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Este trabalho apresenta uma reflexão sobre a memória do processo composicional e uma análise das características apreendidas pela consciência da compositora, através da música. As composições, que são o principal objeto de reflexão neste memorial, tiveram como premissa estética o conceito de sombra, o qual inspirou as tomadas de decisão. O procedimento primordial, para a elaboração das peças, constitui-se a partir da ação, a qual é tomada como ponto de partida para a caracterização e a identidade expressiva da composição, fundamentalmente relacionada à performance. A análise é amparada pela Fenomenologia da Música, em autores como Schutz (1976) e Clifton (1976), e se concentrou nas temporalidades encontradas nas composições, valendo-se das proposições de Kramer (1988), acerca dos tipos de passagem do tempo (Tempo Linear e Tempo Não-Linear). Estes tipos são relacionados aos objetos ideais do pensamento da autora, especialmente aqueles originados na experiência musical. Imagens e sonoridades integram uma moldura de referência que agrupa os conteúdos da memória. Desta forma, sonoridades, ações e memórias, são tomadas como aspectos constituintes do fenômeno musical e composicional. / This paper presents a reflection on the memory of the compositional process and an analysis of the characteristics apprehended from composer’s consciousness, through the music. The compositions, which are the main object of reflection in this memorial, had the concept of shadow as its aesthetic premise, which inspired the decision-making. The fundamental procedure for the preparation of compositions, it constitutes from the action, which is taken as a starting point for characterizing the composition and the musical identity, mainly related to performance. The analysis is supported by Phenomenology of Music, from authors like Schutz (1976) and Clifton (1976), and is focused on temporalities found in music, using the Kramer (1988) propositions about the kinds of time (Linear Time and Nonlinear Time). These kinds are related to ideal objects of autoress’ thought, especially those originated in musical experiences. Images and sonorities are members of a frame of reference that groups the memory contents. Thus, sonorities, memories and actions are taken as aspects that constitute the musical and compositional phenomenon.

Este trabalho apresenta uma reflexão sobre a memória do processo composicional e uma análise das características apreendidas pela consciência da compositora, através da música. As composições, que são o principal objeto de reflexão neste memorial, tiveram como premissa estética o conceito de sombra, o qual inspirou as tomadas de decisão. O procedimento primordial, para a elaboração das peças, constitui-se a partir da ação, a qual é tomada como ponto de partida para a caracterização e a identidade expressiva da composição, fundamentalmente relacionada à performance. A análise é amparada pela Fenomenologia da Música, em autores como Schutz (1976) e Clifton (1976), e se concentrou nas temporalidades encontradas nas composições, valendo-se das proposições de Kramer (1988), acerca dos tipos de passagem do tempo (Tempo Linear e Tempo Não-Linear). Estes tipos são relacionados aos objetos ideais do pensamento da autora, especialmente aqueles originados na experiência musical. Imagens e sonoridades integram uma moldura de referência que agrupa os conteúdos da memória. Desta forma, sonoridades, ações e memórias, são tomadas como aspectos constituintes do fenômeno musical e composicional. / This paper presents a reflection on the memory of the compositional process and an analysis of the characteristics apprehended from composer’s consciousness, through the music. The compositions, which are the main object of reflection in this memorial, had the concept of shadow as its aesthetic premise, which inspired the decision-making. The fundamental procedure for the preparation of compositions, it constitutes from the action, which is taken as a starting point for characterizing the composition and the musical identity, mainly related to performance. The analysis is supported by Phenomenology of Music, from authors like Schutz (1976) and Clifton (1976), and is focused on temporalities found in music, using the Kramer (1988) propositions about the kinds of time (Linear Time and Nonlinear Time). These kinds are related to ideal objects of autoress’ thought, especially those originated in musical experiences. Images and sonorities are members of a frame of reference that groups the memory contents. Thus, sonorities, memories and actions are taken as aspects that constitute the musical and compositional phenomenon.

