Submitted by Marcio Guedes Correa (marcioguedesc@gmail.com) on 2018-08-10T00:21:17Z No. of bitstreams: 1 MARCIO GUEDES CORREA - TESE.pdf: 1593574 bytes, checksum: 4d741e74ae4888d65c905115ea7788bc (MD5) / Approved for entry into archive by Laura Mariane de Andrade null (laura.andrade@ia.unesp.br) on 2018-08-10T19:32:04Z (GMT) No. of bitstreams: 1 correa_mg_dr_ia.pdf: 1593574 bytes, checksum: 4d741e74ae4888d65c905115ea7788bc (MD5) / Made available in DSpace on 2018-08-10T19:32:04Z (GMT). No. of bitstreams: 1 correa_mg_dr_ia.pdf: 1593574 bytes, checksum: 4d741e74ae4888d65c905115ea7788bc (MD5) Previous issue date: 2018-07-27 / Esta pesquisa bibliográfica tem como objeto de análise o termo “gênero musical”, considerando-se a multiplicidade de função e significado com que ele é empregado nos diferentes repertórios e a dificuldade em conceituá-lo de forma unívoca. Para cumprirmos com esses objetivos, realizamos um levantamento bibliográfico com o intuito de identificar e descrever o conceito de gênero musical em suas diversas e multifacetadas abordagens, além de verificar a sua evolução no contexto histórico-musical. Foram coletados 33 artigos de revistas científicas de diversas áreas de conhecimento. Com este levantamento, percebemos que fatores históricos, culturais, estéticos e sociais interferem na sua classificação. Também ficou patente a inexistência de gêneros puros, tanto no repertório erudito como no popular e na música de tradição oral. Verificamos que em determinadas áreas de conhecimento o seu sentido estético não é prioritário, em função de uma política mercantil de vendagem e distribuição da produção musical. Concluímos que os gêneros musicais são voláteis em sua essência e têm sido empregados de forma diferenciada e multifacetada. Avaliar os seus múltiplos usos e o destino que eles obtêm nas diversas áreas de conhecimentos pareceu-nos uma tarefa necessária. De certo modo, a pesquisa aqui realizada ampliará as reflexões acerca das diferentes necessidades que conduzem às classificações musicais. Serviram de fundamentação teórica para esta investigação os textos de G. Denizeau, J. Zamacois, F. Fabbri, entre outros. A pesquisa contempla quatro capítulos descrevendo a maneira como gênero é avaliado no repertório da música erudita, popular e de tradição oral. / This bibliographic research aims to analyze the term "musical genre", considering the multiplicity of function and meaning with which it is used in different repertoires and the difficulty in conceptualizing it in a univocal way. In order to fulfill these objectives, we carried out a bibliographical survey with the purpose of identifying and describing the concept of musical genre in its various and multifaceted approaches, as well as verifying its evolution in the historical - musical context. A total of 33 articles were collected from scientific journals of different areas of knowledge. With this survey, we perceive that historical, cultural, aesthetic and social factors interfere in its classification. It also became clear that there are no pure genres, both in the popular and classical repertoire and in oral tradition. We also find out that in certain areas of knowledge, the aesthetic sense is not a priority due to a commercial policy of selling and distributing the musical production. We conclude that musical genres are volatile in their essence and have been used in a differentiated and multifaceted way. Assessing their multiple uses and the purpose they gain in the various areas of knowledge seemed to us to be a necessary task. In a way, the research carried out here will amplify the reflections on the different needs that lead to musical classification. The texts of G. Denizeau, J. Zamacois, F. Fabbri, and others were the theoretical basis for this research. The research contemplates four chapters describing the way in which genre is evaluated in the repertoire of classical music, popular and oral tradition.

