One of the famous Russian composers and a pianist himself, Sergei Prokofiev (1891–1953) composed a vast quantity of piano music. His nine piano sonatas represent well how he projected his musical individuality and the principles that he addressed in his autobiography: classical line, modern trend, toccata line, lyrical line, and grotesque line. However, even though Prokofiev's piano sonatas are considered one of the important collections in the piano repertoire, not all of them have gained popularity and only a few tend to be frequently performed by pianists today. For this reason, this dissertation focuses on one of his less-performed piano sonatas, No. 4 in C minor, Op. 29. The pianists György Sándor and Boris Berman were chosen as specialists in Prokofiev's piano works, and their performance editions and recordings are analyzed and compared as main references. This study provides analysis and a performance guide to this piano sonata. This guide discusses pedaling, fingering, phrasing, touch, voicing, tempo suggestion, articulation, hand distribution, and expression.

Cette version de la thèse a été tronquée de certains éléments protégés par le droit d’auteur. Une version plus complète est disponible en ligne pour les membres de la communauté de l’Université de Montréal et peut aussi être consultée dans une des bibliothèques UdeM / Cette thèse traite de la musique dans le contexte d’une diaspora émergente comme moyen privilégié de favoriser l’appartenance et la convivialité ; elle porte sur les associations culturelles montréalaises fondées par des immigrants en provenance des Grassfields. À travers l’histoire de cette région densément peuplée du Cameroun, les arts musicaux menés au sein des associations locales ont constitué un mécanisme important dans la construction de la cohésion sociale et dans l’expression d’une culture commune, façonnée par des relations interculturelles et par le déplacement continuel de sa population entre les nombreuses chefferies. La division coloniale des Grassfields entre zones linguistiques anglophones et francophones mène à la fusion des conceptions endogènes de l’« unité dans la diversité » caractérisée par le projet d’intégration nationale de l’État camerounais postcolonial ; ce dernier cherche toujours à gérer sa diversité ethnique considérable à travers des initiatives de « développement culturel ». Depuis l’indépendance du pays, la croissance d’une diaspora Grassfields à Montréal a favorisé l’organisation d’activités musicales dans le cadre d’associations et de leurs événements culturels. Ceci a permis de souder les liens entre mondes rurale et urbain, de poursuivre des idéaux de pluralisme et de solidarité, et de négocier les héritages divergents issus à la fois de conflits et de coopérations ayant marqué cette zone historiquement marginalisée. Comme les migrants venant des Grassfields des deux côtés de l’ancienne frontière coloniale constituent un pourcentage important d’immigrants récents à Montréal, leur héritage musical commun continue d’être exploité au sein des associations comme moyen d’aborder de nouvelles relations interculturelles au profit de leur adaptation aux idéologies pluraliste des sociétés québécoises et canadiennes. En reliant cette participation historique aux associations musicales à des exemples spécifiques tirés des communautés Grassfields anglophones et francophones de la diaspora camerounaise de Montréal, nous démontrons comment la participation aux associations continue d’encourager des rôles de leadership parmi ses membres mélomanes grâce à leurs capacités à faciliter des expériences de solidarité et de convivialité à travers les festivals et rituels de cycles de vie, solidifiant ainsi leur statut et la réappropriation des idéaux locaux et nationaux d’unité, tout ceci dans un contexte culturellement validé. / This thesis looks at the musical activity of Montréal’s Cameroonian Grassfields cultural associations as a favoured means of fostering belonging and pursuing conviviality in an emergent diaspora. In the history of this densely populated area of Cameroon the musical arts in the context of associations have been a central mechanism in the mediation of social cohesion and a defining characteristic of a common culture shaped by intercultural relationships and the constant movement and exchange of its population between its many constituent chiefdoms. The subsequent colonial division of the area into Anglophone and Francophone linguistic regions would ultimately lead to the merging of an indigenous conception of “unity in diversity” with the post-colonial Cameroonian State’s national project that continues to be defined by a preoccupation with the integration of its considerable ethnic diversity through “cultural development” initiatives. With the growth of a “domestic” Grassfields diaspora since Cameroon’s independence, the organization of musical activity in the context of associations and their cultural events has continued to provide Grassfielders the means to maintain rural-urban linkages, pursue ideals of pluralism and solidarity and navigate the divergent legacies of conflict and cooperation that have marked this historically marginalized area. As Grassfields migrants from both sides of the former colonial border have made up a significant percentage of recent Cameroonian immigrants to Montréal, they have continued to harness their shared history of participation in musical associations as a means of consolidating new intercultural relationships and adapting their activity to fit the ideologies of pluralism of Québecois and Canadian society. By linking the history of Grassfields musical association in Cameroon to specific examples from both the Anglophone and Francophone Grassfields communities of Montréal’s Cameroonian diaspora, we demonstrate how musical associations have continued to afford leadership roles to their most musical participants through their capacity to facilitate the solidarity and conviviality of life cycle rituals and festivals, recreating culturally validated modes of status acquisition by deploying their musical skill and experience in the pursuit and reappropriation of local and national ideals of unity.

