A presente tese tem por objeto a produção para violão solo de Mozart Camargo Guarnieri (1907 - 1993), que consiste em seis peças: Três Estudos, um Ponteio e duas Valsaschoro. Essas peças, escritas entre 1944 e 1986, são pouco executadas, apesar de terem partido da pena de um compositor central na história da música erudita brasileira. Dessa contradição, deriva a hipótese de que essas obras não teriam relevância dentro da produção do compositor e dentro do repertório violonístico brasileiro. Por esse motivo, a presente tese estuda essas seis peças de Guarnieri com objetivo de compreendê-las dentro do universo estético e da produção do compositor e também em relação ao repertório violonístico brasileiro. A metodologia empregada consistiu na análise estrutural das obras e no confronto dos dados obtidos em tal análise, com os dados encontrados na bibliografia específica a respeito do compositor e do repertório violonístico Brasileiro. Os resultados podem ser resumidos na constatação de que essa pequena produção possui notável elaboração técnica e é representante, no repertório violonístico, de uma das principais correntes estéticas da música erudita brasileira, sendo sua execução, preterida por questões idiomáticas e pela complexidade do discurso guarnieriano. / The object of this thesis focuses on a production of six works for guitar solo of Mozart Camargo Guarnieri (1907 - 1993): \"Três Estudos\", one \"Ponteio\" and two \"Valsas-choro\". These pieces, written between 1944 and 1986, are rarely performed, although belongs to a central composer in Brazilian classical music history. This contradiction derives the hypothesis that these works would not have its relevance within the composer´s production or within the Brazilian guitar repertoire. For this reason, the present thesis studies the six works of Guarnieri in order to relate these pieces into the aesthetic universe, the composer´s production and also into the Brazilian guitar repertoire. The methodology applied consists in the structural analysis of these works and the confrontation between the data obtained in such analysis with the material available in the specific bibliography toward the composer and Brazilian guitar repertoire. Results can be summarized in the fact that this small production has remarkable technical drafting in the guitar repertoire and represents one of a major aesthetic movements of Brazilian classical music however it execution was deprecated due to idiomatic aspects and also due to the complexity of the Guarnieri\'s musical language

A partir do estudo de eventos de protesto relacionados ao tema do transporte público, tendo as mobilizações de 2013 e seus desdobramentos como objeto empírico central, busca-se analisar como, através de diferentes performances que conformam tais eventos, são produzidas inovações nos repertórios de contestação. Para responder a este problema, foram estudadas as performances desenvolvidas nas manifestações que ocorreram em Porto Alegre nas últimas décadas e que tiveram como principal reivindicação a tarifa do transporte público. A literatura sobre as manifestações no Brasil em 2013 não desenvolve análises mais específicas sobre as inovações nos repertórios e nas performances identificadas. A literatura sobre “repertório” e sobre “performance” traz alguns elementos importantes para a compreensão do processo de inovação, porém tende a não apresentar uma sistematização ou um modelo explicativo para abordar tal processo. A proposta desta pesquisa é, portanto, avançar na formulação de um modelo que sistematize o processo de inovação nos repertórios de contestação, tendo como objeto as transformações nas manifestações sobre o transporte público em Porto Alegre. Como resultados, a pesquisa apresenta três mecanismos importantes no processo de inovação: adaptação, experimentação interativa (para explicação da emergência das performances) e rotinização (para explicação da incorporação no repertório). A entrada de novos atores no processo de mobilização foi uma característica central em 2013. O mecanismo de adaptação se daria através da trajetória desses atores e de dinâmicas de difusão. O mecanismo de experimentação interativa diz respeito a improvisações não previstas na interação. A rotinização das performances acontece através das noções de eficácia, de identificação, pela importância das organizações e pelo diálogo que estabelecem com o público. Algumas dimensões importantes no processo de inovação, que não foram previstas, apareceram no decorrer da pesquisa: o contexto político institucional, as disputas interpretativas sobre o confronto e os impactos das Tecnologias de Informação e Comunicação (TICs), influenciando o processo de inovação nos repertórios de contestação. / This dissertation draws on previous studies on protest events related to the topic of public transport and particularly on studies that have as their main empirical object the Brazilian mobilizations in 2013 and their aftermath. It seeks to analyze how different performances that took place in such events produced innovations in contentious repertoires. To address this problem, we studied performances developed in demonstrations that took place in Porto Alegre in recent decades and that had as their main object the public transport fare. The literature on demonstrations in Brazil in 2013 does not develop more specific analysis of innovations in repertoires and performances. The literature on "repertoire" and "performance" indicates important elements for understanding the innovation process, but in general does not present a theoretical systematization or an explanatory model to explain this process. Therefore, the purpose of this research is to contribute for the construction of a model that systematizes the innovation process in protest repertoires. For this purpose, we define as our object the transformations in demonstrations focused on public transportation in Porto Alegre. Our results suggest that three important mechanisms affect innovation processes: adaptation, interactive experimentation (for explaining the emergence of performances), and routinization (for explaining the incorporation of repertoires). The arrival of new actors was a central feature in the mobilization process of 2013. The adaptation mechanism took place through the trajectory of these actors and diffusion dynamics. The interactive experimentation mechanism is about the unforeseen improvisations in interactions. The routinization of perfomances is mediated by: the notions of effectiveness and identification; the importance of organizations; and the dialogue established with the public. Some important dimensions of the innovation process, which were not foreseen, were identified during the research: the political and institutional context, the interpretative disputes over confrontation and the impact of Information and Communication Technologies.

