico de métodos propostos por três dissertações de Mestrado sobre o assunto, como forma de amostragem da produção de métodos atuais. A parte final desta pesquisa propõe rumos para uma nova metodologia de ensino coletivo direcionado no violino baseado no uso de melodias do folclore brasileiro, retiradas do Guia Prático do Canto Orfeônico de Heitor Villa-Lobos. / The following Master dissertation presents a reflection about the teaching of bowed string instruments in group classes with focus on violin. Its analysis is based on the critique of comparative main methods of string class teaching. The objective is to elaborate a new methodology for string classes based on Brazilian folk music melodies. The first part of this work comprehends a historical analysis of the beginnings of string class teaching in the USA and England and at the same time it studies part of Brazilian music history; the part that concerns the beginning of collective string teaching due to the advent of Orff-like teaching of songs in the public schools under the direction of Heitor Villa-Lobos. The second part critiques and compares both the main methods of group teaching and the programmatic contents of the most important schools where they are applied. In addition, three Master research theses are analyzed with views on their technical content of their teaching methods. This analysis serves as a sample of current methods. This work concludes with a proposal of a new methodology for violin string class teaching with basis on the usage of Brazilian folk melodies, taken from the Guia Prático do Canto Orfeônico by Heitor Villa-Lobos.

Com a finalidade de elaborar um estudo em estética musical, analisamos os conceitos de nacionalismo, neoclassicismo e neofolclorismo em Villa-Lobos. Propomos uma abordagem crítico-ideológica que se distancia dos padrões costumeiros na musicologia brasileira, uma vez que reconhecemos certa ingenuidade consolidada na vã tentativa de se desatrelar nacionalismo de um contexto político-partidário. Como apoio às hipóteses de trabalho levantadas, levamos em conta aspectos filosóficos, poético-estilísticos e histórico-sociológicos. / Aiming at elaborating a study in musical aesthetics, we have analyzed the concepts of Nationalism, Neo-Classicism, Neo-Folklorism in Villa-Lobos. We propose a critic-ideological approach that goes away from the ordinary patterns in Brazilian musicology, once we recognize certain ingenuity consolidated in the vain attempt to detach nationalism from a party-political context. As a support to the raised hypothesis of this work, we took into account the philosophical, poetic-stylistic and historical-sociological aspects.

Memoria para optar al Título Profesional de Médico Veterinario / Existen cepas de Escherichia coli patógenas productoras de enfermedades que pueden afectar a diversos hospederos terrestres y acuáticos. El objetivo de este trabajo fue la detección de cepas de E. coli diarreogénica, en heces de pinnípedos de diferentes regiones de Chile. De las 25 muestras analizadas mediante cultivo bacteriológico y PCR, se detectó solo una cepa de E. coli patógena correspondiente al subtipo STEC, en heces de un pinnípedo (Mirounga leonina) proveniente de Tierra del Fuego, confirmándose la presencia de este agente en mamíferos marinos en Chile / Financiamiento: Proyecto ISID 9102012

Memoria para optar al Título Profesional de Médico Veterinario / Con el fin de pesquisar y describir las lesiones pulmonares en Lobos marinos (Otaria flavescens), se realizó un estudio radiográfico simple de tórax a 20 ejemplares cachorros y juveniles. También se realizaron lavados traqueales para la obtención de muestras que fueron analizadas para la búsqueda de bacterias del Complejo Mycobacterium tuberculosis, mediante la prueba de Reacción de Polimerasa en Cadena (PCR), con el objetivo de investigar la presencia de tuberculosis pulmonar. Para ambos estudios los animales se encontraban bajo anestesia general mediante la utilización de Isofluorano, con buena respuesta a la inducción y recuperación. Se logró estandarizar la técnica radiográfica, kVp y mAs, y se extrapoló técnica de lavados traqueales de caninos a lobos marinos. Los resultaron mostraron que 11 animales (55%) presentaban algún tipo de lesión pulmonar, en 10 individuos (50%) se observó un infiltrado del parénquima pulmonar, en 5 de ellos este infiltrado es de tipo difuso, mientras que en los 5 restantes es de tipo celular. En cuanto a la presencia de broncogramas aéreos positivos (BAP), éste estuvo presente en 9 de los individuos en estudio (45%). En lo referente la prueba de PCR, ésta arrojó resultados negativos en la totalidad de los animales, probablemente, debido a que los animales no se hayan encontrado infectados con alguna bacteria del complejo M. tuberculosis

