O objetivo dessa pesquisa é uma investigação sobre o tempo e suas diferentes possibilidades de percepção, sob ponto de vista do intérprete, durante a performance de obras eletroacústicas mistas, sejam compostas com difusão em tempo diferido ou com processamento em tempo real. Foram estabelecidas as definições de tempo diferido e de tempo real e suas implicações. Apontamos aspectos da evolução da música eletroacústica e da inserção do repertório para flauta nesse contexto. Aspectos de duas obras de referência, Musica su due Dimensioni de Bruno Maderna e Jupiter de Phillippe Manoury, foram analisados sob o enfoque da questão do tempo diferido ou do tempo real. Tendo em vista as particularidades dos aspectos interpretativos da música eletroacústica, escolhemos para estudar alguns parâmetros de interpretação que incluem a produção das técnicas expandidas e suas peculiaridades de amplificação. Realizamos três análises voltadas para a performance de obras em tempo diferido, Flautatualf de Jorge Antunes, Durações de Rodolfo Coelho de Souza e Parcours de L\'Entité de Flo Menezes e duas outras com processamento em tempo real, Lizamander de Russell Pinkston e Dawnligth de Jérôme Combier / The aim of this dissertation is a research about certain categories of musical time and their different possibilities of perception, from the point of view of the performer, during the performance of electroacustics music composed with pre-recorded tape or live electronics computer processing. We propose definitions about fixed time and real time and also their demands. We point out aspects of the evolution of electronic music and of the insertion of the flute repertoire in this context. Aspects of two referencial works, Musica su due Dimensioni by Bruno Maderna and Jupiter by Phillippe Manoury, were analyzed regarding the question of fixed or real time. Concerning the particular interpretative aspects of electroacoustic music we selected to study some parameters of performance that include the prodution of extended techniques and their amplification peculiarities. Regarding performance aspects, we have analysed three works that use pre-recorded tapes: Flautatualf by Jorge Antunes, Durações by Rodolfo Coelho de Souza e Parcours de L\'Entité by Flo Menezes. And two others with live-electronics: Lizamander by Russell Pinkston and Dawnligth by Jérôme Combier.

Doctorat en philosophie et lettres / info:eu-repo/semantics/nonPublished

Doctorat en philosophie et lettres / info:eu-repo/semantics/nonPublished

L’étude des derniers travaux de Jules Massenet (1842-1912), conçus pendant les cinq dernières années de savie, dans le contexte artistique et philosophique de la Belle-Époque, veut mettre en évidence les traces d'uneévolution du langage musical du compositeur. Dans les trois sections de notre recherche nous proposons uneanalyse dramaturgique et musicale d’un corpus constitué des cinq oeuvres ultimes, dont on considère Bacchus(1909) comme un opéra de transition fondamentale dans le dernier revirement stylistique du compositeur,représenté par les deux diptyques : Don Quichotte/Panurge et Roma/Cléopâtre. En outre, à traversl’observation systématique des langages comique et tragique présents dans ces ouvrages, et une comparaisoncontinue avec la production antécédente du compositeur on propose une définition de cet extrême renouveaude l’écriture de Massenet. Une écriture qui s’avère complexe au moment de l’analyse à cause de sonextraordinaire éclectisme – un heureux équilibre entre érudition et modernité –, bien inséré dans un contextestylistique expressif et en même temps dépouillé. Notre étude – menée à travers l’analyse des manuscritsautographes et des partitions imprimées, ainsi que d’une vaste bibliographie comprenant monographies,dissertations, correspondances, articles, documents de mise en scène – couvrira différents aspects du styledernier du compositeur : conception historique et littéraire, analyse narratologique comparée des livrets,pertinence dramatique du style musical, conception mélodique, emploi des harmonies et des formes musicales,constantes et innovations dans l’orchestration. / The study of the works of Jules Massenet (1842-1912) created in the last five years of his life, during the artisticand philosophical context of the Belle-Époque, wants to highlight the traces of the evolution of musicallanguage of the composer. In the three sections of our research we propose a dramaturgical and musical analysisof a selection including five last works, which are considered Bacchus (1909) as a key transitional work in thelatest stylistic shift the composer, represented by the two diptychs: Don Quichotte/Panurge andRoma/Cléopâtre. Also, through the systematic observation of comic and tragic languages of these works andtheir continuous comparison among the composer’s antecedent production, we propose a definition of thisextreme evolution of Massenet writing. A writing that is complex to analyse because of its extraordinaryeclecticism – an effective balance between tradition and modernity – although inserted into an expressive andessential stylistic context. Our study – carried out through the analysis of original manuscripts and printedscores, as well as an extensive bibliography including monographs, essays, correspondence, articles, stagingdocuments – will cover different aspects of the composer's late style: historical design and literary narratologycomparative analysis of librettos, dramatic appropriateness of musical style, melodic design, use of harmoniesand musical forms, constants and innovations in orchestration.

