Submitted by Juliana Tregnago (julianatregnago@gmail.com) on 2018-06-25T15:06:33Z No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) TESE. ELIAS SOUZA FARIAS. Versão Final.pdf: 2063828 bytes, checksum: 5e7ec5344e439625315bb8194f9bb470 (MD5) / Approved for entry into archive by Divisão de Documentação/BC Biblioteca Central (ddbc@ufam.edu.br) on 2018-06-26T14:17:40Z (GMT) No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) TESE. ELIAS SOUZA FARIAS. Versão Final.pdf: 2063828 bytes, checksum: 5e7ec5344e439625315bb8194f9bb470 (MD5) / Approved for entry into archive by Divisão de Documentação/BC Biblioteca Central (ddbc@ufam.edu.br) on 2018-06-26T14:30:21Z (GMT) No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) TESE. ELIAS SOUZA FARIAS. Versão Final.pdf: 2063828 bytes, checksum: 5e7ec5344e439625315bb8194f9bb470 (MD5) / Made available in DSpace on 2018-06-26T14:30:21Z (GMT). No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) TESE. ELIAS SOUZA FARIAS. Versão Final.pdf: 2063828 bytes, checksum: 5e7ec5344e439625315bb8194f9bb470 (MD5) Previous issue date: 2017-06-29 / CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The song is formed by a fabric of sounds, words, images and rhythms that stimulates the experience of beauty and propitiates the construction of knowledge. Through these threads and webs, listening to the song makes the imagination flow, opens streams of aesthetic perceptions, and raises the thought to the highest degree of poetic sensibility. Chains of emotional reactions are opened in each context of listening. The dialogue between the songwriter, the song and the listener form a web of meanings. The principles of complex thinking are essential references for understanding this process. They sharpen the capacity for understanding the dialogical circularity inherent in knowledge and its relations. To think of complexity requires the assumption of coexistence between existential dimensions that are apparently disconnected, such as reason and emotion, body and mind. The poetic thinking of the songwriters and the representations and transcendences of their songs are subtleties that only the multidimensionality of art can offer. Precisely for this reason, a thinking capable of perceiving the complex whole of the human being is indispensable for the understanding of the intercurrences that affect the relations and associations between the real and the imaginary, and the rational and the poetic. Based on the assumption that all the complexity inherent in man and his connections with life and world fit poetically in the song, this research proposed to reflect on the Amazonian conception present in the poetic thought derived from the sonority and the poetic text of the songs produced in the Amazon. The study presupposes the existence of a man, a place, a context and an imaginary created to reflect on their interconnections. Nature, man, society and the contours of its cultural complexity in the Amazon are the scene of the reflection presented here. From the work and the artistic trajectory of the composers Adelson Santos and Celdo Braga and the analysis of the lyrics and the musical constitution of their songs, we sought the understanding of the perceptions and the created imaginary about the region, through a study that considers the production process, the creative process, the incidental musical genres, and the types of poetic-musical narratives proposed by the songwriters. The set of information, ideas and concepts about the song, the Amazon and the complexity of their interactions aim to subsidize the understanding of the poetic thought created on the Amazonian culture through music. / A canção é formada por um tecido de sons, palavras, imagens e ritmos que estimula a experiência da beleza e propicia a construção de saberes. Por meio desses fios e teias, a escuta da canção faz fluir a imaginação, abre fluxos de percepções estéticas e eleva o pensamento ao mais alto grau sensibilidade poética. Abrem-se cadeias de reações emocionais em cada contexto da escuta. O diálogo entre o cancionista, a canção e o ouvinte formam uma trama de significados. Os princípios do pensamento complexo são referenciais essenciais para o entendimento deste processo. Eles aguçam a capacidade de compreensão da circularidade dialógica inerente aos saberes e suas relações. Pensar a complexidade exige a assunção da coexistência entre dimensões existenciais que aparentemente estão desconectadas, tais como a razão e a emoção, o corpo e a mente. O pensamento poético dos cancionistas e as representações e transcendências de suas canções são sutilezas que só a multidimensionalidade da arte pode oferecer. Exatamente por isso, um pensar que seja capaz de perceber o todo complexo do ser humano é indispensável para a compreensão das intercorrências que incidem nas relações e associações entre o real e o imaginário, entre o racional e o poético. Partindo do pressuposto de que toda a complexidade inerente ao homem e suas conexões com a vida e com o mundo cabem poeticamente na canção, esta pesquisa propôs-se a refletir sobre a concepção de Amazônia presente no pensamento poético proveniente da sonoridade e do texto poético das canções produzidas no Amazonas. O estudo pressupõe a existência de um homem, um lugar, um contexto e um imaginário criado para refletir sobre suas interconexões. A natureza, o homem, a sociedade e os contornos de sua complexidade cultural na Amazônia são o cenário da reflexão que aqui se apresenta. A partir da obra e da trajetória artística dos compositores Adelson Santos e Celdo Braga e da análise das letras e da constituição musical de suas canções, buscou-se o entendimento das percepções e do imaginário criado sobre a região, por meio de um estudo que considera as condições de produção, o processo criativo, os gêneros musicais incidentes e os tipos de narrativas poético-musicais propostas pelos cancionistas. O conjunto de informações, ideias e conceitos sobre a canção, a Amazônia e a complexidade de suas interações têm por finalidade subsidiar o entendimento do pensamento poético criado sobre a cultura amazônica por meio da música.