Peruvian composers Armando Guevara Ochoa (1926–2013) and César Vivanco (b. 1949) borrow and transplant musical elements from Andean folk tradition into their compositions for the modern classical flute. Guevara Ochoa's Yaraví, Danza y Huayno and Vivanco's Fantasía Andina are solo flute pieces rooted in Peruvian folklore traditions and Andean instrumental performance. The purpose of this dissertation is to provide flutists with technical and interpretative guidance in preparing these pieces. Yaraví, Danza y Huayno, a suite of three short dances, and Fantasía Andina, a free-meter piece in an improvisational style, incorporate elements that utilize the performance techniques of Andean instruments, with use of quotations from traditional Andean folk music. References to quenas (traditional vertical flutes), zampoñas (panpipes), pututos (ceremonial natural horns), charangos (Andean guitars) and Andean harps are integrated within the works and fused with themes borrowed from iconic pieces such as El cóndor pasa, and traditional harmonic, melodic and rhythmic structures of the huayno (fast festive dance) and yaraví (slow melancholic song). The techniques and traditions borrowed from Andean folk music are not notated in these scores due to the limitations of musical notation. Performers are expected to portray the Andean musical identity of the composers' intent. This dissertation assists performers unfamiliar with the traditions of Andean music to identify and understand the implicit Andean roots in both works and develop techniques to accurately represent sounds of Andean Peruvian traditions, with a deeper, culturally informed interpretation of this music.

O seguinte estudo etnográfico versa sobre as relações nas performances musicais de chirimía, conjunto musical instrumental representativo das comunidades negras da cidade de Quibdó- Chocó (Colômbia). No processo de produção cultural onde se configura a chirimía evidenciam-se relações de gênero tensas que se expressam como um elemento transversal das performances musicais deste conjunto musical. Dita produção cultural desenvolve-se principalmente através de dois âmbitos, o público e o doméstico, que dão lugar a uma dualidade constitutiva própria das práticas musicais e sonoridades negras de Quibdó. Nesse processo as sonoridades femininas se cristalizam nos espaços domésticos enquanto que as sonoridades masculinas no público, materializado nos conjunto musicais de chirimía. Essa situação nos leva a propor como pergunta de investigação de quê modo opera essa tensão de gênero na performatividade e a prática musical da chirimía em Quibdó? Do mesmo modo este estúdio nos convida a refletir a partir das trajetórias pessoais e musicais de três mulheres instrumentistas as possíveis reconfigurações da produção cultural da cidade. / This ethnographic study is about gender relations in chirimía musical performances, an instrumental music group representative of black communities in Quibdó- Chocó (Colombia). Inside the process of cultural production, where the chirimía takes place, emerge tense gender relations as a transversal element of the musical performances. This cultural production is developed mainly through domestic and public spaces that generate the constitutive duality of musical practices and black sonorities in Quibdó. In this process, female sonorities are crystalized in domestic spaces, while male sonorities emerge in public spaces, materialized in chirimia music group scenarios. This situation take us to the next research question: how does this gender tension operate during the musical performances and practices of chirimía in Quibdó? Additionally, this study invite us to think about the musical and personal trajectories of three women instrumentalists, about possible reconfigurations of cultural production in the city. / Este estudio etnográfico versa sobre las relaciones de género en las performances musicales de chirimía, conjunto musical instrumental representativo de las comunidades negras de Quibdó-Chocó (Colombia). En el proceso de producción cultural donde se configura la chirimía, se evidencian relaciones de género tensas que se expresan como un elemento transversal de las performances musicales de este conjunto musical. Dicha producción cultural se desarrolla principalmente a través de dos ámbitos, el público y el domestico, que dan lugar a una dualidad constitutiva propia de las prácticas musicales y sonoridades negras de Quibdó. En ese proceso, las sonoridades femeninas se cristalizan en los espacios domésticos, mientras que las sonoridades masculinas en lo público, materializado en los conjuntos musicales de chirimía. Esa situación nos lleva a plantear como pregunta de investigación ¿De qué modo opera esa tensión de género en la performatividad y la práctica musical de la chirimía en Quibdó? Igualmente, este estudio nos invita a reflexionar a partir de las trayectorias personales y musicales de tres mujeres instrumentistas, las posibles reconfiguraciones de la producción cultural de la ciudad.

