Thesis (Ph.D.)--University of Illinois at Urbana-Champaign, 2006. / Source: Dissertation Abstracts International, Volume: 67-11, Section: A, page: 4030. Adviser: William Kinderman. Includes bibliographical references (leaves 261-272) Available on microfilm from Pro Quest Information and Learning.

Made available in DSpace on 2016-03-07T19:20:24Z (GMT). No. of bitstreams: 0 Previous issue date: 2015-09-22. Added 1 bitstream(s) on 2016-03-07T19:24:03Z : No. of bitstreams: 1 000858773.pdf: 794992 bytes, checksum: 6b2631bb1d035fdc8b409d0c925d33cb (MD5) / Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP) / 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. / 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.

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The "Diabelli" Variations, Op. 120, have long fascinated and repelled musicians and audiences alike. They refuse listeners the chief pastime afforded by the genre, offering little opportunity to track pleasant musical ideas through different guises. The delights of bourgeois spectatorship are confounded by non-parallelisms and motivic complexities that embarrass our customary framework for understanding variation form. Arnold Schoenberg's dictum that "in classical music every variation shows a unity which surpasses that of the theme" has never been more patently contradicted. Most of the variations are rhythmically and harmonically warped, few follow the theme in their sequential disposition of motifs, and almost all of them exhibit a granularity of design without precedent in Beethoven's oeuvre. Diabelli's threadbare waltz is not the sole progenitor of its strange children. I propose that the Variations represent an experimental application to music of an intellectual method used by German philosophers and writers of the time for deconstructing dualities and unities. In form and function the "Diabelli Principle" most closely approaches the Dialectic of Beethoven's exact contemporary G.W.F. Hegel (1770-1831), and is construed here in a Hegelian framework. Most variations juxtapose a pair of contrasting Antitheses whose differences are overcome in a summary conclusion amounting to a Sublation. In many cases, Antitheses emerge directly from formerly undivided Theses. As in Hegel's philosophy where the Dialectic is manifested through a wide-ranging variety of forms, the "Diabelli" Variations similarly realize a diverse range of dialectical structures. Moreover, by destabilizing musical objects through pervasive shifts of meter, melodic groupings, and motivic identities, the Variations undertake a Hegelian critique of musical perception and its underlying categories. I contend that their dialectical meaning is not intended to be decoded hermeneutically through score analysis, but directly apprehended through listening. As scholarship on the Kantian and Burkean Sublime implies, early nineteenth-century listeners understood peak musical experiences as unmediated, intellectual revelation. I suggest that music's engagement with spatial and gestalt reasoning introduced into music perception standards of physical logic and bestowed musical events with ontological significance. A reassessment of works by Beethoven reveals manipulations of implied topographies and objects that bring about "impossible" transformations. These acts of transcendent rationality may underlie the triumphant glory and intellectual significance of musical climaxes for Beethoven's audiences. In becoming sensitized to these phenomena, we may perhaps recuperate a nineteenth-century Idealist mode of listening that apprehended music as a primary ontological experience taking place in the higher reality of mental forms. Approached in this manner, the morphological games of the "Diabelli" Variations emerge vividly in perception and consequence.

Thesis (M.C.A.-Res.)--University of Wollongong, 2007. / Typescript. Includes 2 computer discs in front pocket of v. 2. Vol. 2 entitled: Creative component. Includes bibliographical references.

Orientador: Silvio Ferraz Mello Filho / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-24T04:43:20Z (GMT). No. of bitstreams: 1 Velloso_JoseHenriquePadovani_D.pdf: 30293648 bytes, checksum: 5ff75dd8451d69e114bd7283a987a66f (MD5) Previous issue date: 2013 / Resumo: O objetivo do trabalho é discutir a questão das técnicas nos processos criativos relacionados a práticas musicais e sonoras ao (1) realizar uma investigação reflexiva/conceitual; (2) ao realizar uma abordagem mecanológica de determinadas técnicas musicais/sonoras; e (3) ao apresentar trabalhos de criação realizados durante o doutorado. Essas três abordagens são apresentadas, respectivamente, nas três partes do trabalho - consideravelmente independentes entre si. A primeira apresenta criticamente diferentes apreensões sobre a técnica. A um fatalismo identificado, apesar de suas particularidades, no pensamento de Heidegger, Benjamin e Adorno é contraposto o pensamento de Gilbert Simondon. Recusando o hilemorfismo (que segrega forma e material), Simondon compreende a técnica como um artefato cultural que preserva em seu dinamismo gestos e pensamentos humanos. Ao ser aproximada dos processos criativos na música, tal perspectiva permite entrever uma relação menos conflituosa entre técnica e criação musical, compreendendo-se então a interação com as técnicas nesses contextos não mais a partir de um viés meramente utilitário ou instrumental, mas, antes, como um processo transdutivo de acoplagem entre expressões, gestos e pensamentos que emanam tanto do homem quanto da sua sedimentação no dinamismo dos mecanismos técnicos. Na segunda parte do trabalho é empreendida, a partir da exposição de determinadas técnicas e de suas utilizações em contextos musicais, uma mecanologia das técnicas musicais e sonoras e de práticas a elas relacionadas. Tal abordagem é realizada a partir do estudo de determinados objetos e mecanismos técnicos e a partir de uma interpretação das implicações dessas invenções em desenvolvimentos técnicos subsequentes assim como de sua apropriação e reinvenção em processos criativos específicos. A terceira parte do trabalho apresenta brevemente as composições realizadas durante o doutorado, cujas partituras foram incluídas aos apêndices do trabalho / Abstract: The thesis objective is to discuss the matter of technology in creative processes related to sound and musical practices by (1) undertaking a conceptual/theoretical inquiry; (2) by undertaking a mecanological approach of certain musical/sound technologies; (3) by presenting creative works produced during the doctorate studies. These three approaches are presented, respectively, in the three parts of the work - which are significantly independent from each other. The first section critically exposes different theoretical understandings of technology. Gilbert Simondon's outlook is counterposed to a sort of fatalism that may be perceived in the theoretical thought of Heidegger, Benjamin and Adorno, despite the very specific features of these philosophers' ideas. By refusing an hylomorphism (that segregates form and material), Simondon conceives technical things as a cultural artifacts which retain in their dynamism human gestures and thoughts. By relating these ideas to music and its creative processes, such a perspective allows us to glimpse a less quarrelsome relation between technology and musical creation, what allows us to understand the integration of technical things in these contexts not by an utilitarian and instrumental approach but rather as a transductive process of coupling between human expressions, gestures and thoughts and their sedimentation in the dynamic mechanisms of technical things. By exposing certain technologies and their use in musical contexts, the second part of the thesis enterprises what is here called a mecanology of musical/sound techniques and related practices. Such exposition comprises the study of certain technical mechanisms and an interpretation of such inventions including their subsequent technical developments as well as their appropriation and reinvention in specific creative processes. The third part of the work presents briefly compositions that were written during the doctorate studies. The scores of these compositions were included in the thesis' appendices / Doutorado / Processos Criativos / Doutor em Música

