The role of the first violinist in a professional symphony orchestra is rarely only to perform. The position of concertmaster, at the professional level, generally constitutes a wide range of responsibilities and activities, not necessarily restricted to the realm of music-making. The present research utilized interviews with five concertmasters of professional Brazilian symphony orchestras in order to respond to the following questions: What is the role of the professional concertmaster? What musical and educational experiences defined the paths of current professional concertmasters in Brazil? What is the scope of their responsibilities as concertmaster? Lastly, what are the expectations of these concertmasters for the future of their own careers, of their Orchestras and of professional Brazilian symphony orchestras in general? After a systematic categorization, twenty-eight professional Brazilian symphony orchestras were identified. The concertmasters of fifteen of these twenty-eight orchestras were contacted with an invitation to participate in a recorded interview. Ultimately, the invitation was accepted by two current and three former professional concertmasters. Analysis of the information gathered through the interviews was further expanded by an investigation into the careers of 16 additional professional concertmasters from various countries who were cited in the present research but not personally interviewed. Several trends were revealed within the life paths and professional perspectives of the concertmasters. Of the five concertmasters interviewed in Brazil, four received musical training outside of South America during their formative years. All five serve or served as music educators in addition to their orchestral work: three at the university level and two with younger students. Only one of the five interviewees passed through a strictly traditional audition process in order to assume the position of concertmaster. Of the 21 professional concertmasters about whom data was collected (including the five interviewees), at least sixteen held the position of concertmaster several times before assuming the role in a prominent orchestra. Five of the 21 concertmasters (including two of the five interviewees) eventually branched into the realm of symphonic conducting, while at least twelve of the 21 did not. Seventeen are or were employed as music professors at the university level. All 21 of the violinists cited within the present research performed solo and/or chamber music regularly throughout their orchestral careers. Ultimately, the interviewees emphasized the following four characteristics as the basic requirements of effective concertmastership at the professional level: (1) technical ability, (2) two-way respect of colleagues, (3) natural leadership/firmness, and (4) a supportive relationship with the conductor.

The role of the first violinist in a professional symphony orchestra is rarely only to perform. The position of concertmaster, at the professional level, generally constitutes a wide range of responsibilities and activities, not necessarily restricted to the realm of music-making. The present research utilized interviews with five concertmasters of professional Brazilian symphony orchestras in order to respond to the following questions: What is the role of the professional concertmaster? What musical and educational experiences defined the paths of current professional concertmasters in Brazil? What is the scope of their responsibilities as concertmaster? Lastly, what are the expectations of these concertmasters for the future of their own careers, of their Orchestras and of professional Brazilian symphony orchestras in general? After a systematic categorization, twenty-eight professional Brazilian symphony orchestras were identified. The concertmasters of fifteen of these twenty-eight orchestras were contacted with an invitation to participate in a recorded interview. Ultimately, the invitation was accepted by two current and three former professional concertmasters. Analysis of the information gathered through the interviews was further expanded by an investigation into the careers of 16 additional professional concertmasters from various countries who were cited in the present research but not personally interviewed. Several trends were revealed within the life paths and professional perspectives of the concertmasters. Of the five concertmasters interviewed in Brazil, four received musical training outside of South America during their formative years. All five serve or served as music educators in addition to their orchestral work: three at the university level and two with younger students. Only one of the five interviewees passed through a strictly traditional audition process in order to assume the position of concertmaster. Of the 21 professional concertmasters about whom data was collected (including the five interviewees), at least sixteen held the position of concertmaster several times before assuming the role in a prominent orchestra. Five of the 21 concertmasters (including two of the five interviewees) eventually branched into the realm of symphonic conducting, while at least twelve of the 21 did not. Seventeen are or were employed as music professors at the university level. All 21 of the violinists cited within the present research performed solo and/or chamber music regularly throughout their orchestral careers. Ultimately, the interviewees emphasized the following four characteristics as the basic requirements of effective concertmastership at the professional level: (1) technical ability, (2) two-way respect of colleagues, (3) natural leadership/firmness, and (4) a supportive relationship with the conductor.

