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Orientador: Denise Hortencia Lopes Garcia / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Arte / Made available in DSpace on 2018-08-14T23:08:27Z (GMT). No. of bitstreams: 1 VottaJunior_Alfredo_M.pdf: 13778431 bytes, checksum: cbba6684483b3568f6d78a26e474efea (MD5) Previous issue date: 2009 / Resumo: O compositor estoniano Arvo Pärt, nascido em 1935 e radicado na Alemanha desde os anos 1980, tem sido objeto de atenção do mundo musical por sua peculiar linguagem modal baseada na técnica tintinnabuli, formulada e nomeada pelo próprio Pärt. Esta técnica se baseia na ideia de utilização exclusiva das três notas de uma tríade em ao menos uma das vozes da textura musical. Esta técnica tem sido utilizada por Pärt desde meados dos anos 1970. Sua obra apresenta também numerosas afinidades com a música medieval, arte estudada por Pärt nos anos de interrupção de seu trabalho composicional que se prolongaram de 1968 até 1976. O canto gregoriano ocupou lugar de destaque nestes estudos, sendo por esta razão importante para a compreensão de sua obra. São apontados também, por inúmeras fontes (trabalhos acadêmicos, encartes de gravações e textos críticos jornalísticos), vínculos da obra de Pärt com o minimalismo, que se manifestam sobretudo no ideal de stasis, nos processos aditivos e nos ciclos. As técnicas desenvolvidas por Pärt, bem como aquelas que se podem relacionar a ele, são fértil campo para a formulação de novas ideias composicionais e mesmo para o reencontro com ideias antigas que podem fertilizar a expressão musical atual. / Abstract: Estonian composer Arvo Pärt, born in 1935 and living in Germany since the 1980s, has been the object of close attention by the musical world due to his peculiar modal language based on his own tintinnabuli technique. This technique builds upon the exclusive use of the three notes of a triad in at least one of the voices of a given musical texture. Pärt has been using this method since the mid-seventies. His work displays great affinity with medieval music as well. The music of the Middle Ages was studied by Pärt during his period of compositional silence from 1968 to 1976. Since that includes especially Gregorian chant, this genre is crucial for proper understanding of Pärt's work. Numerous sources (academic papers, recordings' booklets and press writings) have also pointed resemblance of Pärt's compositions with minimalism chiefly due to the ideal of stasis, additive processes and cycles. Pärt-developed and -related techniques are a fertile environment for the creation of new compositional ideas and a new approach towards ancient ideas as a means to contribute with current musical expression. / Mestrado / Mestre em Música

The portfolio of compositions comprises six pieces: a chamber opera, an orchestral piece and four shorter chamber works. These pieces are diverse and distinct from one another but collectively explore aesthetic tensions relating to tonality, aura and ontology. The largest piece is a chamber opera setting Margaret Atwood's novel, The Handmaid's Tale, which has been flexibly scored as a series of fragments in order to reflect the quality of her text. The remaining pieces draw influence from poetry, landscape and the environment. They all encompass a series of material contrasts but attempt to simply contain these tensions in some way, leaving them partially unresolved. The thesis is a re-assessment of the music of the Ukrainian composer, Valentin Silvestrov, in particular, his 'metamusic' approach to composition that treats pre-existing styles as a form of musical metaphor. Through a series of comparisons with landscape and photography, I offer new vantage points for approaching the aesthetic issues present in his work, relating to aura, imitation and historical reference. The metaphors of landscape and photography might appear far removed from his work, but mediated by the work of the artist Gerhard Richter, offer a basis for critically analysing Silvestrov's approach. Furthermore, by drawing upon the theories of Walter Benjamin, Roland Barthes and the geographer, Stephan Harrison, I demonstrate how concepts from other disciplines can be recast in order to be effective for approaching both Silvestrov and Richter. As a form of conclusion, I consider the role of photography in the production of CD covers and how this relates to the reception of Silvestrov's metamusic in a commercial setting.

