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Orientador: Lia Vera Tomás / Banca: Marcos José Cruz Mesquita / Banca: Mário Rodrigues Videira Júnior / Resumo: A primeira obra que René Descartes redigiu foi Compendium Musicæ em 1618, sendo esta sua primeira experimentação com o futuro método cartesiano. Sendo uma obra de juventude, o autor deve ter estudado sobre música em sua formação, principalmente no colégio de La Flèche. Convencionalmente, têm-se a obra de Gioseffo Zarlino como a principal fonte, devido a ser citada no Compendium; no entanto, os estudos em torno do texto têm relativizado essa influência. Como o texto parte de uma definição de música e oito proposições sobre as quais o restante é desenvolvido, verificar como estas aparecem em outros tratados da época permite deduzir as possíveis fontes musicais utilizadas pelo autor. O trabalho inicia com uma necessária reconstituição do contexto filosófico e musical de sua época; seguida de uma análise sobre as concepções jesuíticas de conhecimento e música. Dessa forma, pode-se verificar o que motivou o autor a escrever sobre música, como os debates em torna desta. A semelhança de sua obra madura, o texto propõe uma virada metodológica o qual só é percebido tendo em mente o contexto de época. Após uma interpretação tanto da definição de música como das oito proposições, pode-se compará-las com outras obras da época para verificar suas fontes musicais. Com esse processo pode-se evidenciar a influência de Aristóteles, Aristóxeno de Tarento, Jean de Murs, Pontus de Tyard, Gioseffo Zarlino e Francisco de Salinas. / Abstract: The first work that René Descartes wrote was the Compendium Mu sic æ in 1618, this was his first experiment with the future cartesian method. As a work of youth, the author must have studied music in your education, mainly in the college of La Flèche . Conventionally, the work of Gioseffo Zarlino had been considered the main source, because was cited in the Compendium . Since the text starts with music ́s definition and eight propositions, about which the rest of work was developed; check the way that them appear in other treatises of the time could help to deduce the poss ible musical sources that the author used .This dissertation starts with a necessary reconstitution of philosophical and musical context of the epoch, followed by an analysis of jesuits conceptions of knowledge and music. In this way, it can be considered w hat motivated the author to write about music, as his the debates. In resemblance to his mature work, the text proposes a methodological turn that is only perceived with the context of the time in mind. After an interpretation of the definition of the musi c and the eight propositions, it could be possible compare with the others works form the epoch to verify his musical sources. With this process, it could evidence the influence of Aristotle, Aristoxenus, Jean de Murs, Pontus de Tyard, Gioseffo Zarlino and Francisco de Salinas / Mestre

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Studies of eighteenth-century French musical aesthetics have traditionally focused on questions of taste treated in the critical literature of the day. During the first half of the century, however, certain French writers were dealing with aesthetics in the stricter sense of the word, proposing theories of beauty that suited existing philosophical values. The treatises in which these ideas were set forth--Jean-Pierre de Crousaz' Traité du beau, Jean-Baptiste DuBos' Réflexions critiques sur la poësie et sur la peinture, Yves-Marie André's Essai sur le beau, and Charles Batteux' Les Beaux arts réduits à un même principe--are among the first learned writings to present the musical experience in something other than a mathematical or pedagogical light. This study investigates not only the role music played in these theories of beauty, but also the methodological problems inherent in translating this data into historical information.