The role of the first violinist in a professional symphony orchestra is rarely only to perform. The position of concertmaster, at the professional level, generally constitutes a wide range of responsibilities and activities, not necessarily restricted to the realm of music-making. The present research utilized interviews with five concertmasters of professional Brazilian symphony orchestras in order to respond to the following questions: What is the role of the professional concertmaster? What musical and educational experiences defined the paths of current professional concertmasters in Brazil? What is the scope of their responsibilities as concertmaster? Lastly, what are the expectations of these concertmasters for the future of their own careers, of their Orchestras and of professional Brazilian symphony orchestras in general? After a systematic categorization, twenty-eight professional Brazilian symphony orchestras were identified. The concertmasters of fifteen of these twenty-eight orchestras were contacted with an invitation to participate in a recorded interview. Ultimately, the invitation was accepted by two current and three former professional concertmasters. Analysis of the information gathered through the interviews was further expanded by an investigation into the careers of 16 additional professional concertmasters from various countries who were cited in the present research but not personally interviewed. Several trends were revealed within the life paths and professional perspectives of the concertmasters. Of the five concertmasters interviewed in Brazil, four received musical training outside of South America during their formative years. All five serve or served as music educators in addition to their orchestral work: three at the university level and two with younger students. Only one of the five interviewees passed through a strictly traditional audition process in order to assume the position of concertmaster. Of the 21 professional concertmasters about whom data was collected (including the five interviewees), at least sixteen held the position of concertmaster several times before assuming the role in a prominent orchestra. Five of the 21 concertmasters (including two of the five interviewees) eventually branched into the realm of symphonic conducting, while at least twelve of the 21 did not. Seventeen are or were employed as music professors at the university level. All 21 of the violinists cited within the present research performed solo and/or chamber music regularly throughout their orchestral careers. Ultimately, the interviewees emphasized the following four characteristics as the basic requirements of effective concertmastership at the professional level: (1) technical ability, (2) two-way respect of colleagues, (3) natural leadership/firmness, and (4) a supportive relationship with the conductor.

Made available in DSpace on 2016-04-29T14:17:59Z (GMT). No. of bitstreams: 1 Vera Nubia Santos.pdf: 54491098 bytes, checksum: eb4a424060e5dd7cc469b923ca2188a7 (MD5) Previous issue date: 2009-11-12 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / The reflection in this work aims to remember the Youth s Symphonic Orchestra Project from Sergipe, developed in 2005 and 2006 in the cities from Aracaju and Itabaiana, as a privileged activity of an art expression, shown as a form of social inclusion for children and young people. It used as a theoretical-methodological orientation Georg Lukács and Ernst Fisher s reflections in the sense of the appropriation of the art as a reality reflection and a need of the social being. This indication s objective was to understand the art as a mediation possibility in the Social Work, with a special attention to the development of a project that, maintained by the State s support, can only be continued with the help of a civil society entity. The relation between the State and the Society represents, in this sense, one of the central elements to understand the appearing and the decadence of this project. The documental research, the use of printed report and the project s coordinator and conductor s interview could make this thesis possible. The subtleties, that were not always in evidence while the project was being developed, were scrutinized and the mediation possibility between involved people and the social reality was elucidated / A reflexão contida neste trabalho visa a rememorar o Projeto Orquestra Sinfônica Jovens de Sergipe, desenvolvido nos anos de 2005 e 2006 nas cidades de Aracaju e Itabaiana, como uma atividade privilegiada de expressão da arte, apontada como uma forma de inclusão social para crianças e jovens. Traz como orientação teóricometodológica as reflexões de Georg Lukács e Ernst Fisher no tocante à apropriação da arte como reflexo da realidade e como uma necessidade do ser social. Objetivase com essa indicação, compreender a arte como uma possibilidade de mediação no Serviço Social, com especial atenção ao desenvolvimento de um projeto que, mantido com apoio do Estado, só pode ser continuado sob o amparo de uma entidade da sociedade civil. A relação entre Estado e Sociedade representa, neste sentido, um dos elementos centrais para entender o alvorecer e o ocaso desse projeto. A pesquisa documental, o uso de reportagens impressas e a entrevista com o coordenador do projeto e maestro da orquestra possibilitou à tese Projeto Orquestra Sinfônica Jovens de Sergipe. Arte e História perscrutar as sutilezas nem sempre evidenciadas quando do seu desenvolvimento e elucidar nesse projeto a possibilidade de mediação entre os sujeitos envolvidos e a realidade social

