Cette thèse de doctorat vise à comprendre quel peut être l’apport du chant dans la construction sociale et identitaire d’un ensemble fermé en dégageant les différentes fonctions de ce répertoire. Elle a également pour objectif d’analyser la mesure dans laquelle il intervient dans l’intégration des personnels ainsi que l’impact qu’il peut avoir sur la cohésion des groupes. En ce sens, une place importante a été donnée à l’analyse des aspects contextuels et humains du chant, tels que le rapport au corps dans les pratiques rituelles.Souhaitant aborder les différents enjeux du chant au sein de l’institution, le corpus sur lequel s’appuie cette recherche est assez large et regroupe aussi bien des pièces officielles qu’intimistes. Pour avoir une vision précise du répertoire militaire et interroger sa fonctionnalité, une enquête de terrain a été menée principalement au RICM implanté à Poitiers et au 6e BIMa basé à Libreville. Le choix d’une limitation aux Troupes de Marine est motivé par la spécificité de cette arme, l’une des plus présentes sur les théâtres d’opérations. Ainsi, l’étude des activités rituelles et musicales de la population militaire en situation conflictuelle et post-conflictuelle était possible, en plus d’aborder la place des pratiques chantées dans le quotidien de la vie de garnison. L’étude laisse notamment apparaître que le besoin d’une importante cohésion du groupe est l’une des principales motivations de l’interprétation des chants pendant et en dehors du service. Elle montre également que cette pratique vocale fait partie intégrante de la culture militaire et qu’elle permet la revendication d’une identité collective. / This Ph. D. thesis aims at understanding what can be the contribution of song in the social and identity building up of an introverted group by clearing the various functions of this repertoire. It also purposes the objective of analysing the measure in which it intervenes in people integration as well as the impact it can have on groups’ cohesion. Thus, an important place has been given to the analysis of contextual and human singing aspects, such as the relation to the body in ritual practices.Wishing to approach the various stakes of singings in the institution, the corpus on which this research is leaning on is quite wide and gathers official songs as well as intimist ones. To get an accurate vision of the military repertoire and question its feature, a survey has mainly been carried out within the RICM located in Poitiers and within the 6th BIMa based in Libreville. The choice of a restriction to the Troupes de Marine is justified by the specificity of this arm, one of the most present on the theatre of operations. So, the study of ritual and musical activities of the military population in conflicting and post-conflicting situation was possible, besides approaching the place of sung practices in the daily garnison life. The study particularly permits to enhance that the need of an important cohesion of the group is one of the main reasons of songs within ans apart from the duty. It also shows that this vocal practice is an integral part of the military culture and that it allows the claiming of a collective identity.

Drosophila courtship song has been studied for over 60 years and remains an area of active research today. Several studies have investigated the physiological mechanisms for fly song production, but no unifying account exists. We review fly song production and integrate published data to a mathematical model of courtship song production. We hypothesize that muscle dynamics underlie fluctuations in the amplitude of courtship song. Our model suggests that these fluctuations can be measured and we introduce the term 'song amplitude structure' (SAS) for those measurements. We predict that SAS signals muscle power and we validate our prediction in muscle mutants of the Drosophila myosin light chain (Dmlc2) gene. We then investigate whether SAS is a communication signal in Drosophila. We show that the two species D. melanogaster and D. simulans differ in their SAS and that both females and males behaviourally discriminate their species SAS from other SAS. This suggests that SAS is a communication signal in Drosophila. Perception of SAS may be affected by noise and we therefore examine the effect of noise on responses to SAS. We find that female auditory responses are not impaired by noise in SAS, however male auditory responses are impaired by noise in SAS. This suggests that males and females may be processing noise in SAS differently. Future work should investigate whether sexually dimorphic auditory neurons respond differently to noise in SAS. We hope that our work will be helpful for investigating fluctuations in amplitude of fly song. We also wish that researchers can use our work for studying the mechanisms underlying both the production of SAS and the perception of SAS.

