Orientador: Fernando Augusto de Almeida Hashimoto / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-26T07:33:30Z (GMT). No. of bitstreams: 1 Mendes_HelvioMonteiro_M.pdf: 11326348 bytes, checksum: 8cd1192b5d05502160f2f87f1dfe4d6e (MD5) Previous issue date: 2014 / Resumo: A presente dissertação realizou um estudo interpretativo sobre a peça intitulada Suíte para Xilofone e Piano, composta em 1974 por Osvaldo Lacerda, sendo essa a primeira obra no Brasil que eleva o xilofone a um caráter de instrumento de destaque para além do plano orquestral, em duo com piano. Esse estudo interpretativo se baseia na linguagem estética da música nacionalista em que o compositor está atrelado, bem como em outros fatores ligados à análise dos elementos musicais da peça, e discute as decisões interpretativas tomadas e a solução de problemas técnicos instrumentais presentes na obra. Adicionalmente, o estudo sobre a obra serve como pano de fundo para a realização do levantamento histórico do xilofone no Brasil / Abstract: This work intends to perform an interpretative study on Suite for Xylophone and Piano, by Osvaldo Lacerda, composed in 1974. This piece is the first suite written for xylophone in Brazil that elevates this instrument from the orchestral role to a piano duo. The interpretative study is based in nationalist musical¿s aesthetics language, in which the composer was inserted, as well as the analysis of the musical elements of the work, and discusses the interpretative decisions and the solution of technical issues along the piece. In addition, this study serves as background for a historical survey about the xylophone in Brazil / Mestrado / Praticas Interpretativas / Mestre em Música

Orientadores: Mauricy Matos Martin, Fernando Augusto de Almeida Hashimoto / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-20T17:54:10Z (GMT). No. of bitstreams: 1 Alves_AlinedaSilva_M.pdf: 21332609 bytes, checksum: 1b443b99d62f525e34fc7498035908ae (MD5) Previous issue date: 2012 / Resumo: Este trabalho aborda a peça Variações Rítmicas opus 15 para piano e percussão típica brasileira do compositor Marlos Nobre. Seu objetivo principal foi realizar um estudo analítico e um mapeamento histórico da peça a fim de proporcionar ao intérprete uma maior intimidade com a obra a ser executada. A metodologia divide-se em duas partes: estudo do contexto histórico sob o qual a obra foi criada e o estudo analítico da obra musical e do seu estilo através da análise da partitura. O estudo do contexto histórico foi realizado a partir de trabalhos que enfocam a biografia sobre o compositor, a revisão da literatura sobre sua obra e de trabalhos que abordam a história da música no Brasil. O estudo analítico teve como referência o trabalho de Jan LaRue (1998) que enfoca o estilo musical através de um estudo descritivo dos elementos musicais que compõem a peça. As sugestões de execução para o pianista, que se encontram no decorrer do texto de estudo analítico, abordam aspectos relacionados à utilização dos pedais, à equalização sonora e às questões técnico-motoras. Na conclusão foi evidenciado como o compositor relacionou elementos dodecafônico-seriais de composição com elementos rítmicos brasileiros e também em quais aspectos o estudo analítico contribuiu diretamente para a execução pianística. Os resultados demonstraram que Variações Rítmicas opus 15 é uma peça que foi claramente influenciada pelo entorno cultural vivido pelo compositor no início dos anos 1960 e, apesar de ser uma peça de juventude, apresenta traços marcantes do estilo composicional de Marlos Nobre como a técnica de variação contínua e o uso de elementos nacionais / Abstract: The historical study was based on the literature concerning the This dissertation deals with the composition Variações Rítmicas opus 15 para piano e percussão típica brasileira [Rhythmic Variations Opus 15 for Piano and Typical- Brazilian Percussion] by Marlos Nobre. Its main objective is to provide an analytical and historical study thus giving the interpreter more detailed knowledge of the piece for performance. The methodology adopted is divided in two parts: a study of the historical context in which the piece was composed and an analytical study of its style through an analysis of the score. composer's biography and his musical output, as well as the music historical context of Brazil. The analytical study is based mainly on the work of Jan LaRue (1998) which focuses on musical style through a descriptive approach of the musical elements that make up the composition. Suggestions of e xecution for the pianist, provided throughout the analytical study, deal with aspects related to pedaling, voicing and technical - motor issues. The conclusion demonstrates how the composer relates twelve - tone serialism to Brazilian rhythmic elements and also in which ways the analytical study contributes directly to the performance of the piano part. The results demonstrate that the Variações Ritmicas Opus 15 is a composition clearly influenced by the cultural environment lived by the composer in the beginning of the 1960's, and although it is a work from his youth, it still presents striking traces of Marlos Nobre's compostional style such as continuous variation and the use of nationalist elements / Mestrado / Praticas Interpretativas / Mestre em Música

