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Orientador: Márcio Benchimol Barros / Banca: Yara Borges Caznók / Banca: Anna Hartmann Cavalcanti / Resumo: Humano, Demasiado Humano (1878) representa o início da fase em que a filosofia de Nietzsche (1844 - 1900) rompe com suas antigas e principais influências: Schopenhauer e, sobretudo, Wagner. No que tange à arte, esse momento "destrutivo" da filosofia de Nietzsche passa a criticar a deificação do músico (gênio) e a concepção de música enquanto linguagem do inefável (expressão da essência do mundo) e/ou dos sentimentos, ideias essas desenvolvidas pelo Romantismo e, sobretudo, pelo compositor Richard Wagner. Além disso, Nietzsche também critica - com certa ressalva - outra concepção presente na época, a saber, a que pretende mostrar que o critério da audição musical são, unicamente, as relações sonoras (formalismo), concepção defendida pelo crítico musical vienense Eduard Hanslick em Do Belo Musical (1851). Mas a segunda fase do pensamento nietzschiano (compreendida entre 1876 e 1882) não concebe a arte apenas de uma maneira negativa. No segundo Nietzsche podemos perceber, a partir de uma historicidade musical defendida pelo filósofo que, a música, desarraigada de falsas interpretações acerca dos seus efeitos e do seu conteúdo, pode fundamentar a vida enquanto uma experiência afirmadora. Portanto, nosso objetivo será o de expor, a partir das críticas de Nietzsche em sua segunda fase à concepção de música presentes em sua época, uma filosofia da música de características próprias. Num segundo momento mostraremos que, mesmo em sua segunda fase, essa filosofia se utiliza da música para apontar uma experiência singular, isto é, de afirmação do homem frente ao mundo. / Abstract: Human, All Too Human (1878) represents the beginning of the phase in which the Nietzsche philosophy (1844 - 1900) breaks up with their former and major influences: Schopenhauer and, mostly Wagner. Regarding to the art, this "destructive" time of Nietzsche's philosophy becomes to criticize the musician (genius) deification and the music concept as an ineffable language (expression of the world essence) and / or feelings, ideas that were developed by Romanticism especially by the Richard Wagner composer. Moreover, Nietzsche also criticizes - with some exceptions - another concept present at the time that intends to show the music listening criteria are solely sound relations (formalism), conception defended by Viennese music critic Eduard Hanslick in From Belo Musical (1851). However, the second phase of Nietzschean thought (between 1876- 1882) conceives art not only in a negative way. In the second Nietzsche we can see from a historical musical defended by him in which music, uprooted of misinterpretations about its effects and contents can support life while an affirming experience. Therefore, first of all our goal will be to expose, from Nietzsche criticism presents in its second phase to the design of music present in his time, a music philosophy with own characteristics. Secondly, we will show that even in its second phase, this philosophy uses music to point out a singular experience, such as man affirmation against the world. For the enjoyment of our goals, we will analyze both works of the second phase of Nietzsche as posthumous unpublished in addition to dialogue with Brazilian and foreign commentators. / Mestre

This dissertation explores the ways of imagining the metaphysical space as a viable platform in music composition. I divide the paper into three large chapters: The first chapter is a philosophical grounding of the concept of metaphysical space. I reveal the concept of metaphysical space, and propose one of the possible inner structures of it. The inner structure of the metaphysical space is explained in two tiers. In the first tier, I review the Niveau Poïétique of Jean Molino's Tripartite Model, and then offer an alternative reading of the Niveau Poïétique. Thereafter, I put the first tier of the structure of the metaphysical space in a larger philosophical context, by invoking the concept of two-fold being-in-the-world by Shizuteru Ueda. In the second chapter, I present a detailed analysis of ...zu... by Mark Andre, in which I investigate how the paradigm of metaphysical space can be applied to the compositional situations of Andre and his work. The chapter is divided into two large sections. The first section is devoted to Andre's methodology in music notation. This section provides the concrete foundation necessary for the discussion of the second section, which is the musical analysis of the Andre work. The third chapter is devoted to the analysis of my recent work, Tramespace I (2012-13). This chapter is also divided into two sections. In the first section I discuss the problematics of the musical circularity from philosophical perspectives. In the second section I present an analysis of Tramespace I, by referring to the musical sketches and other pertinent compositional materials for the work. In this chapter as a whole my aim is to present one of the many possibilities of utilizing the kinds of philosophical and musical ideas derived from the preceding two chapters in the praxis of music composition, in ways that are anchored by the overarching concept of the metaphysical space.