O seguinte estudo etnográfico versa sobre as relações nas performances musicais de chirimía, conjunto musical instrumental representativo das comunidades negras da cidade de Quibdó- Chocó (Colômbia). No processo de produção cultural onde se configura a chirimía evidenciam-se relações de gênero tensas que se expressam como um elemento transversal das performances musicais deste conjunto musical. Dita produção cultural desenvolve-se principalmente através de dois âmbitos, o público e o doméstico, que dão lugar a uma dualidade constitutiva própria das práticas musicais e sonoridades negras de Quibdó. Nesse processo as sonoridades femininas se cristalizam nos espaços domésticos enquanto que as sonoridades masculinas no público, materializado nos conjunto musicais de chirimía. Essa situação nos leva a propor como pergunta de investigação de quê modo opera essa tensão de gênero na performatividade e a prática musical da chirimía em Quibdó? Do mesmo modo este estúdio nos convida a refletir a partir das trajetórias pessoais e musicais de três mulheres instrumentistas as possíveis reconfigurações da produção cultural da cidade. / This ethnographic study is about gender relations in chirimía musical performances, an instrumental music group representative of black communities in Quibdó- Chocó (Colombia). Inside the process of cultural production, where the chirimía takes place, emerge tense gender relations as a transversal element of the musical performances. This cultural production is developed mainly through domestic and public spaces that generate the constitutive duality of musical practices and black sonorities in Quibdó. In this process, female sonorities are crystalized in domestic spaces, while male sonorities emerge in public spaces, materialized in chirimia music group scenarios. This situation take us to the next research question: how does this gender tension operate during the musical performances and practices of chirimía in Quibdó? Additionally, this study invite us to think about the musical and personal trajectories of three women instrumentalists, about possible reconfigurations of cultural production in the city. / Este estudio etnográfico versa sobre las relaciones de género en las performances musicales de chirimía, conjunto musical instrumental representativo de las comunidades negras de Quibdó-Chocó (Colombia). En el proceso de producción cultural donde se configura la chirimía, se evidencian relaciones de género tensas que se expresan como un elemento transversal de las performances musicales de este conjunto musical. Dicha producción cultural se desarrolla principalmente a través de dos ámbitos, el público y el domestico, que dan lugar a una dualidad constitutiva propia de las prácticas musicales y sonoridades negras de Quibdó. En ese proceso, las sonoridades femeninas se cristalizan en los espacios domésticos, mientras que las sonoridades masculinas en lo público, materializado en los conjuntos musicales de chirimía. Esa situación nos lleva a plantear como pregunta de investigación ¿De qué modo opera esa tensión de género en la performatividad y la práctica musical de la chirimía en Quibdó? Igualmente, este estudio nos invita a reflexionar a partir de las trayectorias personales y musicales de tres mujeres instrumentistas, las posibles reconfiguraciones de la producción cultural de la ciudad.