In this diploma thesis I am going to analyze Christian metal music with emphasis on its missional character. My starting point is at a hypothetical use of metal as a tool for Christian mission. I assume that new Christian communities will be able to use metal as a cultural tool for creating the inner character of the community. This requires a short introduction to the development of both Christian and secular metal music. To describe Christian mission in this subculture I am going to use the method of praxis matrix, through which I'm going to try to offer more detailed information about the subject in question concerning the topic of the identification of the agent. I'm also going to try to describe the social context, the church affiliation, interpretation of the tradition, concretization of the activity and the ability of self- reflection and spirituality.

This dissertation examines an Indonesian-North American version of an evolving, transnational and hybrid multimedia art form which has come about through forty years of adaptations made by cross-culturally located artists in creative conversation with Indonesian performers involved in the Javanese and Balinese forms of musical theatre known as wayang. Wayang theatre employs puppets and other components including gamelan music (Indonesian percussion instruments, drums, flutes, strings and vocals). Given this complexity, there are many possibilities for variations, changes, and hybridization. In this research project, I analyze aspects of this hybrid performance by analyzing select Indonesian-North American wayang performances, as case studies. In order to isolate complex changes and various adaptations of wayang performances in the North American setting, I also analyze and contextualize a hybridization of Javanese and Balinese wayang performances. As a performance art form, wayang has always been changing historically—at some points more quickly and dramatically than at other periods of time, thus resisting firm categorization that would provide a baseline for comparison. I have developed the wahiyang theoretical framework as an analytical tool to identify the influence of North American culture on the wayang performances in my case studies. I argue that new genre of wayang is emerging, creating a hybridized form that I call wahiyang gaya NA. This process has progressed to the point that wahiyang gaya NA can be said to represent a new genre of multimedia world art, which combines elements of local and global artistic practises, making the form even more flexible and adaptable than its original forms in Indonesia. The gradual spread and popularization of wayang in North America has definite historical contexts, namely the early 19th-to-mid 20th century conjunction of decolonization and Third World nationalism, with the more recent decades’ layering of multiculturalism and push towards conscious cultural responses to economic globalization. This developing continuum of new hybrid forms spans a spectrum of cultural inclusion and expansion of wayang and new components. At times these may be seen as wayang influence upon Western performance practice; at other times an entire Indonesian wayang production with additional elements added from Western music, theater, and other disciplines may be presented. These developments signify an enhanced and expanded exchange of cultural products between the nations of the world, taking place in an expanded space for dialogue between the artists of the developed and developing countries. I will show, using case studies, how this process has produced and is producing a new branch of wayang as part of a continuum of hybridized wayang forms. By examining selected performance collaborations that have taken place over the last 40 years, I will provide a detailed analysis, which for the first time, lays out the components that constitute the variation of wayang art performance that has developed in response to geographical and cultural contexts of the Pacific Northwest of USA and Westcoast Canada. / Graduate / 2018-04-12 / 0377, 0357, 0465 / sutrisno@uvic.ca

This research project addresses the problem of scoring non-narrative film work. Deprived of a narrative content to follow, the composer faces the fundamental problem of deciding what other elements should be considered for establishing a meaningful relationship between the screened events and the music soundtrack. In order to mitigate the problem, this research project investigates the possibility of applying cross-modal principles to soundtrack composition, and systematically exploits the human ability to experience or interpret the information channeled through one sense modality in terms of another. After the Introduction which explains the research aims and methods, the thesis is structured into subsequent chapters. Chapter two considers cross-modal relationships in music and other expressive arts along with a brief consideration of Reception Theory and its relation to my work. Chapter three provides a set of four case studies of contemporary compositional approaches to non-narrative film. Chapter four demonstrates a new and systematic approach to soundtrack composition through a specially devised Table of Audio-Visual Correspondences, mapping parameters from one domain to another. This method is then applied in Chapter five in relation to a portfolio of original composed soundtracks. A detailed analysis is provided of each piece and the application of crossmodal logic to the scoring of non-narrative video is discussed and evaluated. Finally, Chapter six offers conclusions, recommendations, and outlines the scope for further research. An explanation is given of how work on this thesis has affected my own practice and compositional voice. A suggestion is also provided on how this thesis can benefit the wider film music academic and practitioner community.