abstract: Everyday Arias for soprano and orchestra was composed largely in Arizona and completed in February 2011. The text was taken from a small collection of the composer's own poetry referencing her memories of life in rural Mississippi. Everyday Arias endeavors to elevate these prosaic experiences and settings to art, expressing the everyday as beautiful and worthy of artistic treatment. The primary compositional model for this work was Samuel Barber's Knoxville: Summer of 1915, but other influences included Charles Ives, Aaron Copland, Benjamin Britten, and Dominick Argento. Barber's and Argento's musical treatment of prose style seemed particularly appropriate to the goals of Everyday Arias. Ives and Copland used hymn tunes both to evoke certain associations of worship and as sources of interesting material. The vocal writing of all five composers was influential, but the orchestration techniques for winds are largely a product of studying Ives and Argento, while many string gestures are more obviously tied to Britten and - more historically - Debussy.The primary motive that weaves through the work features an ascending major second followed by a descending perfect fourth, in a long-short-long rhythmic pattern. As a melodic fragment, the motive is often inverted to a descending-ascending pattern, or distorted slightly by expanding the second interval to a perfect fifth, or used in retrograde. The motive was derived from the first measure of the melody "Toplady" (1830) by Thomas Hastings, better known as the hymn "Rock of Ages." In the first movement, the motive is used most frequently in sequences. The second movement treats the motive as a melodic element and as a unit in ostinati. The final movement humorously transforms it into a syncopated gesture to evoke ragtime. / Dissertation/Thesis / D.M.A. Music 2011

This thesis explores the musical world and the song compositions of eighteenth-century Sutherland Gaelic bard Rob Donn MacKay (1714-1778). The principal focus is musical rather than literary, aimed at developing an analytical model to reconstruct how a non-literate Gaelic song-maker chose and composed the music for his songs. In that regard, the thesis breaks new ground in at least two ways: as the first full-length study of the musical work of Rob Donn, and as the first full-length musical study of any eighteenth-century Scottish Gaelic poet. Among other things, it demonstrates that a critical assessment of Rob Donn merely as a “poet” seriously underestimates his achievement in combining words and music to create a whole that is greater than the sum of its parts. The study also illustrates how widely melodic material circulated in eighteenth-century Scotland through aural transmission, easily crossing between languages and between instrumental and vocal music. The thesis includes a musical biography, a review of sources and commentary on Rob Donn, an introduction to relevant theoretical concepts in ethnomusicology and related fields, and a survey of eighteenth-century Scottish music, followed by several chapters analyzing the music of one hundred songs by topic (elegies; social and political commentary; love, courtship and weddings; satire and humor; and praise, nature and sea songs). The study shows that Rob Donn borrowed tunes for 67 of these songs from earlier sources (45% from Gaelic song, 25% from Scots song, 12% from English or Irish song, and 18% from instrumental tunes). It then provides evidence that he composed the melodies of 33 songs, examining in detail how he adapted earlier musical models and created musical settings to reinforce aspects of his poetic message. It also analyzes the musical features of all 100 songs, providing charts summarizing their vocal range, musical meter, scales and tonality. The thesis is accompanied by two appendices, one containing 121 musical settings of the 100 songs, and the other containing their complete texts with English translations (most translated here for the first time).

I denna uppsats undersöks hur ett konceptuellt album skrivs samt produceras med analyser av tre existerande konceptuella album i pop/indiepoprock genre som underlag. I arbetet utforskas hur specifika konceptuella parametrar så som text, struktur samt sound kan appliceras på det egna musikskapandet samt hur det påverkar arbetsprocessen. Det undersöks vilka svårigheter som uppkommer med att arbeta efter specifika konceptuella parametrar samt hur väl låtarna fungerar både i och utanför det konceptuella upplägget. Resultatet blir sju egenskriva låtar till ett konceptuellt album och i diskussionen analyseras konceptualitet som begrepp.