A questão da identidade é um dos temas mais estudados e debatidos no mundo globalizado. Neste cenário, a discussão em torno da identidade nacional ocupa lugar de destaque. Na pesquisa de doutorado intitulada \"A Questão Identitária Alemã Refletida Em Canções\", partimos da constatação empírica de que o tema identitário é algo recorrente nas letras de canções alemãs. Com base nesta observação, elaboramos a tese de que a presença da relação \"identidade x alteridade\" na canção alemã é reflexo de uma problemática identitária manifestada na própria sociedade daquele país, em decorrência das inúmeras transformações observadas em dois séculos de sua história. Para investigar o fenômeno, montamos um corpus constituído de 100 canções alemãs, compostas no período entre 1810 e 2010. A análise do corpus foi dividida em quatro grupos, cada um deles fazendo referência a um espaço de tempo específico da História alemã, a saber: a Alemanha entre 1810 e 1933, a Alemanha durante do regime nazista (1933-1945), a Alemanha do pós-guerra e, por fim, a Alemanha reunificada. Iniciamos a análise de nosso corpus detectando o modo como a relação identidade x alteridade era abordada nos textos das canções, de modo a que viéssemos a detectar padrões identitários característicos. De posse dos dados obtidos pela análise do corpus do estudo, estabelecemos a comparação com a narrativa histórica alemã do mesmo período. A comparação nos mostrou haver correlações entre os padrões manifestados nos textos das canções e ocorrências históricas, de modo a concluirmos que eles possuem origem em aspectos políticos, culturais e sociais da Alemanha. O resultado de nossas análises foi a constatação de que a presença do tema nas canções se deve ao fato de que o discurso identitário alemão precisar ser constantemente reforçado e comunicado aos sujeitos, uma vez que, ao longo do espaço de tempo analisado, a própria ideia de nação alemã sofreu inúmeras transformações. Como base teórica da pesquisa, adotamos os modelos e as ferramentas de análise da Semiótica, em especial a Semiótica do Discurso, assim como elementos da musicologia, como o conceito de paisagem sonora (Murray Schafer) / The question of identity is one of the most studied and debated issues in the globalized world . In this sense, the discussion about national identities occupies a prominent place. In the research entitled \"A Questão Identitária Alemã Refletida Em Canções\" (The Question of German Identity Reflected In Songs \" we start from the empirical observation that the identity is a recurring theme in the lyrics of German songs . Based on this observation, we developed the thesis that the presence of the relationship \"identity x otherness\" in German song reflects an identity problem manifested itself in the society of that country, due to the many changes observed in two centuries of its history . To investigate this phenomenon, we set up a corpus of 100 German songs , composed in the period between 1810 and 2010. The analysis of the corpus was divided into four groups, each one referring to a specific time of the German history, namely Germany between 1810 and 1933, Germany during the Nazi Regime (1933-1945), Germany postwar and, finally, the reunited Germany. We begin the analysis of our corpus detecting how the relationship \" identity x otherness \" was addressed in the texts of the songs , so that we were to detect patterns characteristic of identity . Having the data obtained by analysis of the corpus, we establish a comparison with the German historical narrative of the same period. The comparison showed us that there are correlations between the patterns manifested in the texts of the songs and historical events, in order to conclude that they have origin in political , cultural and social aspects of Germany. The result of our analysis was the finding that the presence of the theme in songs is due to the fact that German identity discourse needs to be constantly reinforced and communicated, because German nation has undergone numerous transformations . As theoretical basis of the research , we adopt the models and analysis tools of semiotics, in particular of the Discourse Semiotics, as well as elements of musicology, as the concept of soundscape ( Murray Schafer )