Orientador: Antonio Rafael Carvalho dos Santos / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-25T14:14:01Z (GMT). No. of bitstreams: 1 Zagury_Sheila_D.pdf: 30979505 bytes, checksum: ce7c600191ad8121332839c65369fdce (MD5) Previous issue date: 2014 / Resumo: O presente trabalho apresenta um estudo a respeito dos grupos dedicados à música instrumental popular que surgiram no Rio de Janeiro a partir da década de 1990 e as suas contribuições musicais para o choro. Tais conjuntos buscaram inovar o fazer musical do choro, ao trazer mudanças nos arranjos de grandese clássicos do gênero assim como suas possíveis inter-relações deste com outros gêneros musicais. Tendo em vista a busca pela sua abordagem na criação e práticas musicais, selecionamos quatro representantes desta geração de conjuntos cariocas. Para contextualizar tal objeto de pesquisa, foram elaboradas compilações de significados para os termos choro, gênero e estilo musicais. A partir da observação das suas trajetórias e do seu material musical, foi possível constatar as propostas de mudança dos grupos estudados no repertório usual do choro e outras modificações, como a inserção de outros repertórios estranhos ao âmbito deste gênero, tanto nos seus arranjos como na escolha de obras que, a princípio não pertenceriam a este universo. As análises musicais, os levantamentos dos termos citados e a execução de alguns dos arranjos destes grupos, (assim como outros elaborados pela autora deste trabalho, a partir da década de 1990) fizeram com que algumas questões tomassem corpo. Assim, trouxemos discussões já travadas por vários pesquisadores a cerca de algumas representações que envolvem o choro, como o significado de "grupo de choro" e como a identidade nacional se relaciona com este universo da música instrumental brasileira. Tais reflexões colaboraram na busca de uma visão mais crítica do nosso assunto. A percepção dos processos de hibridação com outros mundos musicais e como estes foram elaborados são os resultados desse estudo. Esperamos que este venha contribuir para os estudos de análise e prática da música popular brasileira / Abcstract: This research presents a study of the groups devoted to Brazilian instrumental music that emerged in Rio de Janeiro in the 1990s and their musical contribuition to choro. Those groups had seeked to innovate musical making that evolves choro, in the form of changes within the repertoire¿s arrangements of this musical genre and also possible interactions with other genres. In search of an approach to musical creation and performance, we have made a selection of four among these ensembles. To put this subject in context, we have made an inventory for the meanings of the expression choro, and also a discussion about musical genre and style. By observing their history and musical material, it was possible to perceive their proposed changes to the standard choro repertoire and other modifications, such as the inclusion of works that are distant from the choro realm. These procedures were detected in the arrangements as well as in the groups¿ choices of repertoire, which could come from outside the choro universe. The musical analysis, the investigation of the meaning given to "choro", the musical genre and style¿s debates and the performance of some of the group¿s arrangements (as well as other arrangements written by this author the 1990s) have given rise to some issues. Discussions already underway by other researchers were brought in to our study, such as the representations that have evolved regarding choro: the meaning of "choro group" and how national identity relates to this Brazilian musical world. These considerations have aided in the search to a more critical point-of-view to this survey. Perceived hybrid procedures with other musical worlds and how they were developed are the results of this research. We hope that it will contribute to further analysis and performance studies of Brazilian popular music. / Doutorado / Praticas Interpretativas / Doutora em Música

4 Summary Exploring the musical preferences in relation to other aspects of human life has a long tradition. The present work is focused on exploring musical preferences with regard to personal value system. The research was designed as mixed method using questionnaire and semi-structured interview. The research sample consisted of 18 pupils aged 16 years. An important part of the research was music questionnaire that tried to clarify those genres, that are not familiar to respondents. Results of the music questionnaire were used as the basis for selection of respondents according to the preferential groups and to compare these groups in relation to certain musical attitudes, home musical environment and above all value system. The overall results of the research point to a very slight tendency to group certain specifics of the respondents which prefer hip hop, metal and classical music. On the contrary, results show a demonstrable impact of home music environment in shaping musical preferences. The unexpected outcome of present study is finding that listeners using the music questionnaire rated more positive the same genre of music compared to rating genres only by their concepts about each genre. Key words Musical preferences, musical genre, value system, adolescents, home musical environment, mixed...