The magister thesis is connected with bachelor's thesis, which was concentrated on Piano Sonata in E minor, op. 2 by Slovak composer Alexander Moyzes (1906-1984) and was concerned on it mainly with collected sources. In this thesis we decided to point out its composing work and possible inspiring sources and therefore the focus of this diploma thesis is its introduction into historical context of piano music of the 19th and 20th centuries. Through composite-technical and stylistic analyses of selected piano sonatas and other works, we want to contribute to the closer characterization of Moyzes composer's personality and to complement the literature that Moyzes Sonate has devoted to in minimal terms from composing work and inspiring sources. Selected pieces include: Brahms Sonata f mol, Op. 5 and Variation and Fugue on a Theme by Handel, op. 24 from the point of view of means of piano stylization, Sonata Eroica, op. 24 for piano by Vít zslav Novák because of their mutual interest in working with modality and mutual close relationships (Moyzes's teacher). In addition to these goals, we will also focus on the other piano works of Moyzes by creating a new chronological inventory based on preserved sources. Key words: Alexander Moyzes, Piano Sonata in E minor op. 2, Johannes Brahms, Vít zslav Novák,...

Orientadores: Maria Lucia Senna Machado Pascoal, Mauricy Matos Martin, / Acompanha 1 anexo / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-14T10:31:09Z (GMT). No. of bitstreams: 1 Souza_IraceleAparecidaVeraLiverode_D.pdf: 13645349 bytes, checksum: a62dc8da62242a0c20df019d5395a33f (MD5) Previous issue date: 2009 / Resumo: Este trabalho tem como principal objetivo realizar uma análise da obra para piano de Eunice Katunda (1915-1990), peças compostas no período de 1946 a 1982. Foi realizado o levantamento das peças, o estudo ao piano, a análise individual, bem como um exame das ferramentas analíticas mais adequadas e pertinentes, conforme características peculiares de cada uma. O estudo de análise investigou as técnicas e os procedimentos da composição, quanto a organização do material utilizado. A fim de contextualizar a compositora e sua obra, fez-se um levantamento biográfico e histórico, amparado por cartas, entrevistas e artigos de jornais obtidos em acervos públicos e particulares, entre os quais os da própria compositora. A conclusão reúne informações de maior interesse obtidas através da análise, identificando o material e as técnicas de composição empregadas o que contribui para a compreensão da linguagem da compositora. O trabalho tem como complementação a editoração destas peças, que se encontram em manuscritos e a gravação de duas peças executadas pela autora deste trabalho. A pesquisa visou ao estudo, à análise e à divulgação de uma compositora pouco estudada e conhecida na música contemporânea brasileira, pretendendo contribuir para mais uma fonte de estudos da música brasileira para piano do século XX. / Abstract: The main objective of this thesis is to analise Eunice Katunda's (1915-1990) piano works composed between 1946 and 1982. The analytical tools were chosen according to the peculiarities of each piece taking in consideration compositional procedures and techniques related to the organization of the musical material employed by the composer. In order to contextualize the composer and her output, a biographical study was made based on personal letters, interviews and newspaper articles obtained in her personal files in order to put into prospective the analyses. Information obtained by the analysis afforded a conclusion in respect to the material, the compositional techniques and idiom of the composer. Complementary to the thesis is added an edition of the pieces, which were previously in manuscript, as well as a recording of two pieces by this author. This research aims an analysis, the study and divulgation of a scarcely known and lesser studied Brazilian composer, as a contribution to the better comprehension of the twentieth-century Brazilian piano music. / Doutorado / Doutor em Artes (Música)