O presente texto trata do pensamento de Mário de Andrade a respeito das relações poético-melódicas. Para isso, foi usada a hipótese dos torneios melódicos: o conjunto de tendências e constâncias que dão caráter a uma música. A partir dos torneios é possível analisar objetivamente uma composição, observar sua origem, suas influências e seu processo criativo. Porém, essa análise musical é indissociável de uma dimensão poética. Mário de Andrade era um músico que se expressava pela poesia e, em seus estudos técnicos, sempre privilegiou a unidade melódico-poética como objeto indissolúvel. A pesquisa baseou-se num manuscrito inédito do autor, que está separado em três partes intituladas Melódica, Rítmica e Poética. O documento, que se encontra no Arquivo do Instituto de Estudos Brasileiros da USP, é extremamente fragmentado e complexo, pois é constituído por numerosas anotações que o autor fez ao longo da vida. / The present research is about the importance of Mário de Andrade\'s thoughts concerning the study of poetical-melodic relations. We worked on the hypothesis of the so called \"melodic turns\": The combination of trends or features that give to a certain music its distinguishing character. The \"torneios melódicos\" make it possible to analyse a composition objectively, observing its origin, it influences and its creative process. Nevertheless, this kind of analysis is nevertheless not dissociable from a poetical dimension. Mário de Andrade was himself a musician, who expressed himself through poetry. In his technical studies and articles he is always stressed the insolubility of a melodical-poetical unity. This research was based on an unpublished manuscript from the author divided in three parts named: Melodics, Rhythmics and Poetics. The document can be found at the Arquivo do Instituto de Estudos Brasileiros - USP (University of São Paulo) and it is extremely fragmentary and complex, as it is formed by numerous notes made by the author throughout his life.

All of Mahler's works may be divided into four distinct chronological groups, referred to as "symphonic cycles." Motives and themes from the songs within each symphonic cycle were quoted in symphonies in the same cycle. This system of self reference was unique to Mahler, although earlier composers such as Schubert and Wagner set precedents for some of the techniques used by Mahler. The quotations in the early periods appeared only on the surface and did not blend well with their surroundings, but as time progressed Mahler developed the ability to combine the seemingly incompatible elements more smoothly. Mahler's early fascination with distant sounds was also a factor in his use of quotations. The appendix contains a catalog of 100 quotations.