Este trabalho apresenta uma reflexão sobre a memória do processo composicional e uma análise das características apreendidas pela consciência da compositora, através da música. As composições, que são o principal objeto de reflexão neste memorial, tiveram como premissa estética o conceito de sombra, o qual inspirou as tomadas de decisão. O procedimento primordial, para a elaboração das peças, constitui-se a partir da ação, a qual é tomada como ponto de partida para a caracterização e a identidade expressiva da composição, fundamentalmente relacionada à performance. A análise é amparada pela Fenomenologia da Música, em autores como Schutz (1976) e Clifton (1976), e se concentrou nas temporalidades encontradas nas composições, valendo-se das proposições de Kramer (1988), acerca dos tipos de passagem do tempo (Tempo Linear e Tempo Não-Linear). Estes tipos são relacionados aos objetos ideais do pensamento da autora, especialmente aqueles originados na experiência musical. Imagens e sonoridades integram uma moldura de referência que agrupa os conteúdos da memória. Desta forma, sonoridades, ações e memórias, são tomadas como aspectos constituintes do fenômeno musical e composicional. / This paper presents a reflection on the memory of the compositional process and an analysis of the characteristics apprehended from composer’s consciousness, through the music. The compositions, which are the main object of reflection in this memorial, had the concept of shadow as its aesthetic premise, which inspired the decision-making. The fundamental procedure for the preparation of compositions, it constitutes from the action, which is taken as a starting point for characterizing the composition and the musical identity, mainly related to performance. The analysis is supported by Phenomenology of Music, from authors like Schutz (1976) and Clifton (1976), and is focused on temporalities found in music, using the Kramer (1988) propositions about the kinds of time (Linear Time and Nonlinear Time). These kinds are related to ideal objects of autoress’ thought, especially those originated in musical experiences. Images and sonorities are members of a frame of reference that groups the memory contents. Thus, sonorities, memories and actions are taken as aspects that constitute the musical and compositional phenomenon.

Syftet med studien är att få en fördjupad kunskap om innebörden av Time som begrepp samt att ge en bild av hur erfarna lärare hanterar ämnet i sin undervisning. Denna studie har sin teoretiska utgångspunkt i det sociokulturella perspektivet och hur medierande redskap används i undervisningen. Den kvalitativa forskningsintervjun användes som metod för att få svar på mina frågor. De fem informanterna arbetar i antingen Värmlands eller Örebro Län. De är alla verksamma pedagoger på nivåerna från gymnasium upp till musikhögskola och de undervisar i olika musikämnen. Resultatet visar att ämnet handlar om hur man, som musiker, placerar sina toner i förhållande till en given puls samt att alla informanter understryker att Time är viktigt och bör undervisas i. Flera redskap används för att lära ut ämnet Time, och i de fall val av redskap sammanfaller mellan informanterna, är det ändå uppenbart att de används på olika sätt. / The purpose of this study is to acquire a deeper knowledge of the concept, Musical Time, and to show how experienced teachers apply this in their teaching. This study has its theoretical base in how the sociocultural perspective tools are used in teaching. The method used to attain the results is the qualitative research interview. All of the five informants work in either Värmlands Län or Örebro Län. They are active teachers who teach in different levels from high school up to music academy. The results show that Time is about how musicians place their rhythms in relation to the pulse and that all of my informants view the topic as being important and should be taught in all forms of musical education. The tools applied are many and it is not uncommon, in cases where only one tool is used, that the teachers use it in several different ways.