This dissertation explores the creative process in large-scale jazz ensemble works that are programmatic in depicting geographical locations. This is achieved through analyses of Gil Evans's Sketches of Spain, Chuck Owen's River Runs: A Concerto for Jazz Guitar, Saxophone, & Orchestra, and Aaron Hedenstrom's Sketches of Minnesota. Each work is examined using five analytical categories: orchestration, large-scale form, harmonic/melodic development, programmatic framework, and use of featured soloists. The analyses draw from musical scores, interviews, biographies, recordings, and articles to reveal more about each composer's artistic intentions. This study contributes to the broader knowledge of large-ensemble jazz works and programmatic jazz works. This research meets the need for more critical analyses of important jazz ensemble works relevant to composers, arrangers, and scholars.

John Mackey is an influential and prolific composer of wind band literature. His focus on and exploration of the percussion section are defining characteristics of his compositional voice. Mackey's concerto for percussion and wind band, "Drum Music," is a perfect example of his exploitation of the myriad timbres available within the percussion family, and also serves to showcase the versatility required of a modern percussionist. This dissertation and accompanying lecture recital provide a comprehensive guide for performers of the work. Major aspects of Mackey's compositional approach are discussed with emphasis placed on his use of percussion throughout his works. Analysis and performance concerns are discussed for each of the concertos three movements, and information is provided on the reduced version of the work prepared as part of this study.

Saxophonist Chris Cheek has been a reference for his work as a sideman with some of the most established jazz artists in the international jazz scene of the last twenty-five years. Despite his importance, there is lack of detail in the available publications about Cheek. The short length and journalistic character of the publications only produce surface descriptions of Cheek's style. There is a need to further describe the melodic elements present in Chris Cheek's style in order to have a better understanding of the implications and importance of these elements across the history of jazz saxophone and jazz pedagogy. In the past, several scholarly works have described the improvisational styles of jazz musicians using a multitude of analytical tools. The design of those studies often fails to provide a comprehensive view of the improviser's style because of the limited scope of the analyzed sources or the specific focus of the analysis. This analytical study presents a comprehensive view of Chris Cheek's style through the motivic and voice-leading analyses of six improvisations by the saxophonist. This design allows the study to discern between motivic development processes, melodic structures, formulaic material, and harmonic structures that belong to the saxophonist's idiom. By presenting the elements in Cheek's style, this study is able to show the importance of motivic and voice-leading coherence in jazz pedagogy as well as the importance of Cheek's style as a reference for lyricism.

Since the 18th century, composers have utilized the symphony to communicate thoughts and ideas through the vehicle of a large ensemble composed of a variety of instrumental colors. Though the structure of the symphony has understandably been subject to the varied interpretations of composers over the past 300 years, several characteristics of the traditional symphony do seem to have stood the test of time. In this document, the recent developments of the American symphony for wind band is discussed, focusing on the ways in which recent works both adhere to and divert from the traditional understanding of the classical symphonic form and highlighting the resurgence of the form by wind band composers. For the purposes of this study, David Dzubay's Symphony No. 2: Through a Glass Darkly, James Stephenson's Symphony No. 2: Voices, Donald Grantham's Symphony No. 2: After Hafiz, and Kevin Walczyk's Symphony No. 4: Unforsaken are used to demonstrate how each composer writes in their own unique style using contemporary techniques, while still appearing to maintain traditional aspects of the symphonic form, whether consciously or subconsciously. For each of the four works, a structural analysis is conducted using a rubric of standard symphonic norms. Additionally, interviews were conducted with each composer, providing insight on their compositional process, the commissioning process, and their thoughts on the symphonic form for wind band. The responses each composer gave during their interviews is incorporated into the analysis of each work, allowing the composer's own voice to supplement the findings.