Submitted by ELISÂNGELA MARIA OZÓRIO null (profelisma@gmail.com) on 2018-02-26T21:53:59Z No. of bitstreams: 1 Tese A canção de Renato Russo uma poética da utopia e da distopia.pdf: 1212556 bytes, checksum: 870cdc1aef8fc439da97df0b8705bc19 (MD5) / Approved for entry into archive by Elza Mitiko Sato null (elzasato@ibilce.unesp.br) on 2018-02-28T13:27:28Z (GMT) No. of bitstreams: 1 ozorio_em_dr_sjrp.pdf: 1089939 bytes, checksum: 9d64a0f24c386fe1d900a050a9ecc583 (MD5) / Made available in DSpace on 2018-02-28T13:27:28Z (GMT). No. of bitstreams: 1 ozorio_em_dr_sjrp.pdf: 1089939 bytes, checksum: 9d64a0f24c386fe1d900a050a9ecc583 (MD5) Previous issue date: 2018-02-15 / Programa Bolsa Doutorado para Professores da Secretaria de Educação do Estado de São Paulo / As letras das canções escritas por Renato Russo deflagram um olhar crítico e reflexivo para com a existência humana e a vida em sociedade. A voz poética capta os conflitos e mostra, em primeiro plano, a face imperfeita da sociedade e do ser humano: a desigualdade, a ganância, o egoísmo e a falta de liberdade. Como resultado, há o desajuste e a sensação de não pertencimento, gerando no sujeito desconforto. A face imperfeita representada na canção de Renato Russo constrói um tipo de real que se contrapõe à volição do eu poético, que confessa o desejo de edificar uma nova sociedade, na qual haja a reintegração da igualdade, da solidariedade, da compaixão e da liberdade. O desejo despertaria o amor, a partilha e o senso de coletividade e formaria o sonho de perfeição, onde o homem seria plenamente feliz, o que representaria o real perfeito. A partir dessas constatações sobre as canções de Renato Russo, podemos afirmar que as representações de um real imperfeito e de um sonho perfeito corresponderiam à imagem da distopia e à imagem da utopia, respectivamente. Para embasar nosso raciocínio, elegemos como fonte de pesquisa teórica sobre a imagem da utopia Thomas More (2015) e Beatriz Berrini (1997); e sobre a imagem da distopia Russel Jacoby (2007) e Martim Vasques da Cunha (2012). As leituras foram ampliadas com outros autores, como Nelson Levy (2012), Teixeira Coelho (1985), Miguel Abensour (1990) e Fredric Jameson (2005) que também ajudaram a perceber que tais conceitos – de utopia e de distopia – não podem ser compreendidos de modo antagônico e estanque. Neste estudo analítico-reflexivo das canções de Renato Russo, escolhemos o álbum Dois (1986) para verificarmos a coexistência de ambos os conceitos. Além disso, o embasamento crítico-literário e musical esteve atrelado aos ensinamentos, respectivamente, de Paul Zumthor (1997; 2005; 2007) e Octavio Paz (1982), e de Paul Friedlander (2008) e Arthur Dapieve (2004; 2006). / The lyrics written by Renato Russo deflagrate a critical and reflexive look to the human existence and life in society. The poetic voice captures conflicts and shows, in the first place, the imperfect face of society and human being: inequality, greed, egoism and lack of freedom. As a result, there is the misfitting and the feeling of not belonging, generating one’s discomfort. The imperfect face represented on Renato Russo’s songs build a type of real thing that counterposes against the volition of the poetic self, who confesses the desire of building a new society, where there is the reintegration of equality, solidarity, compassion and freedom. The desire would wake loving, sharing and collectivity sense and would form the dream of perfection, in which the man would be fully happy, what would represent the perfect real. From these findings about Renato Russo’s songs, we can affirm that the representations of an imperfect real and of the perfect dream would correspond to the image of the dystopia and to image of the utopia, respectively. To support our reasoning, we chose as a source of theoretical research about the image of utopia Thomas More (2015) and Beatriz Berrini (1997); and about the image of dystopia Russel Jacoby (2007) and Martim Vasques da Cunha (2012). The readings have been enlarged with another writers, like Nelson Levy (2012), Teixeira Coelho (1985), Miguel Abensour (1990) and Fredric Jameson (2005) who also helped realizing that such concepts – utopia and dystopia – can not be understood in an antagonistic and tigh mannner. In this analytical-reflexive studying of Renato Russo’s songs, we have chosen the record Dois (1986) to check the coexistence of both concepts. Besides that, the critical-literary and musical basis was linked to teachings, respectively, from Paul Zumthor (1997; 2005; 2007) and Octavio Paz (1982), and of Paul Friedlander (2008) and Arthur Dapieve (2004; 2006).

