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Orientador: Jose Roberto Zan / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-06T15:03:31Z (GMT). No. of bitstreams: 1 Larson_Eduardo_M.pdf: 2295248 bytes, checksum: 8be29494f35e0d46248af514d0a34ff3 (MD5) Previous issue date: 2006 / Resumo: O trabalho que aqui se apresenta tem como fio condutor a verificação de como se dá a construção do sentido através de procedimentos polifônicos na canção popular. Polifonia entendida não por sua acepção musicológica, mas pela noção advinda dos estudos da linguagem: as muitas "vozes" que contribuem para a formação do sentido no processo enunciativo. Estamos considerando a canção como uma forma híbrida de linguagem cuj o texto se configura verbal e musicalmente, por isso, tentamos verificar o fenômeno da polifonia tanto em seus aspectos lingüísticos quanto nos musicais, e principalmente na interação entre ambos. Para tanto, além da reflexão sobre os conceitos de polifonia, intertextualidade, interdiscursividade e suas implicações no campo cancional e musical, nos propomos a analisar os fonogramas de "Enquanto seu Lobo não vem" e ""Não Identificado" produzidos no período tropicalista de Caetano Veloso. Nosso objetivo, portanto, teve uma dupla orientação: por um lado, mobilizar um conjunto teórico a respeito da questão da polifonia, estendendo-a ao universo da canção, e por outro lado a análise de um corpus fonográfico - escolhido por apresentar, ao menos intuitivamente, afinidade com o tema - que acabou por corroborar nossas proposições e sugerir novas possibilidades de investigação / Abstract: The main focus of the present work is to verify how the construction of meaning is established via polyphonic procedures in popular Brazilian songs. The term "polyphony" will be used not as usually intended by Musicology, but as it is applied in Linguistics: the discursive "voices" that interplay in an enunciation and contributes to build its sense. We are considering songs as a hybrid semiotic whose text configures verbally and musically, so we try to verify the polyphony phenomenon in the linguistic and musical aspects of songs, and mostly in their interactions. In order to accomplish this, besides presenting considerations of the concepts of polyphony and intertextuality, and their implications in the study of music and songs, we propose the analysis of two phonograms produced by Caetano Veloso during his "tropicalistic" period: "Enquanto seu Lobo não vem" ("Meanwhile, before 'Big Bad Wolf ("Unidentified"). comes") and "Não Identificado". Our purpose, therefore, had a dual orientation: to mobilize a theoretical framework around the concept of polyphony, extending it to the study of music and songs, and to examine a phonographic corpus chosen by its empathy to our premise that, in the end, happened to cOIToborate our propositions and suggest new ways of investigation / Mestrado / Mestre em Música

Thesis (M. Mus.)--University of Canterbury, 2007. / Typescript (photocopy). Includes bibliographical references (leaves 425-426). Also available via the World Wide Web.

Kasha langu ilianza kuimbwa Mambasa takriban myaka arbaini iliyopita, na leo nyimbo hii ikali ikipengeza tangu Mambasa mpaka Unguja, na hata Maskati pia. Na kupengeza huku si kwa sababu ya maneno yake tuu, bali ni kwa sababu hayo maneno yantukuana na mahadhi yake sawa sawa, na ndiyo ikawa haisahauliki kwa utamu wake. Sehemu ya kwanza ya makala haya inahusu ule wimbo wenyewe, yaani mtungaji, utungo wake, matini, tarjuma yake kwa kiIngereza, na maelezo ya maneno magumu; sehemu ya pili inahusu mambo yaliofungamana na hayo mahadhi.

English is one of the three core subjects in the Swedish compulsory education system. It shares this standing with only mathematics and the Swedish language to comprise the triad of core subjects without which a pupil cannot apply for secondary education. This makes quality English teaching and accessible English learning paramount for pupils in years 7 to 9 in compulsory school. Research in second-language acquisition demonstrates that music is an effective tool in the language learning classroom, yet studies among older learners of English in compulsory school are less frequently carried out than those among younger learners of English.  Drawing upon a sociocultural theoretical approach and mediated learning theory, as well as Krashen’s theory of the affective filter, this study investigates how learners perceive the use of music in their English language classrooms and presents feedback on how pupils feel music improves their language use and vocabulary. Through the tools of a pre-test/post-test the study demonstrates only a marginal improvement in vocabulary acquisition.  The surveyed pupils are generally positive towards music as a pedagogical tool in the English language classroom. Not only do results demonstrate that music is welcome in awakening pupils’ interest and motivation, but that music and song are appropriate for older pupils in the 7 to 9 school years and that the study of music texts/lyrics can be employed with older compulsory school learners of English.

Die Beschäftigung mit Hermann Kretzschmars Kompositionen bereichert das Gesamtbild dieser musikschriftstellerisch und musikpolitisch wirkungsmächtigen Persönlichkeit. In dem Beitrag werden Kretzschmars Bearbeitungen für Männerchor und deren Bezug zu seinen Schriften untersucht; seine Originalkompositionen für dieselbe Besetzung werden mit Rücksicht auf die Leipziger Harmonielehre der Mitte des 19. Jahrhunderts betrachtet, seine Chorsätze für gemischten Chor dienen als Dokument für Kretzschmars formale Ambitionen und für seine Arbeitsweise. Für die Geschichte der musiktheoretischen Unterweisung am Leipziger Konservatorium in der zweiten Hälfte des 19. Jahrhunderts kann Kretzschmars einseitig nur bestimmte Genres bedienendes Werk eine Quelle darstellen.