Made available in DSpace on 2015-05-14T12:52:26Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 4583182 bytes, checksum: 7092aec5837cf773623e51e9b86f4661 (MD5) Previous issue date: 2012-03-23 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / After more than a quarter of century since the creation of ensemble L Itinéraire, the works created and the thought developed by its members remain as a highly fertile ground for musicological research and an essential reference for today's compositional practice. Among these composers, founders of the aesthetic trend so-called 'spectral', stands out Gérard Grisey (1946-1998) who left us a cohesive and preeminent work, admittedly one of the most influential of the past century s last decades. What we discern in his works is the concern with the thresholds of musical perception ( threshold in Latin is the origin of the term "liminal music" which he described his own music) and especially the notion of different musical 'temporalities'. Hence, we started from the conjecture that 'time' is the bedrock underlying the musical discourse used by the composer of Vortex Temporum. Aiming broader understanding of his music, without confining ourselves to the basic aspect of arithmetic operations on frequencies, we also examine the cardinal resources and ideas used by the French composer concerning the structure of instrumental timbre. This approach enabled us to distinguish how and which aspects of his language directed the development of many of his pieces, revealing, contiguously, the legitimate role played by time in his work. Thus, the core of this study presents the full formalization elaborated by Grisey regarding time and duration, anchored in the concepts of "skeleton", "flesh" and "skin of time." This formalization has led to considerations, albeit concise, about the influence of electronics, psychoacoustics and information theory. Likewise, in the light of the concepts elucidated during the research, we discuss Partiels, a key piece of the cycle Les Espaces Acoustiques and one of the pinnacles of contemporary repertoire. / Passado mais de um quarto de século desde a fundação do coletivo musical L Itinéraire, as obras criadas e o pensamento desenvolvido pelos seus integrantes permanecem como um terreno ubertoso para a investigação musicológica e referência essencial para prática composicional hodierna. Dentre estes compositores, inauguradores da tendência estética dita espectral , destaca-se Gérard Grisey (1946-1998) que nos legou uma obra coesa e proeminente, figurada entre as mais influentes dos últimos decênios do séc. XX. Primordialmente, o que nele discernimos é a preocupação com os limiares da percepção musical (origem do termo música liminar , preferido pelo compositor) e máxime a noção de diferentes temporalidades musicais. Destarte, partimos da conjectura que o tempo é o alicerce que fundamenta substancialmente o discurso musical do compositor de Vortex Temporum. Objetivando compreensão mais ampla de sua música, sem atemo-nos ao aspecto elementar das operações aritméticas sobre frequências, examinamos também os recursos e idéias cardinais utilizados pelo compositor francês concernente à estruturação do timbre. Esta abordagem nos habilitou a distinguir como e quais aspectos da sua linguagem direcionaram a elaboração de muitas de suas peças, descortinando, contiguamente, o papel lídimo desempenhado pelo tempo em sua obra. Assim, o núcleo deste trabalho apresenta integralmente a formalização elaborada por Grisey a respeito do tempo e das durações, ancorado nos conceitos de esqueleto , carne e pelo do tempo . Esta formalização ainda implicou considerações, embora concisas, acerca da influência da eletrônica, da psicoacústica e teoria da informação. Da mesma sorte, sob a luz dos conceitos elucidados durante a pesquisa versamos sobre Partiels, peça chave do ciclo Les Espaces Acoustiques e um dos pináculos do repertório contemporâneo.