Orientador: Fernando Augusto de Almeida Hashimoto / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-21T02:19:38Z (GMT). No. of bitstreams: 1 Casacio_LucasBaptista_M.pdf: 3498473 bytes, checksum: 7dbc8fc9abefe20372f0fe6b14e2e6e3 (MD5) Previous issue date: 2012 / Resumo: A presente dissertação de mestrado tem como objetivo investigar a peculiar interpretação musical do baterista Helcio Milito, importante referência da música popular do Brasil e considerado um dos precursores da música instrumental no país, intencionando definir traços característicos de interpretação que determinem seu idiomatismo musical. A metodologia desse trabalho é constituída de transcrições e análises de performances pertencentes a dois períodos característicos da carreira do artista: 1. O período compreendido entre 1962 a 1964, no qual se inclui os três primeiros LPs do Tamba Trio; 2. O período compreendido entre 1971 a 1990, período em que Milito volta ao Brasil e passa a integrar novamente o Tamba Trio. Esse segundo período também é caracterizado pela gravação de seu primeiro álbum autoral. As análises das performances do músico permitiram a identificação de recorrentes características interpretativas que possibilitaram traçar uma definição acerca do idiomatismo de Milito / Abstract: This master dissertation has as a goal to investigate the peculiar musical interpretation of the drummer Helcio Milito, one of the important musicians of the Brazilian popular music and considered one of the pioneers of the instrumental music in Brazil, aiming to define specific traces of interpretation which can determine his musical idiom. The methodology of this work is based on transcriptions and analyses of performances from two distinctive periods of the Milito's career: 1. The period from 1962 to 1964, where is included the first three LPs of the Tamba Trio; 2. The period from 1971 to 1990, in which Milito was back to Brazil and was incorporated again at Tamba Trio. This second period is also characterized by the recording of his first album as a leader. The analyses of the performances allow the identification of the recurrence interpretative characteristics which make possible to identify the unique musical idiom of the Milito / Mestrado / Praticas Interpretativas / Mestre em Música

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Title: Analysis of upper limbs muscles involvement during playing the drums. Objectives: The aim of this thesis is to compile information about playing the drums and summerize the most frequent musculosceletal disorders of upper extremities of these musicians. The main aim is analyzing and comparing the involvement of muscles or muscles groups of the right upper limb while drumming. Methods: The theoretical part follows up the given issue as a research and theoretical overview of the current findings based on czech and foreign literature. The practical part is dedicated to evaluation of surface electromyography and 3D kinematics analyses of movements while drumming under specified conditions of one single proband. Results: Results of measurement demonstrate that m. biceps brachii is the most active muscle during playing on hi-hat, snare drum and floor tom with forte dynamics and m. extenzor carpi uln. is is the most muscle active during play with piano dynamics. Wrist flexors were the least active during all measurements. M. extenzor carpi rad. was measured too and its activity was on second place. A close relation between changes of muscles activity and changes of angles of the elbow and wrist have not been established in this study. This research was implemented only with one proband so the...

The first chapter outlines the history of percussion instruments used by Béla Bartók, The second chapter deals with the use of percussion by various composers from Bach's time up to the period of Bartók. Chapter three outlines how Bartók uses percussion instruments.