This project consists of a theoretical examination of Australian music theatre and a portfolio of musical compositions. The thesis proposes an innovative analytical model for music theatre/multi-media with a distinctive perspective. Adapting concepts from feminist Deleuzean theorists, it advances a notion of feminine difference that moves beyond earlier debates between essentialists and anti-essentialists. This theoretical framework guides the close examination of three works ― Andrée Greenwell’s Laquiem: Tales from the Mourning of the Lac Women (1999), Greenwell’s Laquiem (2002) and Gretchen Miller’s Inland (1999/2000) ― that complicate the category ‘music theatre’ in the way that they cross genre boundaries. Greenwell’s Laquiem: Tales from the Mourning of the Lac Women is a new music performance work based upon Kathleen Mary Fallon’s ‘The Mourning of the Lac Women’. This work has a close relationship to Laquiem (2002), a short film directed, composed and scripted adapted by Greenwell based upon the same text by Fallon. Inland is a radiophonic work that Miller also staged as a live performance. The thesis argues that changing format and interdisciplinary content of works such as these has contributed to the current proliferation of genre labels. Recent works can be defined under various descriptors such as ‘performance art’, ‘documentary opera’ or ‘installation performance’. The thesis offers the concept of ‘deterritorialised music theatre’ to address works that exist at and beyond the limits of music theatre as a category. The penultimate chapter applies a Deleuzean feminist framework to the composition portfolio submitted with the thesis. The creative work consists of two audio-visual installations (one with quadraphonic sound), a music-theatre work (exploring ‘action’- instrumental possibilities) and a music-art tour that includes music for string trio, singer and brass/sax septet. / Doctor of Philosophy (PhD)

This project consists of a theoretical examination of Australian music theatre and a portfolio of musical compositions. The thesis proposes an innovative analytical model for music theatre/multi-media with a distinctive perspective. Adapting concepts from feminist Deleuzean theorists, it advances a notion of feminine difference that moves beyond earlier debates between essentialists and anti-essentialists. This theoretical framework guides the close examination of three works ― Andrée Greenwell’s Laquiem: Tales from the Mourning of the Lac Women (1999), Greenwell’s Laquiem (2002) and Gretchen Miller’s Inland (1999/2000) ― that complicate the category ‘music theatre’ in the way that they cross genre boundaries. Greenwell’s Laquiem: Tales from the Mourning of the Lac Women is a new music performance work based upon Kathleen Mary Fallon’s ‘The Mourning of the Lac Women’. This work has a close relationship to Laquiem (2002), a short film directed, composed and scripted adapted by Greenwell based upon the same text by Fallon. Inland is a radiophonic work that Miller also staged as a live performance. The thesis argues that changing format and interdisciplinary content of works such as these has contributed to the current proliferation of genre labels. Recent works can be defined under various descriptors such as ‘performance art’, ‘documentary opera’ or ‘installation performance’. The thesis offers the concept of ‘deterritorialised music theatre’ to address works that exist at and beyond the limits of music theatre as a category. The penultimate chapter applies a Deleuzean feminist framework to the composition portfolio submitted with the thesis. The creative work consists of two audio-visual installations (one with quadraphonic sound), a music-theatre work (exploring ‘action’- instrumental possibilities) and a music-art tour that includes music for string trio, singer and brass/sax septet. / Doctor of Philosophy (PhD)

Thesis (Ph. D.)--University of Sydney, 2007. / Title from title screen (viewed 28 March 2008). Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy to the Dept. of Philosophy, Faculty of Arts. Degree awarded 2007; thesis submitted 2006. Includes bibliographical references. Also available in print form.

Thesis (Ph. D.)--University of Alberta, 2010. / Title from PDF file main screen (view on July 15, 2010). "A thesis submitted to the Faculty of Graduate Studies and Research in partial fulfillment of the requirements for the degree of Doctor of Philosophy, Department of Music, Department of Sociology ... Spring 2010, Edmonton, Alberta". Includes bibliographical references.

Thesis (Ph.D.) -- University of Western Sydney, 2007. / A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy to the University of Western Sydney, College of Arts, School of Communication Arts. Includes bibliography.

Dissertation: Hamburg University, 2008 / Includes bibliographical references.

Dissertation: Hamburg University, 2008 / Includes bibliographical references.