A presente tese tem por objeto a produção para violão solo de Mozart Camargo Guarnieri (1907 - 1993), que consiste em seis peças: Três Estudos, um Ponteio e duas Valsaschoro. Essas peças, escritas entre 1944 e 1986, são pouco executadas, apesar de terem partido da pena de um compositor central na história da música erudita brasileira. Dessa contradição, deriva a hipótese de que essas obras não teriam relevância dentro da produção do compositor e dentro do repertório violonístico brasileiro. Por esse motivo, a presente tese estuda essas seis peças de Guarnieri com objetivo de compreendê-las dentro do universo estético e da produção do compositor e também em relação ao repertório violonístico brasileiro. A metodologia empregada consistiu na análise estrutural das obras e no confronto dos dados obtidos em tal análise, com os dados encontrados na bibliografia específica a respeito do compositor e do repertório violonístico Brasileiro. Os resultados podem ser resumidos na constatação de que essa pequena produção possui notável elaboração técnica e é representante, no repertório violonístico, de uma das principais correntes estéticas da música erudita brasileira, sendo sua execução, preterida por questões idiomáticas e pela complexidade do discurso guarnieriano. / The object of this thesis focuses on a production of six works for guitar solo of Mozart Camargo Guarnieri (1907 - 1993): \"Três Estudos\", one \"Ponteio\" and two \"Valsas-choro\". These pieces, written between 1944 and 1986, are rarely performed, although belongs to a central composer in Brazilian classical music history. This contradiction derives the hypothesis that these works would not have its relevance within the composer´s production or within the Brazilian guitar repertoire. For this reason, the present thesis studies the six works of Guarnieri in order to relate these pieces into the aesthetic universe, the composer´s production and also into the Brazilian guitar repertoire. The methodology applied consists in the structural analysis of these works and the confrontation between the data obtained in such analysis with the material available in the specific bibliography toward the composer and Brazilian guitar repertoire. Results can be summarized in the fact that this small production has remarkable technical drafting in the guitar repertoire and represents one of a major aesthetic movements of Brazilian classical music however it execution was deprecated due to idiomatic aspects and also due to the complexity of the Guarnieri\'s musical language

Esta dissertação apresenta doze transcrições, realizadas pelo próprio autor, de obras selecionadas de Maurice Ravel e Claude Debussy. A realização das transcrições teve como referencial teórico a análise de duas das mais importantes transcrições da história do violão: - Siete Canciones Populares Españolas - original de Manuel de Falla para piano e voz, transcritas para violão e voz por Miguel Llobet - Venetian Gondola Song - original de Felix Mendelssohn para piano (livro I das Canções sem palavras, op. 19), transcrita por Francisco Tárrega O livro Guidelines for Style Analysis, de Jan LARUE foi o referencial teórico para as análises musicais. Os comentários analíticos se restringem à sua relação com os processos de transcrição. A arte da transcrição está diretamente associada ao violão e seu desenvolvimento. Uma perspectiva da história da transcrição para violão a partir do final do século XIX é apresentada e discutida. Soma-se a esta discussão a figura de Franz Liszt, um dos principais transcritores (para piano) da história da música. As transcrições são analisadas a fim de se abordar a problemática que cada uma envolve. A \"fidelidade musical\" é o principal foco deste trabalho, ou seja, a realização dos elementos musicais e ideia estética da obra original em seu novo meio: o violão. Para isso é necessário realizar uma transcrição idiomática, e os processos utilizados para esta busca são também apresentados e discutidos. / This dissertation presents twelve transcriptions, made by the own author, of selected works by Maurice Ravel and Claude Debussy. The realization of the transcriptions had as a theorical referential the analysis of two of the most important transcriptions of the history of the guitar: - Siete Canciones Populares Españolas - original work by Manuel de Falla for piano and voice, transcribed for guitar and voice by Miguel Llobet - Venetian Gondola Song - original work by Felix Mendelssohn for piano (book I from the Songs without words, op. 19), transcribed by Francisco Tárrega The book Guidelines for Style Analysis, by Jan LARUE was the theorical reference for the musical analysis. The analytical comments are confined to their relationship with the processes of transcription. The art of transcription is directely associated to the guitar and its development. A perspective of the history of transcription for the guitar starting at the middle of the XIX century is presented and discussed. Adds to this discussion the figure of Franz Liszt, one of the most important transcribers (for the piano) in the history of music. The transcriptions are analysed in order to address the problem that each one involves. The \"musical fidelity\" is the main focus of this work, namely the realization of musical elements and aesthetic idea of the original work on its new instrument: the guitar. To achieve this is necessary to work on an idiomatic transcription, and the processes used on this quest are also presented and discussed.