Abstract The pattern and the genetic basis of variation in courtship song of D. virilis were studied using three different approaches: a candidate gene, a biometrical and a quantitative trait locus (QTL) method. Nucleotide variation in a candidate song gene, no-on-transientA, was analysed both within the species (D. virilis and D. littoralis) and between the species of the D. virilis group. Nucleotide variation showed no signs of selection and there was no association between the nucleotide or repeat length variation in nonA gene region and the song characters of the D. virilis group species. Molecular markers (microsatellites) were isolated for D. virilis and their cross-species amplification was tested in all members of the D. virilis group. Intraspecific variation in D. virilis was studied at the phenotypic level in male song characters and at the genetic level in microsatellites. Significant geographic variation was detected in both levels, grouping the strains according to the main continents of the species' distribution range: America, Asia, Europe and Japan. The strains with most extreme song phenotypes were chosen for further analysis. The inheritance of two courtship song characters, the number of pulses in a pulse train (PN) and the length of a pulse train (PTL) was studied by analysing the means and variances of these characters between parental and reciprocal F1, F2 and backcross males. This biometrical analysis showed the genetic basis of these song characters to be polygenic with significant dominance, epistatic and Y-chromosomal effects on both characters. A subset of these data (F2 generation males) were used to conduct a QTL study with the aid of a recombination linkage map constructed for the microsatellites. Composite interval mapping (CIM) revealed significant QTLs, which were shared in both characters. Altogether, significant QTLs, located on the X, 2nd, 3rd and 4th chromosome, were found to affect PN, whereas only QTLs on the 3rd chromsome was found to affect PTL. The effect of the same QTL on the 3rd chromosome on both characters accounted for 31.8% and 49.1% of the mean difference between the parental strains in PN and PTL, respectively. These results suggest the genetic basis for these song characters is caused mainly by autosomal QTLs with a relatively large effect.

Many people in the past praised Chinese literature partly because of the glamour revealed in splendid poetry, and in creating these poetry male poets have proved their excellence. Conversely the contributions of women poets have seemed much less significant in the history of traditional Chinese literature. Among the relatively small number of famous women poets in China, Zhu Shuzhen (11357-1180?) is certainly worthy of discussion, but she has not received much critical attention, in part because of the lack of reliable biographical information. Although some of Zhu Shuzhen's poems have been seen by some scholars as disgraceful, it is nevertheless valuable to explore the inner world and poetic indications of the voice projected from the poems in an objective way. However, as the number of poems attributed to Zhu Shuzhen is large, despite living under an atmosphere that discouraged the writing of poetry by women, her name is undoubtedly significant in the development of female poetry. Western theories of gender representation and the development of self in literature have been used as the main sources and frameworks for research in this thesis. The aesthetic values in Zhu Shuzhen's original verse have been retained through my translations by selecting the best appropriate original versions in different editions. Comparisons between Zhu Shuzhen and Yu Xuanji fa, (8447-868?), a woman poet in the Tang Dynasty, reveal similarities and differences which distinguish the two in terms of their resistance to the code that cast women as inferior. This thesis will analyse Zhu Shuzhen's ambivalent mind as revealed in her poetry through her contradictory statements, ideas and images regarding the notion of being a good wife on the one hand, and, on the other hand, of a woman suspected of conducting an extramarital affair.

(in English): This interdisciplinary thesis deals with the relation of oral tradition and somatic terms - words describing specific parts of the human body. The analysis is based on the ethnolinguistics, the theory of term's profile in particular, that deals with the question of which somatic terms serve as the inputs to semantic contexts and what is their dominant meaning. The thesis focuses on general interpretation of folk poetry, while aiming to those poetic methods and characteristics that are coherent to the main subject of the thesis. Next chapter describes ethno-linguistics and explains its methods and theory - the relation of language and culture, language stereotypes and mainly the theory of term's profile. The core of the thesis is the chapter dedicated to somatic terms: hands, eyes, blood, cheeks, mouth and face. Based on the collections Prostonárodní české písně a říkadla (National Czech songs and riddles) by K. J. Erben and Moravské národní písně (Moravian national songs) by F. Sušil, it determines the meaning profiles. In these it describes more closely in what meanings the terms mentioned above appear in folk songs.