O seguinte estudo etnográfico versa sobre as relações nas performances musicais de chirimía, conjunto musical instrumental representativo das comunidades negras da cidade de Quibdó- Chocó (Colômbia). No processo de produção cultural onde se configura a chirimía evidenciam-se relações de gênero tensas que se expressam como um elemento transversal das performances musicais deste conjunto musical. Dita produção cultural desenvolve-se principalmente através de dois âmbitos, o público e o doméstico, que dão lugar a uma dualidade constitutiva própria das práticas musicais e sonoridades negras de Quibdó. Nesse processo as sonoridades femininas se cristalizam nos espaços domésticos enquanto que as sonoridades masculinas no público, materializado nos conjunto musicais de chirimía. Essa situação nos leva a propor como pergunta de investigação de quê modo opera essa tensão de gênero na performatividade e a prática musical da chirimía em Quibdó? Do mesmo modo este estúdio nos convida a refletir a partir das trajetórias pessoais e musicais de três mulheres instrumentistas as possíveis reconfigurações da produção cultural da cidade. / This ethnographic study is about gender relations in chirimía musical performances, an instrumental music group representative of black communities in Quibdó- Chocó (Colombia). Inside the process of cultural production, where the chirimía takes place, emerge tense gender relations as a transversal element of the musical performances. This cultural production is developed mainly through domestic and public spaces that generate the constitutive duality of musical practices and black sonorities in Quibdó. In this process, female sonorities are crystalized in domestic spaces, while male sonorities emerge in public spaces, materialized in chirimia music group scenarios. This situation take us to the next research question: how does this gender tension operate during the musical performances and practices of chirimía in Quibdó? Additionally, this study invite us to think about the musical and personal trajectories of three women instrumentalists, about possible reconfigurations of cultural production in the city. / Este estudio etnográfico versa sobre las relaciones de género en las performances musicales de chirimía, conjunto musical instrumental representativo de las comunidades negras de Quibdó-Chocó (Colombia). En el proceso de producción cultural donde se configura la chirimía, se evidencian relaciones de género tensas que se expresan como un elemento transversal de las performances musicales de este conjunto musical. Dicha producción cultural se desarrolla principalmente a través de dos ámbitos, el público y el domestico, que dan lugar a una dualidad constitutiva propia de las prácticas musicales y sonoridades negras de Quibdó. En ese proceso, las sonoridades femeninas se cristalizan en los espacios domésticos, mientras que las sonoridades masculinas en lo público, materializado en los conjuntos musicales de chirimía. Esa situación nos lleva a plantear como pregunta de investigación ¿De qué modo opera esa tensión de género en la performatividad y la práctica musical de la chirimía en Quibdó? Igualmente, este estudio nos invita a reflexionar a partir de las trayectorias personales y musicales de tres mujeres instrumentistas, las posibles reconfiguraciones de la producción cultural de la ciudad.

[ES] El propósito fundamental perseguido en esta tesis es el de establecer las relaciones entre el movimiento y la interpretación. Se ofrece una perspectiva global del fenómeno, a partir de la concepción holístico-kinética personal centrada en el repertorio actual para percusión. Las decisiones teórico-interpretativas son fruto de la reflexión y la continua praxis artística y docente realizada a lo largo de los años. Por una parte, a través de recitales tanto como solista como en diferentes proyectos relacionados con la creación, interpretación y difusión del arte de la percusión y por otra, en el desempeño de la función docente como especialista en distintos ámbitos y niveles. Se establecen las bases conceptuales necesarias para extrapolar unos principios comunes a los diferentes instrumentos o conjuntos de instrumentos a través de la interpretación del gran repertorio contemporáneo. El trabajo de investigación se lleva a cabo a partir del análisis, grabación, entrevistas a grandes intérpretes, estudios y trabajos similares en otros campos asociados por su empleo del movimiento como medio de expresión. La tesis cristaliza en diferentes resultados y conceptos teórico-prácticos que se ven reflejados en la edición de una partitura, la definición de unos principios generales interpretativos y la grabación en distintos formatos de las diferentes piezas que conforman el corpus principal de estudio. Los registros audiovisuales se agrupan en dos bloques: la edición de un CD de audio con 5 piezas del repertorio contemporáneo para percusión y clarinete bajo, y la grabación de las tres piezas fundamentales de la tesis en formato de video de alta calidad de acceso libre en la red. / [CA] El propòsit fonamental perseguit en aquesta tesi és el d'establir les relacions entre el moviment i la interpretació. S'ofereix una perspectiva global del fenomen, a partir de la concepció holístic-cinètica personal centrada en el repertori actual per percussió. Les decisions teòric-interpretatives són fruit de la reflexió i la contínua praxi artística i docent realitzada al llarg dels anys. D'una banda, a través de recitals tant com a solista com en diferents projectes relacionats amb la creació, interpretació i difusió de l'art de la percussió i per una altra, en l'exercici de la funció docent com a especialista en diferents àmbits i nivells. S'estableixen les bases conceptuals necessàries per extrapolar uns principis comuns als diferents instruments o conjunts d'instruments a través de la interpretació del gran repertori contemporani. El treball de recerca es porta a terme a partir de l'anàlisi, gravació, entrevistes a grans intèrprets, estudis i treballs similars en altres camps associats que empren el moviment com a mitjà d'expressió. La tesi cristal·litza en diferents resultats i conceptes teoricopràctics que es veuen reflectits en l'edició d'una partitura, la definició d'uns principis generals interpretatius i l'enregistrament en diferents formats de les diferents peces que conformen el corpus principal d'estudi. Els registres audiovisuals s'agrupen en dos blocs: l'edició d'un CD d'àudio amb 5 peces del repertori contemporani per a percussió i clarinet baix, i l'enregistrament de les tres peces fonamentals de la tesi en format de vídeo d'alta qualitat d'accés lliure a la xarxa. / [EN] The fundamental purpose pursued in this thesis is to establish the relationships between movement and interpretation. A global perspective of the phenomenon is offered, starting from the personal holistic-kinetic conception centered on the current repertoire for percussion. Theoretical-interpretative decisions are the result of reflection and continuous artistic and teaching practice carried out over the years. On the one hand, through recitals both as a soloist and in different projects related to the creation, interpretation and dissemination of the art of percussion and, on the other, in the performance of the teaching function as a specialist in different fields and levels. The necessary conceptual bases are established to extrapolate some common principles to the different instruments or sets of instruments through the interpretation of the great contemporary repertoire. The research work is carried out from the analysis, recording, interviews with great interpreters, studies and similar works in other fields associated with their use of movement as a means of expression. The thesis crystallizes in different results and theoretical-practical concepts that are reflected in the edition of a score, the definition of general interpretive principles and the recording in different formats of the different pieces that make up the main corpus of study. The audiovisual records are grouped into two blocks: the edition of an audio CD with 5 pieces of the contemporary repertoire for percussion and bass clarinet, and the recording of the three fundamental pieces of the thesis in free access high-quality video format in network. / Soriano Morales, J. (2021). Una visión holística del movimiento en el arte de la percusión actual a través de la aplicación de una concepción kinética personal [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/172193 / TESIS