Orientador(a): Florivaldo Menezes Filho / Banca: Nahim Marun / Banca: Yara Caznok / Banca: Leonardo Martinelli / Banca: Paulo Zuben / Resumo: Nesta tese são analisadas as técnicas compositivas utilizadas por Luciano Berio e Flo Menezes e são comparadas suas respectivas concepções musicais, tentando demonstrar um comum embasamento dessas ideias no pensamento estruturalista. Para tanto, a primeira parte deste trabalho é dedicada a analisar as diversas proposições teóricas do estruturalismo com os argumentos de Claude Lévi-Strauss, Umberto Eco e Vladimir Propp. Seguimos com algumas ponderações de Ferdinand de Saussure, Roman Jakobson e Roland Barthes sobre questões de linguística e, por fim, com conceitos da estética musical, presentes nas reflexões de Enrico Fubini, considerando também algumas das especulações elaboradas por Theodor Adorno, Robert Jauss, Edmund Husserl e Maurice Merleau-Ponty. Na segunda parte, as formulações apresentadas são declinadas no universo conceitual de Berio e Menezes, evidenciando as perspectivas teóricas individuais dos dois compositores. Em seguida, são analisadas exaustivamente as duas obras para harpa solo escritas pelos dois autores: Sequenza II, de Berio, e …donde solo las plantas suenan…, de Menezes, com especial atenção ao processo genético e compositivo. Nessa etapa de análise e confronto, procuramos validar a hipótese de que a reelaboração peculiar e a aplicação subjacente de princípios filosóficos e musicais de matriz estruturalista resultam na presença do Belo nas obras dos dois compositores / Abstract: This research analyses the compositional techniques used by Luciano Berio and Flo Menezes, and compares their musical conceptions trying to demonstrate a common origin of these ideas in Structuralism. In order to reach this aim, the first part of this essay is dedicated to analyse the different theoretical propositions of the Structuralism based on the arguments of Claude Lévi-Strauss, Umberto Eco and Vladimir Propp. We then proceed with some considerations about Linguistics issues by Ferdinand de Saussure, Roman Jakobson and Roland Barthes. Lastly, there is an elaboration of musical esthetics concepts, following Enrico Fubini's perspective, and considering some of the contributions in this field by Theodor Adorno, Robert Jauss, Edmund Husserl and Maurice Merleau-Ponty. In the second part, these philosophical views are applied to Berio's and Menezes' conceptual universe, underlining the individual theoretical perspectives of the two composers. Then, we analyse the two compositions for harp solo written by the two authors: Sequenza II by Berio and …donde solo las plantas suenan…by Menezes, giving special attention to the genetic and compositional process. In this stage, we support the hypothesis that the implicit use of philosophical and musical structuralistic principles resulted in the presence of Beauty in the two composers' pieces / Doutor

We each experience the world through the prism of our upbringing, our traditions and the familiar sights and sounds embedded deep within our soul. Only Sound Remains is an installation in which I explore and share those experiences through objects, sounds and video. Ceramic vessels inspired by the traditions of my ancestors hide and shape sounds that narrate simple and complex experiences, which are the stories of my life. The sounds relate to the world that I came from and that still can be heard now. The sounds are not clear until one gets close to the vessels and lifts the lid-- a bazaar, praying, marching, an explosion, a woman telling a story, traditional Iranian music. The installation is a metaphor for the way in which we experience the world. The vessels represent a selection of personal and cultural experiences through sounds that may or may not be fully understood. / Includes bibliography. / Thesis (M.F.A.)--Florida Atlantic University, 2014.. / FAU Electronic Theses and Dissertations Collection

1817 is the beginning of a period in Schubert's life, called his "years of crisis," when he was forming and asserting his personal and musical autonomy. His songs from this time concentrate on mythology and on the poetry of his friend Johann Mayrhofer. Thirteen mythological Mayrhofer-songs sing through the "I" of a mythological character and address a god for aid. This dissertation analyzes seven of these songs: Freiwilliges Versinken, Memnon, Philoktet, Der zürnenden Diana, Atys, Antigone und Oedip, and Der entsühnte Orest. Both Mayrhofer's poems and Schubert's songs present difficulties. Mayrhofer's language and treatment of myth occlude his poetry's meaning. Schubert's settings also obscure what they might communicate to readers or listeners through experimental formal, harmonic, and text-setting strategies. To discover the order and meaning behind the abstruse surfaces of the poems, music, and songs, I turn to four analytical perspectives immanent in Mayrhofer's poems. Though mythological on the surface, Mayrhofer's poems tell a Gnostic narrative of man's desire to unite with god. The poems are also masochistic: Mayrhofer's mythological heroes are all in pain, static, and devoted to a goddess. These two simultaneous subtexts exemplify the ambiguity of Mayrhofer's poetry, that it both keeps its meaning indistinct and means many things at once. Mayrhofer's use of mythology and Gnosticism direct us to Carl Jung's use of the same in his psychoanalytic researches into the self. Gnosticism, masochism, ambiguity, and the Jungian self are elements of Schubert's songs just as they are elements of Mayrhofer's poems. Each of the dissertation's four main chapters focuses on one of these concepts. In analysis, I give the greatest attention to the music, that is, how the music is Gnostic, masochistic, ambiguous, and psychologically self-expressive. The musical analyses are largely motivic, but also involve musical form, harmony, meter, genre, and vocal style. I understand song as a multiplicity, as an interaction of individual voices. Since each of the four analytical perspectives---as distinct as they are---says something about the relationship between the self and the other, they are means to assess the relationships resulting in song, and how meaning and understanding emerge from the interaction of multiple voices.