While troubadour and trouvère repertoires have recently received fresh attention from music scholars, the study of medieval German vernacular song—Minnesang—continues to be located firmly outside the canon(s) of musicology. The present thesis seeks to re-insert Minnesang into musicological discourse by demonstrating the ways in which the repertoire has been constructed as musical, both by the creators of medieval manuscript sources and by modern scholars. The modern ontology of music as defined by notation and performance has prevented scholars from understanding manuscripts such as the Codex Manesse (C) as intrinsically musical. While the texts alone may have sufficed to enable their intended audiences to view them as musical entities, C’s 137 author miniatures further contribute to the manuscript’s musicality: the Minnesänger are depicted as authors and experiencing personae, revealing a strong concern for oral communication—which, in the Middle Ages, was inherently musical. The Jenaer Liederhandschrift (<b>J</b>) and other manuscripts equally reveal their musicality when scrutinised beyond the search for musical notation: through ordering and folio design. The thesis establishes the influence exerted by previous scholarship on today’s lack of interest in the music of Minnesang, and outlines the importance of scholarly discourse and its study in a historiographical context. Before the 1970s, an existing musical discourse on Minnesang encouraged musicologists and philologists to continue to engage in it—despite the fact that the dominant interest in contrafacture and rhythm found few answers in the surviving source material. A concluding case study of Walther von der Vogelweide’s Palästinalied exemplifies the musicality of medieval manuscripts and its complex (mis)construction by modern scholarship. The thesis provides the basis for a fresh assessment of the music of Minnesang: beyond the confines of modern ontologies of music, and as part of the study of medieval song.

This portfolio consists of four diverse original compositions written in 1999 : a string quartet, a cello suite and a set of two choral pieces.

This thesis ventures into the relatively neglected world of twentieth century vocal music, via the three song cycles of Oliver Messiaen. The song cycle is a comparatively young genre, generally dated from Beethoven's An die ferne Geliebte or by some, even later to Schubert's Die schone Miillerin. Nevertheless, considerable changes have taken place in the 160 years which separate Messiaen's cycles from those of the 'pioneers' mentioned above. A fuller appreciation of twentieth century cycles is facilitated by observing this evolutionary process and placing the works within an historical and cultural perspective. Such an introduction is provided in part one of this thesis, along with relevant details on the life and interests of Messiaen. The latter information gives insight into the compositions themselves and may satisfy the reader's curiosity on the origin of some of the more unexpected techniques or ideas Messiaen llses. Before embarking on a study of the cycles, it is necessary to look at the highly individual musical language of the composer. Section two undertakes this task in some depth, wherever possible relating the explanations directly to the songs which follow. In order to clarify the text and to simplify the exercise for the reader, numerous musical examples have been used. This contributes to the apparent bulk of this section. The main emphasis of the thesis is the detailed study of the 20 songs contained in Poemes pour Mi, Chants de Terre et de Cief and Harawi. The third section of the thesis deals with this material thoroughly and systematically, dividing it up into musical and extra-musical aspects. The texts are considered in terms of Surrealist, religious, Nature, numerological and, in the case of Harawi, mythological and Peruvian folk symbolism. The relationship of text to music is studied and evelopments highlighted. Musically, the study is further sub-divided into piano part and vocal part. In each case, an extensive exploration of the techniques required of the performer is presented. This makes possible the subsequent categorisation of the songs on the basis of similarities in the musical means. Conclusions reached show a progressive development through the three song cycles in the composer's handling of the text, his treatment of the voice, his use of the piano and his expansion of the voice-piano relationship. This body of solo vocal literature emerges as typical of Oliver Messiaen's compositional style in general and therefore properly representative of the meticulous craftsmanship with which his works are constructed. The detailed analysis of all aspects of the songs contributes original material to scholarship on Messiaen and on song cycles in the twentieth century.