The present work has as object of investigation the understanding of rap songs as voco-hybrid musical expressions in the Northeast, bring the dialogue between the African-American oral sources and the Northeast. The result of this meeting is built by the analyses of the eighteen songs from Northeastern, and included groups from the design of the poet zumthoriana voice. The identity mapping of MC/a listener of rap has made it possible to deepen looks that were conducted by hybridization, performance considerations, and utopia and, in turn, subsidized a broad approach on textual complexity of rap songs. / Fundação de Amparo a Pesquisa do Estado de Alagoas / O presente trabalho tem por objeto de investigação a compreensão das canções de rap como expressões voco-musicais híbridas que, no nordeste, trazem o diálogo entre as fontes orais afro-americanas e a cantoria nordestina. O resultado deste encontro é construído pelas análises das dezoito canções, oriundas de grupos nordestinos, e compreendidas a partir da concepção de poeta da voz zumthoriana. O mapeamento identitário do/a MC e do/a ouvinte de rap tornou possível aprofundar olhares que foram conduzidos pelas considerações sobre hibridação, performance e utopia e, por sua vez, subsidiaram uma abordagem ampla sobre a complexidade textual das canções de rap.

El género de cine musical siempre se ha caracterizado por tener escenas llenas de emociones acompañadas con bailes coreográficos de un grupo de personas o de parejas, conjunto de una canción cantada por los propios protagonistas o acompañadas de coristas y de la música que se acopla de acuerdo a la trama o la época. Sin lugar a dudas, este género merece una exhaustiva investigación de cada elemento que lo compone y caracteriza, sobre todo el baile. Aquellos movimientos coreográficos llevan consigo no solo el compás de la música o la letra de la canción, sino, también, connotan cierto comportamiento de los personajes que lo bailan como si se tratara de demostrar algo más que unos simples pasos. La presente investigación se centra en demostrar que el baile no solo es más que un elemento del género musical, sino que es parte de la narrativa de este género, sobre todo, de una de las grandes películas del género musical actual que es Lalaland dirigido por Damien Chazelle. / The genre of musical cinema has always been characterized by having scenes full of emotions accompanied by choreographic dances of a group of people or couples, set of a song sung by the protagonists themselves or accompanied by choristers and the music that is coupled according to the plot or the time. Undoubtedly, this genre deserves an exhaustive investigation of each element that composes and characterizes it, especially dance. Those choreographic movements carry not only the beat of the music or the lyrics of the song, but also connote certain behavior of the characters that dance as if it were to demonstrate something more than a few simple steps. The present investigation focuses on demonstrating that dance is not only an element of the musical genre, but it is part of the narrative of this genre, especially one of the great films of the current musical genre that is Lalaland directed by Damien Chazelle. / Trabajo de investigación

Mgr. Petra Kolátorová Abstract: Thesis dealt with the Serenade E major Op. 22 (B 52) and the Serenade for Wind Instruments Op. 44 (B 77) of Antonín Dvořák in the view of the musical genre of the orchestral serenade. It answered the question of influence and meaning of the Dvořák's Serenades among Serenades of his contemporaries, the question of place of this genre among the other musical genres and the question of reflection of music criticism at that time. Analysis of both works and their comparison with the selected works showed the way how the expectation of this genre reflected in the compositional ways and methods of both Dvořák's Serenades. The composer in his Serenades depicted all layers of meaning of this genre as was such a noble simplicity, oscilation of the genre between chambre and orchestral music between artistic or rather entertaining character of music, continuity of original serenades and history of the genre. Dvořák had created the works which in certain aspects foreshadowed near future (neoclasicism).