Orientadores: Adriana Giarola Kayama, Flavio Cardoso de Carvalho / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-10T21:26:23Z (GMT). No. of bitstreams: 1 Alves_PolianadeJesus_M.pdf: 5410367 bytes, checksum: 446a9970749b6794a798ec541a64181f (MD5) Previous issue date: 2007 / Resumo: Neste trabalho apresentamos uma visão interpretativa das canções sinfônicas de Alberto Nepomuceno, da primeira década do séc. XX (1901 a 1910): Despedida, Turquesa, Trovas, Ao amanhecer e Sempre. Para tanto, realizamos uma busca aos manuscritos originais, uma macroanálise das obras e a inter-relação composicional entre texto e música / Abstract: In this work we present an interpretative view of five symphonic songs composed by Alberto Nepomuceno, from the first decade of the XX Century (1901 a 1910): Despedida, Turquesa, Trovas, Ao amanhecer e Sempre. The study was based upon the original manuscripts, and for each song we did a macroanalysis as well as looked into the compositional inter-relation of text and music / Mestrado / Mestre em Música

Orientador: Stelamaris Rolla Bertoli / Dissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Engenharia Civil, Arquitetura e Urbanismo / Made available in DSpace on 2018-08-23T06:13:27Z (GMT). No. of bitstreams: 1 Maiorino_AlexandreVirginelli_M.pdf: 20810001 bytes, checksum: 874af06d3cad4ebebbbda0ac07b75cd5 (MD5) Previous issue date: 2013 / Resumo: A construção de Teatros para Múltiplo uso tem se tornado cada vez mais comum devido à necessidade de abrigar diversos tipos de espetáculos em um único espaço. Para adequar à acústica destes espaços para a música orquestral é necessário o uso de elementos que possibilitem a variação acústica do espaço como é o caso de conchas de orquestra. O principal objetivo das conchas de orquestra é melhorar a acústica no palco para os músicos e para o maestro, melhorando a sensação de conjunto e fazendo com que os músicos ouçam melhor seus instrumentos e o grupo em geral. Entretanto, a concha de orquestra pode também melhorar o desempenho acústico da área da platéia. A hipótese deste trabalho foi o de analisar a diferença do desempenho acústico percebido na área da platéia devido à inclusão de uma concha de orquestra no palco de um teatro de múltiplo uso. Medições acústicas foram realizadas em cinco diferentes tipos de montagem da concha de orquestra no palco. As medições foram feitas de acordo com a norma ISO 3382-1 (2009). Os parâmetros acústicos medidos foram o Tempo de Reverberação, Tempo Inicial de Decaimento e Índice de Clareza. Os resultados mostraram que a concha de orquestra pode de fato mudar o desempenho acústico na área da platéia, modificando a percepção acústica subjetiva do ambiente / Abstract: The construction of multiple use theatres is becoming more common due to the need to accommodate different kinds of performances at the same space. In order to acoustically adequate this space to concert music, the inclusion of an orchestra shell becomes necessary. The main objective of an orchestra shell is to improve the acoustic quality on stage, both for musicians and for the conductor. The goal is to improve balance of the group allowing musicians to hear themselves and the orchestra better. However, the orchestra shell can also improve the acoustic quality for the audience. The objective of this study was to analyze the difference of the acoustic performance perceived at the audience area with the inclusion of a lightweight orchestra shell with diffuse surface in a proscenium theatre. Acoustic measurements were done in five different assembles of the orchestra shell. Measurements were done using the impulse response technique according to ISO3382-1 (2009). Measured parameters were Reverberation Time, Early Decay Time and Clarity index. Results showed that the orchestra shell can in fact modify the acoustic performance at audience area, changing the subjective acoustic perception of the space / Mestrado / Arquitetura e Construção / Mestre em Engenharia Civil