Inicialmente, a seguinte tese foi baseada em uma revisão bibliográfica de tudo o que se havia escrito sobre Carlos Gomes, segundo as bibliografias da música brasileira realizadas por Luiz Heitor Correia de Azevedo e Vicente Salles a segunda restrita à bibliografia do compositor - até a época da Semana de Arte Moderna. Tivemos o objetivo de avaliar o que se conhecia, nesta época, sobre Carlos Gomes, para então estudar o efeito que a Semana e o Modernismo exerceram sobre sua imagem, privilegiando sempre a ótica de Mario de Andrade. Por fim, foram estudadas as conseqüências do mesmo efeito sobre a bibliografia musical subseqüente, visando rever alguns conceitos e preconceitos - arraigados em nossa cultura - que foram prejudiciais ao compositor. / Initially, the following thesis was based on a bibliographical review of all that had been writen about Carlos Gomes, according to bibliographies of brazilian music realized by Luiz Heitor Correia de Azevedo and Vicente Salles - the second work restricted to the bibliography of the composer - until Modern Art Week. We intended to evaluate what had been known, by that time, concerning Carlos Gomes, in order to study the effect that the Modern Art Week as well as the Modernism performed upon his image, always privileging the point of view of Mario de Andrade. In conclusion, there have been studied the consequences of the efect abovementioned under the subsequent brazilian musical historiography, aiming to analyze some concepts and predjucides - deep-rooted to our culture - which had been prejudicial to the composer.

Trabalho voltado a três brincadeiras populares com personagem negro de máscara, em três Estados brasileiros, e a comparações com o personagem Macunaíma, de Mário de Andrade. Foi realizada pesquisa de campo com registro áudio-visual por quatro anos, em continuidade com pesquisa anterior de Mestrado. O capítulo 1 introduz abordagens de Mário de Andrade, etnomusicologia, semiótica, estudos africanos e afro-brasileiros. O capítulo 2 avalia grandezas reunidas em Macunaíma, da fonte etnográfica às visões dos personagens negros da cultura popular, com índices da própria obra, da correspondência com Bandeira e da crítica. O capítulo 3 tange à experiência de campo, ao registro de Mário de Andrade do palhaço Veludo no Lundu do Escravo e à visão de Tinhorão dos palhaços negros cantores. No capítulo 4 vêm as transcrições dos textos registrados em campo com os personagens Pai Francisco, Catirina, Mateus e Bastião, nos três Estados. E o capítulo 5 traz balanço comparativo dos três registros e coerências com Macunaíma. A conclusão aborda o disfarce social e a vitalidade das representações negras. / This is a study of three dramatic dances with masked black character, from three states of Brazil, in comparison with Mario de Andrade´s character Macunaíma. Field research with audio/video capture was done in four years, in continuity with the research for a previous thesis. Chapter 1 introduces Mário de Andrade´s approaches, ethnomusicology, semiotics, African and Afro-brazilian studies. Chapter 2 considers diferent values in Macunaíma, from the ethnographic base to visions of black characters in Brazilian popular culture, referring data from the book itself, from Andrade´s letters to Manuel Bandeira and from the critics. Chapter 3 discusses field experience, Andrade´s register of the clown Veludo in Lundu do Escravo and Tinhorão´s vision of the singing black minstrels. Chapter 4 brings transcriptions of texts registered in field with the characters Black Francisco, Catirina, Mateus and Bastião in three states of Brazil. And chapter 5 brings comparisons of the three narratives, and coherences with Macunaíma. The conclusion approaches social disguise and masks and vitality of black representations.