abstract: The main objective of this research project is to expand the bassoon repertoire with the addition of three pieces. The first composition, Rust for bassoon and piano, was written by Christopher Marchant and is six minutes in duration; august, for woodwind quartet (flute, oboe, B-flat clarinet, and bassoon) was composed by Matthew Triplett and is four minutes in duration; the third composition, Rhapsody for woodwind quartet, was written by Conor Anderson and is six minutes in duration. The present document includes background information and a performance guide for each of the commissioned works. The performance guide provides recommendations and tips to aid musicians in preparing these works. This document also contains transcripts of interviews with each composer and performer. Finally, this document is accompanied by a recording of each piece. / Dissertation/Thesis / Christopher Marchant - Rust / Matthew Triplett - august, I. wake / Matthew Triplett - august, II. cicada breath / Conor Anderson - Rhapsody / Doctoral Dissertation Performance 2019

British composer Peter Racine Fricker (1920-1990) is known among violists for his masterly Concerto for Viola and Orchestra, Op. 18, dedicated to and premiered by the famous Scottish violist William Primrose. He wrote two other works that feature the viola: Three Movements for Viola Solo, Op. 25, and Fantasy for Viola and Piano, Op. 44. Fricker was a well-respected and prolific composer, one of the foremost young composers to emerge in England after World War II. After his move to the United States in 1964, the prominence he had established in his homeland virtually disappeared, and he never became a household name in America. Despite this, it is my contention that his music deserves study and a place in our repertoire. The above-mentioned Concerto has remained available in print since its initial publication. Fantasy for Viola and Piano was published in 2014 by the American Viola Society. This essay gives an introduction to these two works which are currently in circulation. The Concerto is considered from the standpoint of viola technique and pedagogy, while the Fantasy is briefly analyzed in terms of Fricker’s stated compositional ideals. The culmination of this work is a performance edition of the Three Movements, to be published later this year by the American Viola Society.

The Eastman Wind Ensemble is known as the pioneer ensemble of modern wind music in North America and abroad. Its founder and conductor, Frederick Fennell, was instrumental in facilitating the creation and performance of a large number of new works written for the specific instrumentation of the wind ensemble. Created in 1952, the EWE developed a new one-to-a-part instrumentation that could be varied based on the wishes of the composer. This change in instrumentation allowed for many more compositional choices when composing. The instrumentation was a dramatic shift from the densely populated ensembles that were standard in North America by 1952. The information on the EWE and Fennell is available at the Eastman School of Music’s Ruth Watanabe Archive. By comparing the repertory and instrumentation of the Eastman ensembles with other contemporary ensembles, Fennell’s revolutionary ideas are shown to be unique in the wind music community.