The music for cello duets was first composed in the Baroque period, later it was named the cello choir. Thus, these beginnings of cello choir compositions were primarily relegated to Baroque, with only a few pieces composed until the Romantic period. It was at this point in history that we find that musicians and composers began to develop interest in the unique sound of the cello choir. Since then, a great amount of operas and other musicals have been composed with the featuring of cello choir as a part their soundtrack. As a result, the music of the cello choir has moved forward to a new colorful era, with the nuances of the music branching into various types of associations with various professional playing techniques. Heitor Villa-Lobos is one of the most famous 20th century composers of the Brazil. During his maturation period, his works integrated the Brazilian style as a central theme of his music. The Bachianas Brasileiras, composed in the 1930¡¦s, had great profitable combination of the new-age national music with more traditional forms. In addition, this new trend of music successfully represented both educational and patriotic movements, as it required the uniqueness associated with the profound techniques that established the importance of cello choir in the piece. This study is proposed to discover the valuable information in playing the cello choir music based on analyzing the Bachianas Brasileiras No. 1. The study begins by describing the composer¡¦s life experiences and the background of the period in the 1930¡¦s. The research will emphasize how the Brazilian music has been amalgamated and how to interpret it in order to enhance performance.

In the collaborative integration of the components in Brazilian folk music language and of western art music style, Villa-Lobos' compositional style is unique in reflecting a self-defined method apart from the development of nineteenth century Nationalism. The purpose of this study is to identify the use of the Brazilian nationalistic elements in the music of the Brazilian art music composer Heitor Villa-Lobos as well as to examine his approach of the use of the representative components in his writing for clarinet. The choice of compositions included in this document focuses on the three chamber music works with clarinet in the set of the Chôros: Chôros No. 2 (1924), Chôros, No. 7 (1924), and Quintette en forme de chôros (1928). The Chôros was chosen because these compositions exhibit the maturity of Villa-Lobos' writing style of Brazilian nationalistic language. This study also discusses the historical background of traditional choro music as a prominent style in Brazilian popular music during the 1920s and analyzes how this genre influenced the set of Villa-Lobos' Chôros.

Thesis (Ph. D.)--University of Texas at Austin, 2001. / Includes bibliographical references (leaves 326-343). Also available in an electronic version.

This study of Villa-Lobos’s Bachianas Brasileiras No. 9 aims at gaining insight into the decision-making processes of translating a score into a musical performance. Chapter I presents a discussion of selected issues related to interpretative analysis. Chapter II is an overview of the approaches to recording comparison deemed relevant to the present study. Chapter III is a comparative study of the vocal and string versions of Bachianas Brasileiras No. 9, while Chapter IV offers a structural analysis of the work. Chapter V compares four recordings: the composer’s own with the Orchestre National de La Radiodiffusion Française—EMI 7243 5 66964 2 6; Odaline de la Martinez and the BBC Singers, LNT 102; Michael Tilson Thomas and the New World Symphony —RCA 09026-68538-2; and my own CD, Construção, Orquestra de Câmara Theatro São Pedro- Limited Edition (live recording made on December 11, 1995 in Bayreuth, Germany). This comparison utilizes data obtained with the software Tempo. The tabulation of these results is shown in graphs that compare how matters of tempo flexibility affect each performance. This multi-faceted study shows that although painstaking analysis can lead to insightful solutions, the fleeting nature of musical performance requires an open mind and imagination to deal with the often contradictory directives of the score.