O presente texto trata do pensamento de Mário de Andrade a respeito das relações poético-melódicas. Para isso, foi usada a hipótese dos torneios melódicos: o conjunto de tendências e constâncias que dão caráter a uma música. A partir dos torneios é possível analisar objetivamente uma composição, observar sua origem, suas influências e seu processo criativo. Porém, essa análise musical é indissociável de uma dimensão poética. Mário de Andrade era um músico que se expressava pela poesia e, em seus estudos técnicos, sempre privilegiou a unidade melódico-poética como objeto indissolúvel. A pesquisa baseou-se num manuscrito inédito do autor, que está separado em três partes intituladas Melódica, Rítmica e Poética. O documento, que se encontra no Arquivo do Instituto de Estudos Brasileiros da USP, é extremamente fragmentado e complexo, pois é constituído por numerosas anotações que o autor fez ao longo da vida. / The present research is about the importance of Mário de Andrade\'s thoughts concerning the study of poetical-melodic relations. We worked on the hypothesis of the so called \"melodic turns\": The combination of trends or features that give to a certain music its distinguishing character. The \"torneios melódicos\" make it possible to analyse a composition objectively, observing its origin, it influences and its creative process. Nevertheless, this kind of analysis is nevertheless not dissociable from a poetical dimension. Mário de Andrade was himself a musician, who expressed himself through poetry. In his technical studies and articles he is always stressed the insolubility of a melodical-poetical unity. This research was based on an unpublished manuscript from the author divided in three parts named: Melodics, Rhythmics and Poetics. The document can be found at the Arquivo do Instituto de Estudos Brasileiros - USP (University of São Paulo) and it is extremely fragmentary and complex, as it is formed by numerous notes made by the author throughout his life.

Critical interpretations of the work of Mario Giacomelli often disagree as to whether he should be classified within the style of Italian neorealism. This thesis argues that Giacomelli's photography strikes a balance between realism and abstraction that is best explained as neorealist. Neorealist films such as Rome, Open City (1945) and Bicycle Thieves (1948) sought to capture the social realities of postwar Italy. The realism in these films is complicated however, subjecting postwar social actuality to the artistic initiative of the director. I seek to identify the filmic qualities in Giacomelli's work to clarify a connection to neorealism. Though Giacomelli physically manipulated his images, these manipulations give his images the appearance of a film. To reveal Giacomelli's connection to neorealism, I will investigate the cinematic qualities of mise-en-scene, montage and narrative. This thesis will argue that Giacomelli's photography stems from a cinematic approach that was first developed in neorealism.

The Florentine Jew Mario Castelnuovo-Tedesco (1895-1968), garnered international acclaim as a composer and performer in the 1920s and 1930s. He studied composition with Ildebrando Pizzetti and became associated with the International Society for Contemporary Music. Castelnuovo-Tedesco received particular attention for his operas, winning the Concorso Lirico Nazionale in 1925 for La Mandragola, and his concertos, with prominent performances by Jascha Heifetz and Andrés Segovia. During the 1930s, Castelnuovo-Tedesco and his family were negatively affected by the Fascist government’s racial laws restricting the rights of Italian Jews. In 1938, after public performances of his music were canceled and his children were forbidden from attending public school, Castelnuovo-Tedesco and his wife Clara decided to immigrate to the United States. They sailed for the U.S. in 1939, settled in Beverly Hills, and gained citizenship in 1946. In 1949, at the end of that turbulent decade, Castelnuovo-Tedesco completed his first oratorio, The Book of Ruth. This study features a new edition of The Book of Ruth, the first complete publication of the work in full score. The edition is accompanied by a musical analysis that examines melody, harmony, rhythm, text setting, vocal texture, orchestration, and formal design in The Book of Ruth, comparing it with his other works. Furthermore, selected passages from Castelnuovo-Tedesco’s autobiography, newly translated into English, provide insight into the eventful decade preceding the work’s composition and uncover several personal connections that exist between Castelnuovo-Tedesco and the story of The Book of Ruth.

Thesis (Ph.D.)--Indiana University, Dept. of Spanish and Portuguese Literature, 2008. / Title from PDF t.p. (viewed on Feb. 8, 2010). Source: Dissertation Abstracts International, Volume: 70-05, Section: A, page: 1666.

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Thesis (M.A.)--University of Missouri-Columbia, 2007. / The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on April 1, 2008) Includes bibliographical references.

Treatise (D.M.A.) -- Florida State University, 2004. / Advisor: Charles E. Brewer, Florida State University, School of Music. Title and description from treatise home page (viewed 10-6-04). Document formatted into pages; contains 83 pages. Includes biographical sketch. Includes bibliographical references.

Thesis (Ph.D.)--Pennsylvania State University, 2004. / Mode of access: World Wide Web.