Borges saw narrative as the bearer of universally re-combinable elements. Although these elements seem sequential, their essential formal integrity guarantees their rearrangement to generate new narratives. The ficción lives beyond its author. However, Borges’ ontological anxieties also have a life of their own that undermines the ficción’s assimilative potential. By developing poetic and linguistic insights Borges creates immortal text through the construction of a symbolic repertoire. Each element of the repertoire has its genesis in the author’s personal development. This history is archaeologised in the early poetry and mediated through a theory of metaphor and the reader’s interaction with the text. Borges sees no need for a Freudian reading theory. Instead he develops an antipsychological poetics. He enlists the reader as a willing participant in the text by a dual strategy of symbolic incorporation. Firstly, readers identify with characters through vicarious emotional prediction. Secondly, he refreshes the reader’s participation by presenting emblematic devices serving as sub-text to enhance symbolic participation. Together these strategies constitute a ‘magic causality’ of negotiated textual interpretation continually operating in his narratives. But the discipline of magic causality also conceals a rhetoric of presence establishing counter-motivational effects to disturb symbolic incorporation at the level of genre. The dissertation extracts key features for scrutiny from Borges’ early literary theory and criticism, elaborating them into a general aesthetic programme. It examines biographical influences in shaping his critical and creative work. It problematises his texts from the point of view of his ideas about linguistics, their identity as contributions to the genre of the ficción, and the centrality of metaphor and analogy as interpretative strategies. I use a number of approaches for this enterprise, including biographical criticism (ontological preoccupations), substitutional analysis (temporal subjectivity), linguistic interpretation (theory of metaphor), literary criticism (readerly reception), structuralism (readerly incorporation), and deconstruction (rhetoric of suppression). The dissertation pragmatically investigates, and contests, Borges’ assimilative poetics of textual presence.

abstract: During the twentieth-century, the dual influence of nationalism and modernism in the eclectic music from Latin America promoted an idiosyncratic style which naturally combined traditional themes, popular genres and secular music. The saxophone, commonly used as a popular instrument, started to develop a prominent role in Latin American classical music beginning in 1970. The lack of exposure and distribution of the Latin American repertoire has created a general perception that composers are not interested in the instrument, and that Latin American repertoire for classical saxophone is minimal. However, there are more than 1100 works originally written for saxophone in the region, and the amount continues to grow. This Modern Latin American Repertoire for Classical Saxophone: Recording Project and Performance Guide document establishes and exhibits seven works by seven representative Latin American composers.The recording includes works by Carlos Gonzalo Guzman (Colombia), Ricardo Tacuchian (Brazil), Roque Cordero (Panama), Luis Naón (Argentina), Andrés Alén-Rodriguez (Cuba), Alejandro César Morales (Mexico) and Jose-Luis Maúrtua (Peru), featuring a range of works for solo alto saxophone to alto saxophone with piano, alto saxophone with vibraphone, and tenor saxophone with electronic tape; thus forming an important selection of Latin American repertoire. Complete recorded performances of all seven pieces are supplemented by biographical, historical, and performance practice suggestions. The result is a written and audio guide to some of the most important pieces composed for classical saxophone in Latin America, with an emphasis on fostering interest in, and research into, composers who have contributed in the development and creation of the instrument in Latin America. / Dissertation/Thesis / D.M.A. Music 2011

The acoustic sense is vital to all life processes for whales. It defines their ‘active space’, and the extent and nature of interactions with their surroundings. Yet, we are still learning the basics of most species’ acoustic behaviours and vocal repertoires. The ecology of gray whales (Eschrichtius robustus) is well known, however vocal behaviours are not well described outside of breeding lagoons. Bottom-stationed acoustic monitoring devices were deployed in Clayoquot Sound, west coast Vancouver Island to explore acoustics use outside of these areas. During migration the use of low frequency moan calls are prevalent, perhaps for group cohesion, with lead whales guiding followers. During the summer more inter-group calls (knocks, upsweeps) are employed. Here I explored the use of ‘motherese’ calls between cow-calf pairs, and how this may mirror the weaning process. Photoperiod, increased ambient noise, threat perception, and vessel and aircraft presence elicited acoustic responses. Calling was also altered by social, behavioural, and physiological state. These results begin to show gray whales to be acoustically sensitive, with highly nuanced vocalising behaviours. Acoustic methods afford monitoring at times and in places that would otherwise be impossible, and lends themselves to the study of rare or cryptic species. Ocean gliders with passive acoustic capacity were used to explore deep-coastal and shelf-break waters for large whale species. Humpback whales (Megaptera novaeangliae) were common on the shelf, whereas calls from fin (Balaenoptera physalus), blue (Balaenoptera musculus), sperm (Physeter macrocephalus), and possibly sei whales (Balaenoptera borealis) were heard in more offshore locations. Concurrent habitat data steams help establish area use and importance to these species. The surveys focus on submarine canyons that are thought to aggregate prey. Calls denote whale presence, whereas call type may suggest behaviour and habitat use. Calls described for feeding and breeding were heard for fin and blue whales, with distinct temporal distribution. Acoustic techniques complement other ecological methods and can fill existing knowledge gaps in whale life histories. It can also help quantify the effect of human activities on whale populations and ocean soundscapes. These findings will inform management actions. I provide examples of management links to acoustic-ecological research. / Graduate