The development of Estonia’s national music culture has really taken place over the last 145 years, thanks to the national choral song festival tradition that began in 1869 and has continued until today. Song festivals have been always important as a form of non-political resistance confirming Estonian identity and self-confidence. Many have characterized Estonia as a “singing nation” and we know that a great contribution to this is provided by music teachers at schools.

In this dissertation I examine the discourse of music educators as it relates to musical aesthetics in the United States from the creation of the Music Supervisors’ Conference in 1907 to the year of the publication of Basic Concepts of Music Education: The Fifty-Seventh Yearbook of the National Society for the Study of Education, Part 1 in 1958. The purpose of this dissertation is to show that philosophical discussion, especially in relation to musical aesthetics, was much more comprehensive than previously acknowledged. The conventional view that the arguments supporting music education were primarily utilitarian is a limited interpretation of the discourse prior to 1958. In actuality, arguments about music extended beyond its practical social, economic, and political utility. Additional aesthetic theories guided the field and girded ideas of musical understanding and informed instruction. A better understanding of the discourse of this period contributes to more informed conversations about musical aesthetics and its relation to music education. Utilizing philosophical analysis and archival research, I argue in this dissertation that the philosophical discourse relating to musical aesthetics was rich, varied, insightful, and pervasive. The evidence in this dissertation refutes the standard interpretation which eschews the possibility of discourse on aesthetics taking place prior to 1958. I show that there was deeper philosophical analysis than what is currently acknowledged by those who presently make the claim that what was intended to happen generally in the field of music education and during instruction was solely guided by utilitarian philosophy. In other words, it expands the current understanding of philosophical discourse relating to musical aesthetics in music education before the Music Education as Aesthetic Education movement that is argued to begin with the publication of Basic Concepts.

Der Text berichtet über eine Erhebung zu Praxen des Musikunterrichts in 5 Ländern Europas. Über eine auf Englisch veröffentlichte Erhebung ‚About Different Cultures in Music Classrooms of Europe’ hinaus enthält dieser Text auch die Ergebnisse einer zweiten Erhebung. Nach der Reflexion einiger methodischer Aspekte der Arbeit mit Videos sowie des Kontexts eines europäisch geförderten ‚Intensive Programs’, gibt der Text Information über gemeinsame Inhalte und Methoden sowie unterschiedliche Praxismerkmale im Musikunterricht. Abschließend liefert der Text drei Reflexionen der Daten über (1) die Wichtigkeit von Sound und Gesten im Musikunterricht, (2) Interferenzen zwischen Kulturen der Musik und Kulturen der Pädagogik im Klassenzimmer und (3) Muster von Musikunterricht. / The article is about an exploration about practices of school music in 5 countries of Europe. Beyond an exploration ‚About Different Cultures in Music Classrooms of Europe’, which was published in English, this article includes results of a second exploration. After reflecting some methodological aspects of working with videos and the context of an Intensive Programm, the article gives information about common contents and methods and distinguishing marks of practices in music education. At last the article gives three reflections of the data about (1) the importance of sound and gestures in music education, (2) interferences between cultures of music and cultures of pedagogy in the classroom, (3) patterns of school music.

Analysing the conversations at the conference the chapter addresses fundamental issues of cultural comparison in music education. There is a disciplinary bias that can tempt the researcher to overestimate cultural conditions. This could lead to cultural relativism that keeps us from critically addressing normative issues associated with aims and contents of music education.