Orientador: Profa. Dra. Martha Herr / Banca: Prof. Dr. Ângelo José Fernandes / Banca: Profa. Dra. Adriana Giarola Kayama / Banca: Prof. Dr. Luiz Ricardo Basso Ballestero / Banca: Profa. Márcia Aparecida Baldin Guimarães / Resumo: Este trabalho defende a valorização da canção brasileira como material para ensino do canto no Brasil, procurando eliminar preconceitos associados a este repertório, que é por vezes considerado inadequado por professores de canto para a abordagem da técnica vocal no canto lírico. A argumentação demonstra que a canção brasileira pode ser, para os falantes de português brasileiro, como língua materna, o veículo mais apropriado para o ensino de procedimentos técnicos vocais, seja para alunos de nível básico, intermediário ou avançado. A pesquisa fundamenta-se em bibliografia específica da área de fisiologia da voz e pedagogia vocal, bem como em textos relacionados a processos cognitivos e diferentes modelos de emissão vocal. Um conjunto de 40 canções brasileiras de diversas épocas e autores é coligido com o objetivo de demonstrar seu potencial pedagógico, sendo este organizado por critério de crescente dificuldade técnica, visando contemplar todas as faces do desenvolvimento técnico do cantor. Os textos das canções recebem traduções formais e literais para o inglês, para facilitar o acesso a estas canções por cantores falantes de outros idiomas. As partituras das canções são acrescentadas de transcrições fonéticas, que têm o intuito de demonstrar possíveis caminhos de organização poética e de pronúncia dos textos, baseados na experiência artística e pedagógica do autor. Informações complementares e indicações interpretativas acompanham cada canção / Abstract: This study aims to defend the use of Brazilian song as material for the teaching of singing in Brazil, seeking to eliminate biases associated with this repertoire which is sometimes considered inappropriated by singing teachers to teach the vocal technique. The argument shows that Brazilian song can be, for native speakers of Brazilian Portuguese, the most appropriate vehicle for the teaching of vocal technical procedures for students at basic, intermediate or advanced levells. The study is based on bibliographic research in the area of the vocal physiology and pedagogy of singing, as well as in texts related to cognitive process and different models of vocal production. A total of 40 Brazilian songs from various eras and authors is selected in order to demonstrate the pedagogical potential, organized by gradual increasing of thechnical difficulty, and aiming to address of technical development of the singer. The texts of the songs receive formal and literal translations into English, to facilitate access to these songs by singers who speak other languages. The scores of the song are include phonetic transcriptions, which demonstrate possible ways of organization and phonetic pronunciation of the texts, based on the artistic and pedagogical experience of the author. Additional information and interpretive guidelines accompany each song / Doutor

The diploma thesis is focused on dealing with young learners in children choirs, it targets on problems that can appear within the work with choirs and how to solve these problems. The first chapter offers historical overview for reader's idea of what did the chorister look like from Middle Ages to present. I deal with the causes why children don't sing in the second part nowadays. The third chapter is aimed at chorister of České Budějovice. The inteviews with choirmasters of the most famous children choir of this city are added to this part. The fourth, wide chapter is dedicated to the work in choir and is divided into couple of parts, which bears on the contents of the thesis. I allude to necessities the child has to pass if wants to devote to chorister, and I addict on problems connected with chorister. I analyse the factors which from my point of view affects basic and other activities of choirs in the final part.

abstract: The Concerto for Oboe and String by Ralph Vaughan Williams is often described as a pastoral work without any consideration for what makes that an accurate description. This paper outlines the connections to English folk song that create what are considered the pastoral qualities in the work. Vaughan Williams' relationship with English folk song, as collector and arranger, is well-documented, as is his advocacy for their use in compositions. By the time he wrote the Oboe Concerto at the end of his career, folk song elements had completely infused his compositional style. The Oboe Concerto shares many stylistic traits with English folk song. These stylistic elements: mode, melodic structure, form, and rhythm and meter are first analyzed in terms of English folk song, then how these features are utilized in the Oboe Concerto. Another connection to English folk song is in the manner of accompanying the Concerto. Vaughan Williams had firm opinions on how to accompany folk songs and wrote many sample accompaniments, which bear a marked resemblance to the accompaniment for the Oboe Concerto. The same is true for the accompaniment he wrote for a specifically folk song-inspired work, the Six Studies in English Folk Song for Violoncello and Pianoforte. Specific examples from both works are compared to the Concerto accompaniment. Finally, several motives and melodic figures found in folk songs included in the Penguin Book of English Folk Songs, which was edited by Vaughan Williams, are also found in the Oboe Concerto. An understanding of the use of English folk song elements and specific quotes in the Oboe Concerto, as well as the folk song-style treatment in accompaniment provide concrete evidence of the pastoral quality prevalent in many works of Vaughan Williams. Not only can this support a well-informed and more rewarding performance of the Oboe Concerto, but the same analysis can be applied to many of his other works as well, in addition to the works of a generation of English composers whose style he influenced. / Dissertation/Thesis / D.M.A. Music 2013

O trabalho propõe uma leitura da obra de Paulinho da Viola à luz da tradição da lírica ocidental, da Filosofia e da Literatura. / This dissertation is about the relation between the songs of Paulinho da Viola and the tradition occidental, the philosophy and literature.