Carl Czerny (1791–1857) lived at the turn of the nineteenth century, when the piano underwent significant development as an instrument, and subsequently generated a huge repertoire. While Czerny is mostly remembered for his piano exercises and etudes, his writings about music as well as his works in serious style reveal a man with a sophisticated awareness of the importance of piano technique, entwined with profound musical ideas and an understanding of music that make him a forerunner of the romantic style. This study focuses on Czerny’s Opus 500 Complete Theoretical and Practical Piano Forte School (1839), and its Supplement (1845). Through analysis of the tutorial’s content it attempts to prove the deep connection between piano technique and expressive playing in Czerny’s teaching. The first five chapters of this work compare elements of expressive playing, such as articulation, dynamics and tempo, as presented in different tutorials written before Czerny’s opus 500, clearly relevant to Czerny. The remaining chapters of this study discuss the pedagogical path that Czerny suggests to master those same aspects, especially through scales and scale-based exercises, and through constant attention to improving the listening skills of the student. The purpose of this work is to reassess Czerny as a key figure of modern piano technique, as a teacher and pedagogue able to introduce pianists to mechanical training while honing the essential skills to perform any piece of music in any style expressively.

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.

Os valores e a cultura dos designers fazem parte do processo projetual e podem ser considerados de extrema relevância, visto que a cultura do designer pode ser uma fonte de inovação e de criatividade no decorrer do processo projetual do design. Este trabalho aborda o papel das referências culturais do designer gráfico no seu processo de trabalho. Busca descrever como os designers gráficos atuantes no estado do Rio Grande do Sul, mais precisamente na cidade de Porto Alegre, percebem o efeito de suas atividades culturais e de seu ambiente cultural em seu repertório e na sua prática projetual. O estudo busca caracterizar a relação entre a cultura do designer e a prática de design gráfico, identificar a presença do repertório cultural no discurso dos designers gráficos e identificar os fatores que emergem como relevantes no discurso dos designers gráficos. Para isso foram realizadas entrevistas com seis designers gráficos atuantes em Porto Alegre. A análise das entrevistas sugere que, em todos os casos, o desenvolvimento profissional está relacionado com o repertório cultural, ficando claro o quanto esses designers reconhecem que sua atividade profissional é afetada por seu repertório e ambiente cultural. Foram identificados sete fatores que emergem como relevantes no discurso dos designers gráficos e que podem explicar suas trajetórias profissionais: formação orientada a uma profissão criativa desde a infância; busca por uma atividade criativa; influência das artes plásticas; conhecimento de outras culturas (viagens, história); aprendizagem por meio de troca com colegas experientes; ampliação constante do repertório (eventos culturais, cursos); e relacionamento com clientes. / Values and culture of designers are part of design process and can be considered extremely relevant, since a culture of designer can be a source of innovation and creativity during design process of design. This study approaches the role of cultural references of graphic designer in their work process. Search describe how graphic designers actants in Rio Grande do Sul state, more precisely in the city of Porto Alegre, perceived the effect of their cultural activities and their cultural environment in their repertoire and their design practice. This study aims to characterize the relationship between culture of design and graphic design practice, identify presence of cultural repertoire in graphic designers' discourse and identify factors that emerge as relevant in the discourse of graphic designers. For that interviews with six graphic designers actants in Porto Alegre. Analysis of interviews showed that, in all cases, the professional development is related with cultural repertoire, becoming clear how much these designers recognize that their professional activity is affected by your repertoire and cultural environment. Seven factors were identified that emerge as relevant in the graphic designers’ discourse and may explain their professional trajectories: formation oriented to creative profession since childhood; search for creative activity; influence of visual arts; knowledge of other cultures (travel, history); learning through exchanges with experienced colleagues; constantly expanding repertoire (cultural events, courses); and customer relationships.