The flute music of Anna Bon di Venezia (1738–ca. 1767) belongs to the group of long-overlooked compositions by women composers throughout history worthy of rediscovery. This dissertation includes a discussion of Bon's life and music, as well as the artistic, historical, and theoretical significance of her compositions. It also presents biographical research on Bon, including Michaela Krucsay's dissertation, which provides new evidence of Bon's birth date, which had been uncertain up until 2015. Bon's Sonata in F Major for flute and basso continuo is analyzed to provide a more comprehensive understanding of the work. A table is provided explaining specific ornaments and articulations added to the performance edition. In addition, this dissertation includes analyses of sonatas by Carl Philipp Emanuel Bach (1714–1788) and Johann Joachim Quantz (1697–1773) to contextualize Bon's sonatas within the standard flute repertoire. This dissertation expands the music scholarship on this distinguished composer and performer and provides a historically informed performance edition of the Sonata in F Major, op. 1, no. 2, for flute and piano, to serve as a model to modern flutists for historically informed performances of Bon's entire opus 1.

The cantata A World Without War (2009), by Armenian-born composer Edward Manukyan (b. 1981), was written, in part, to support increased awareness of human rights issues. Based on a quote from linguist and philosopher Noam Chomsky (b. 1928), the narrative of the cantata states: "We can, for example, be fairly confident that either there will be a world without war or there won't be a world." In addition to Chomsky's words, the cantata excerpts quotes of two additional literary giants advocating human rights, Bertrand Russell (1872-1970), and Andrei Sakharov (1921-1989). The purpose of this dissertation is to focus attention on human rights activism; using Manukyan's A World Without War, I highlight moral and ethical questions at the center of this work and explain how this cantata embraces the ideal of moral cosmopolitanism. I strongly believe in the importance of human rights for all citizens of the world, and the role music plays in advancing its cause through performance arts.

Master of Music / Department of Music, Theatre, and Dance / Gary C. Mortenson / This report is an analysis and exploration of the following works: Eugène Bozza’s Caprice, Vincent Persichetti’s The Hollow Men, Halsey Stevens’s Sonata for Trumpet and Piano, Alexander Arutunian’s Concerto for Trumpet, Ernest Bloch’s Proclamation, and Eric Ewazen’s Grand Valley Fanfare. The purpose of this report is to aid performance preparation of these pieces by providing thematic and formal analysis as well as identifying general unifying elements for each piece. Once identified, these patterns will help the performer communicate the broad musical ideas to the audience by finding a balance between the technical aspects and musical statements in each work.