Title: Playing-related musculoskeletal disorders in drummers Objectives: The aim of this study is to collect literature resources focusing on the field of performing arts medicine in musicians with a special focus on drummers. The main focus will be directed on the therapeutic, preventive, educational and ergonomic influence of musculoskeletal disabilities. Methods: This is a literature review, written mainly from foreign sources in English. Electronic databases like Pubmed, Pedro, Science Direct, Springer and Wiley were used. Special attention was given to studies that describe health problems of musicians associated with playing drums. Instrument ergonomics, prevention and education in this field is also described. Results: 128 studies corresponded to the entry criteria. 88 of these studies were devoted to health problems of playing a musical instrument in general, 5 studies were directly addressing particular health risks associated with playing drums. Another 11 studies were describing percussionists within a larger sample of musicians. Conclusion: There are not many studies dealing with health issues associated with playing the drums. Their authors are often speaking from personal experience. On the internet, there is a number of websites containing information about the most common ailments...

Music analysis and source separation have become important and allied areas of research over the last decade. Towards this, analyzing a music signal for important events such as onsets, offsets and transients are important problems. These tasks help in music source separation and transcription. Approaches in source separation too have been making great strides, but most of these techniques are aimed at Western music and fail to perform well for Indian music. The fluid style of instrumentation in Indian music requires a slightly modified approach to analysis and source separation. We propose an onset detection algorithm that is motivated by the human auditory system. This algorithm has the advantage of having a unified framework for the detection of both onsets and offsets in music signals. This onset detection algorithm is further extended to detect percussive transients. Percussive transients have sharp onsets followed closely by sharp offsets. This characteristic is exploited in the percussive transients detection algorithm. This detection does not lend itself well to the extraction of transients and hence we propose an iterative algorithm to extract all types of transients from a polyphonic music signal. The proposed iterative algorithm is both fast and accurate to extract transients of various strengths. This problem of transient extraction can be extended to the problem of harmonic/percussion sound separation(HPSS), where a music signal is separated into two streams consisting of components mainly from percussion and harmonic instruments. Many algorithms that have been proposed till date deal with HPSS for Western music. But with Indian classical/film music, a different style of instrumentation or singing is seen, including high degree of vibratos or glissando content. This requires new approaches to HPSS. We propose extensions to two existing HPSS techniques, adapting them for Indian music. In both the extensions, we retain the original framework of the algorithm, showing that it is easy to incorporate the changes needed to handle Indian music. We also propose a new HPSS algorithm that is inspired by our transient extraction technique. This algorithm can be considered a generalized extension to our transient extraction algorithm and showcases our view that HPSS can be considered as an extension to transient analysis. Even the best HPSS techniques have leakages of harmonic components into percussion and this can lead to poor performances in tasks like rhythm analysis. In order to reduce this leakage, we propose a post processing technique on the percussion stream of the HPSS algorithm. The proposed method utilizes signal stitching by exploiting a commonly used model for percussive envelopes. We also developed a vocals extraction algorithm from the harmonic stream of the HPSS algorithm. The vocals extraction follows the popular paradigm of extracting the predominant pitch followed by generation of the vocals signal corresponding to the pitch. We show that HPSS as a pre-processing technique gives an advantage in reducing the interference from percussive sources in the extraction stage. It is also shown that the performance of vocal extraction algorithms improve with the knowledge about locations of the vocal segments. This is shown with the help of an oracle to locate the vocal segments. The use of the oracle greatly reduces the interferences from other dominating sources in the extracted vocals signal.

[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

This thesis deals with ancient string and percussion instruments with additional focus on a hydraulic organ, an instrument that is difficult to categorize. The first part of the thesis is a follow-up to the bachelor thesis Wind Instruments of Ancient Greece and Rome, which is devoted to wind instruments, and deals with the classification, description and evolution of the instruments of the other two instrumental groups. This is illustrated on the background of literary, archaeological and iconographic sources, especially on the vase painting. Vase painting well demonstrates the shape, evolution and regional occurrence of these instruments. In the second part of this thesis the Attic and southern Italy vase paintings will be used to compare musical culture in both of these areas. In Attic music scenes the chronological evolution of depicted instruments is examined, while in southern Italian scenes we will concentrate on the differences of depicted instruments in the regions of Campania, Lucania, Sicily, Paestum and Apulia. Finally, the Attic musical instruments are compared with the instruments of southern Italy. The results of the analyses will be entered into graphs. Keywords: ancient music, strings instruments, percussion instruments, Greece, Southern Italy, Campania, Lucania, Apulia, Sicily,...