La thèse à venir s'inscrit tout d'abord dans la continuité des recherches réalisées au cours du master : une approche purement musicologique spécialisée sur l'élaboration du temps musical dans l'œuvre de Ligeti. Ce premier champ d'étude cernera le corpus du compositeur par un élargissement analytique et théorique à l'ensemble de sa production, au niveau de la partition et de l'enregistrement sonore – par le prisme des fonctions sérielles et le filtre des solutions postsérielles. Cependant, l'étude et le discours sur la musique ne peuvent se borner exclusivement à l'étude de partition. En effet, la musique – comprise dans ce futur travail comme l'expression du temps musical – demeure un acte issu de l'intrication et de l'interaction d'un ensemble de médiateurs – une création en chaîne – indispensables à son existence, à sa réalité, à sa finalité – à sa fonction. Ainsi, le deuxième champ de recherche enveloppera les propos des acteurs principaux : ceux du compositeur (qui conçoit l'objet sonore en lui donnant une forme pré-existante), de l'interprète (qui reçoit l'in-formation préexistante afin d'en assumer par l'exécution la formation), et de l'auditeur (qui reçoit et achève par l'acte de l'écoute – supposée – attentive, la construction de l'œuvre). Enfin, cette thèse tiendra compte de l'influence de l'observateur sur l'ensemble du protocole expérimental – de la projection du chercheur sur l'objet de l'étude. / The thesis to come joins first of all in the continuity of the researches realized during the Master's degree I and II: a purely musicological approach specialized on the elaboration of musical time in the work of Ligeti. This first field of study will encircle the corpus of the composer by an analytical and theoretical extension to its whole production, at the level of the score and of the sound recording – by the prism of the serial functions and the filter of the postsérielles solutions. However, the study and the speech on the music cannot restrict itself exclusively to the study of score. Indeed, the music – included in this future work as the expression of musical time – remains an act stemming from the intricacy and from the interaction of a set of mediators – a creation in chain – indispensable to its existence, to its reality, to its end – in its function. So, the second field of research will wrap the comments of the main actors: those of the composer (who conceives the sound object by giving him a pre-existing shape), of the interpreter (who receives the pre-existent in-formation to assume by the execution the formation), and of the listener (auditor) (who receives and finishes by the act of the listening – supposed – attentive, the construction of the work). Finally, this thesis will take into account the influence of the observer on the whole experimental protocol – of the projection of the researcher on the object of the study.

Augeries is a multi-channel electro-acoustic composition for flute, clarinet, percussion, and tape. It is intended to be diffused through an 8-channnel playback system. Inspired by the first four lines of William Blake's Augeries of Innocence, Augeries captures the qualitative aspects of Blake's poetry by presenting the listener with an equally aperspectival aesthetic experience. The small-scale structure reflected on the large-scale form - the infusion of vastness and expansiveness into the fragile and minute. Augeries incorporates techniques of expansion and contraction, metonymic relationships, dilation and infolding of time, and structured improvisation to create an experience that is designed to explore the notion of musical time, and to bring to the listener the sense of time freedom. The critical analysis suggests that the increase in the notions of musical time, the aesthetics with which they conform, and the new time forms created, encapsulate communicative significance. This significance exists within a horizon of meaning. Semiotics illuminates an understanding of the structuring techniques used to render time as an area of artistic play. Understanding the aesthetics and mechanisms through which these techniques can be used constitutes a shared horizon of meaning. The concepts of cultural phenomenologist Jean Gebser, as explicated in The Ever-Present Origin, are used to contextualize these notions, through a description of the various consciousness structures with specific attention to the space-time relationships. Of specific concern are the aperspectival manifestations in music in the twentieth century and beyond. Special emphasis is given to the area of electro-acoustic music, particularly spectral music. The theoretical analysis explores how the various techniques are used to create an aperspectival experience, and includes specific descriptions of the technique of refraction as metonymy, and pitch set analysis of the technique of expansion and contraction.

This thesis explores the interplay between repeatability and contingency in a series of instrumental and electro-instrumental compositions, through a practice that involves the devising and development of unique notational strategies and the use of bespoke real-time digital signal processing software. In particular, this study examines the praxis of comprovisation, i.e. practices situated between the poles of composition and improvisation, and it is framed by three main research topics: 1. An exploration of musical time and form as components of a dynamic system between events and musical gestures, involving structures of variable and/or indeterminate temporal durations. 2. An investigation of the ways in which the temporal organization and the in-time trópos (τρόπος - ”way, mode, modality, manner”) of an improvisational performance-practice for solo violin can be transduced into the symbolic level so as to be explored as compositional material. 3. An examination of the conditions in which Middle Eastern makam music composition and improvisation traditions can inform the development of contemporary notational devices for a comprovisation practice involving other performers. In addition to the scores, software, and recordings of the compositions, a relevant portfolio of recorded solo-violin improvisations and two published papers examining the above topics are included to further illustrate the discussion.

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