No description available.

abstract: The purpose of this research is to assemble a collection of Russian Art song repertoire selected for beginner level training, with an exposition of the criteria for their appropriateness as teaching pieces. This examination defines the scope of vocal, technical, language and interpretive abilities required for the performance of Russian Art song literature. It also establishes the need for a pedagogical approach that is free from Eurocentric cultural biases against Russian language and culture. Intended as a reference for teachers and students to simplify the introduction of Russian Art song into the repertoire of the advanced secondary or beginning undergraduate student, it includes a discussion of learning priorities and challenges particular to native English speakers relative to successful Russian language lyric diction assimilation, with solutions. This study is designed to furnish material for a published edition of songs in the appropriate transpositions for high, medium and low voice including word-for- word and sense translations with IPA transcriptions, along with program notes for each piece. Repertoire is selected from the works of Alyab'yev, Gurilyov, Varlamov, Glinka, Dargomyzhsky, Tchaikovsky and Mussorgsky, as well as a few folk songs. The repertoire is grouped by difficulty and accompanied by English translations, interpretive analyses of the Russian Language poetry, and International Phonetic Alphabet (IPA) transcriptions modified for lyric diction. The degrees of difficulty are determined by vocal registration demands, word lengths and rhythmical text setting, as well as the incidences of unfamiliar phonological processes and complex consonant clusters occurring in the text. A scope and sequence chart is included, supplemented with learning objectives and teaching strategies, which organizes the repertoire according the order in which the pieces are to be taught. A palatalization guide is provided, to provide solutions for common pronunciation problems. Included in the appendices are listings of additional recommended Russian art song titles and recommended listening and viewing. / Dissertation/Thesis / Doctoral Dissertation Music 2014

abstract: Pre-collegiate clarinet instructors are often challenged to teach students both fundamental skills and repertoire with limited instructional time. Insufficient time may cause fundamental skills to be addressed at the expense of repertoire or repertoire study may limit time spent on fundamental development. This document provides a suggested repertoire list that categorizes pre-collegiate clarinet literature based on the fundamental skill addressed in each included piece. Teachers can select repertoire that allows students to concurrently refine a fundamental skill while preparing a piece for performance. Addressed fundamental topics include embouchure, expanding the range into the clarion and altissimo registers, articulation, breathing, intonation, finger technique, and musicality. Clarinet method books and treatises were studied to determine which fundamental concepts to include and to find established teaching techniques recommended by pedagogues. Pre-collegiate clarinet instructors were surveyed to determine which pieces of clarinet repertoire were frequently studied in their private lesson curriculum and why, and if they used specific pieces in order to isolate a fundamental skill. Literature found in repertoire lists, repertoire books, on-line catalogs, and from the survey results was examined. Repertoire was selected for inclusion if it contained passages that were analogous to the established teaching strategies. / Dissertation/Thesis / Doctoral Dissertation Music 2014

abstract: Composers and performers alike are pushing the limits of expression with an ever-expanding sonic palette. There has also been a great expansion of saxophone repertoire over the past few decades. This has lead to an increasing number of advanced pieces incorporating saxophone extended techniques. As younger saxophonists discover these compositions, they too become inspired to implement these techniques in their own playing. There is a need for broader selections of introductory to intermediate compositions with saxophone extended techniques. It is the goal of this project to expand this repertoire for pre-college and early-college saxophonists. These target-level saxophonists are those who have already begun their studies in extended techniques. Three commissioned composers have contributed pieces for this target level of saxophonist with the purpose of bridging the gap between first attempts of extended techniques and the advanced pieces that already exist. Saxophonists who have the standard techniques to perform compositions such as Sonata for E-flat Alto Saxophone and Piano by Paul Creston will be suited to approach these compositions. In addition to the compositions, the author has composed short warm up exercises, utilizing selected extended techniques. A professional recording of the resulting compositions and exercises are also included. The enclosed document will provide a performer's analysis to help instructors of potential performers navigate the extended techniques and provide insight on other challenging aspects of the compositions. It is not the intention of the following document to teach the individual techniques. / Dissertation/Thesis / Doctoral Dissertation Music 2015