Karisma är ett fenomen som under lång tid väckt stort intresse och fascination bland människor, däribland mig själv. Däremot är begreppet aningen diffust och det har därför varit svårt att hitta en entydig definition av karisma. För att undersöka dimensionerna av karisma har jag i denna uppsats valt att undersöka karismans betydelse i dagens samhälle. Syftet med undersökningen har varit att undersöka hur fenomenet karisma som begrepp konstrueras i en bestämd social kontext i samhället idag, vilket jag har gjort genom att analysera självhjälpslitteratur i hur man ökar sin karismatiska utstrålning. De huvudsakliga frågeställningarna bakom denna undersökning omfattar bland annat hur karisma konstruerats i litteraturen, hur framställningen av karisma gett upphov till skapandet av subjekt samt att se om förändringar i samhället kommit att förändra betydelsen av karisma. Bakgrunden av undersökningen innefattar bland annat Max Webers definition av den ”genuina” karisman samt en rad andra teorier och undersökningar om karisma som försökt förklara fenomenets härkomst. Med bakgrund av detta har jag alltså studerat karisma ur ett socialkonstruktivistiskt perspektiv med hjälp av diskursanalys och funnit att de två självhjälpsböcker jag undersökt konstruerar karisma som ett multidimensionellt fenomen som alla individer har möjligheten att utveckla. Utöver denna upptäckt tyder resultaten från undersökningen även på att en decentralisering av makten i dagens samhälle har kommit att påverka hur karisma konstrueras idag. / Charisma has for long been the object for admiration and fascination among people, including myself. It has, however, been very difficult to settle for an appropriate definition of charisma since the nature of the phenomenon can be described as being quite abstract. I have in an attempt to explore the dimensions of charisma chosen to investigate its meaning in today’s society. The main goal with the investigation has been to see how the concept of charisma is constructed within a given social context, which in this case constitutes of self-help books on how to develop a charismatic personality. A few of the primary questions behind this investigation concerns how charisma is constructed within the literature, how the representation of charisma in the books leads to the development of subjects and to see whether changes within the society has contributed to a change in the meaning of charisma. The investigation is, among other things, based on Weber’s definition of the “genuine” charisma as well as several other theories and studies concerning charisma which have tried to deduce the origin of the subject. I have in relation to this analyzed charisma from the view of the social constructivist perspective, with the help of discourse analysis, and found that the two self-help books I have studied constructs charisma as a multidimensional phenomenon which everyone has the ability to develop. In addition to this discovery I also found that the result from the investigation indicates that a decentralization of power in today’s society has come to influence how charisma is constructed today. Title: What significance does charisma have in society today? – A study done from the social constructivist perspective concerning charisma in self-help literature. Charisma has for long been the object for admiration and fascination among people, including myself. It has, however, been very difficult to settle for an appropriate definition of charisma since the nature of the phenomenon can be described as being quite abstract. I have in an attempt to explore the dimensions of charisma chosen to investigate its meaning in today’s society. The main goal with the investigation has been to see how the concept of charisma is constructed within a given social context, which in this case constitutes of self-help books on how to develop a charismatic personality. A few of the primary questions behind this investigation concerns how charisma is constructed within the literature, how the representation of charisma in the books leads to the development of subjects and to see whether changes within the society has contributed to a change in the meaning of charisma. The investigation is, among other things, based on Weber’s definition of the “genuine” charisma as well as several other theories and studies concerning charisma which have tried to deduce the origin of the subject. I have in relation to this analyzed charisma from the view of the social constructivist perspective, with the help of discourse analysis, and found that the two self-help books I have studied constructs charisma as a multidimensional phenomenon which everyone has the ability to develop. In addition to this discovery I also found that the result from the investigation indicates that a decentralization of power in today’s society has come to influence how charisma is constructed today.

The aim of this essay is to study and show the contents of the music repertoire that is used in live action role plays in Sweden and study how this repertoire is spread between participants in the culture of live action role playing. Four informants have been chosen and interviewed, three men and one woman of different ages from different places in Sweden. They have all been practicing live action role playing for some years. Some of the conclusions that can be drawn from this study is that the participants of this hobby culture value music that feels old and contribute to the illusion of another world and time. The music repertoire of the live action role playing culture is filled with this music that gives the participants associations in line with the illusion. That is more important than the real age of the music. Another interesting conclusion is that the participants learn and spread the melodies verbally to each other and only the texts spread on the internet.

This study is based on my work as a teacher of Swedish language and literature to upper secondary school students, and my interest in developing the teaching of literature by using both new criticism theories and theories of literary perception focusing on reader response. The purpose of the study is to examine the learning process in trying to develop literary competence and to find out how to describe the competence shown by the students. My starting-point is a discussion about literary competence and the theory and model of literary competence by Örjan Torell. In examining literary competence, by how students use their constitutional competence as well as performance and literary transfer competences, Torell´s model shows the possibility and the need for both knowledge of literature and personal reception by focusing on the dialogue between author and reader. The method is qualitative and the empirics are material collected in one senior high school class in the Social Science programme during their second and third year. The material contains written reading logs, written answers to tasks and transcribed recordings of discussions of literature. The analysis shows a variety among the literary competence shown and developed by the students and points to the complexity of understanding the concept of literary competence. The model proves to be useful in focusing the teaching and learning of literature and the results indicate that teaching of literature by combining learning of epochs, genres, ideas and conceptions with personal reading is a valuable approach. Keywords: literary competence, literary teaching, literary reception, discussions of literature, reading logs, literary repertoire, text competence.