This composition is arranged for string ensemble (first and second violin, viola and cello), flute, oboe, piano, electric guitar, electric bass guitar, drum set and auxiliary percussion. Overall, the work follows a standard four-section format in a fast-slow-fastfast order. However, the individual sections experiment with the nested repeats form and with bifurcation of the Fibonacci Sequence to determine the length of the cells which make up the form. The individual sections display various styles including a Webern-like pointillism and Latin rhythms. The concept of non-narrative performance instructions is also experimented with in the work. Throughout the piece, projected (or otherwise displayed) words are to shown to the audience. These words along with the music are intended to comment upon the nature of the search for knowledge. The accompanying narrative details each of the four sections in regards to form, instrumentation, harmonic material and melodic content. The discussion at the end of the narrative covers the composer's impressions about the success of this musical experiment. / School of Music

Thesis (M.M.)--University of Texas at El Paso, 2009. / Title from title screen. Vita. CD-ROM. Includes bibliographical references. Also available online.

Thesis (D.Mus.)-University of Pretoria, 2004. / Includes bibliographical references. Available on the Internet via the World Wide Web.

Made available in DSpace on 2016-01-13T13:28:14Z (GMT). No. of bitstreams: 0 Previous issue date: 2015-09-23. Added 1 bitstream(s) on 2016-01-13T13:33:47Z : No. of bitstreams: 1 000855934.pdf: 5880739 bytes, checksum: 44a73953f2be6adf374a46ed8eb36fc0 (MD5) / Secretaria Estadual da Educação de São Paulo (SEE-SP) / Résumé: Cette recherche propose d'analyser et de décrire les pratiques sémiotiques du quotidien et les représentations des formes de vie de la femme brésilienne issues de paroles de chansons. Nous avons observé des chansons brésiliennes du début du XXe siècle jusqu'à la contemporanéité. Nous avons essayé de travailler seulement avec le texte verbal et est pas notre objectif décrire et analyser le plan de l'expression musicale de chansons, par ce qui nous intéresse Il est d'observer les formes de vie de la femme inscrites dans le texte afin de pouvoir vérifier les identités et/ou les altérités dans ces pratiques sémiotiques quotidienne féminines. Nous avons l'intention d'enquêter sur la constructionde l'acteur femme et la relation des pratiques sémiotiques, surtout les passions qui les modulent. Le travail s'appuie sur la théorie sémiotique d'origine française, développée par Algirdas Julien Greimas, qui apporte le sens comme cerne de ses études. Nous ancrons aussi notre travail dans les modes d'existence et dans la sémiotique tensive postulées par Claude Zilberber et Jacques Fontanille en ce qui concerne la routine, à la rupture et l'événement. Las démarches méthodologiques et las critères de sélection adoptée pour délimiter le corpus Ils sont la présence de pratiques sémiotiques féminines configuré dans les paroles des chansons ainsi que l' pertinent et l'expressivité que chaque chanson atteint dans un déterminé époque, d'accord avec nos recherches. À fixer les identités et les altérités des paroles des chansons, nous avons observé les hypothèses suivantes: quels sont les formes de vie de la femme dans cette période? Il y a des femmes qui transgressent les modèles de chaque époque? Il serait possible de configurer une forme de vie de la femme qui se soutient depuis le début du XXe siècle à nos jours? Notre recherche sur le corpus choisi prétend contribuer à la... / Esta pesquisa propõe analisar e descrever as práticas semióticas do cotidiano e as representações das formas de vida da mulher brasileira depreendidas de letras de canções. Observamos canções brasileiras do início do século XX até a contemporaneidade. Intentamos trabalhar apenas com o texto verbal e não é nosso objetivo descrever e analisar o plano de expressão musical das canções, pois o que nos interessa é observar as formas de vida da mulher inscritas no texto para verificarmos identidades e/ou alteridades nessas práticas semióticas cotidianas femininas. Pretendemos investigar a construção do ator mulher e a relação das práticas semióticas, sobretudo as paixões que as modulam. O trabalho fundamenta-se na teoria semiótica de origem francesa, desenvolvida por Algirdas Julien Greimas que traz a significação como cerne de seus estudos. Ancoramos nosso trabalho, também, nos modos de existência e na semiótica tensiva postulados por Claude Zilberberg e Jacques Fontanille no que se refere à rotina, à ruptura e ao acontecimento. Os procedimentos metodológicos e os critérios de seleção adotados para delimitar o corpus são a presença das práticas semióticas femininas configuradas nas letras de canções, assim como a relevância e a expressividade que cada canção atingiu em uma determinada época, de acordo com as nossas pesquisas. Ao estabelecer as identidades e as alteridades das letras de canções, observamos as seguintes hipóteses: quais são as formas de vida da mulher neste período? Há mulheres que transgridem os padrões de cada época? Seria possível configurar uma forma de vida da mulher que se sustenta desde o início do século XX até hoje? Nossa investigação sobre o corpus escolhido pretende contribuir para o conhecimento do conceito forma de vida e das representações das práticas semióticas cotidianas da mulher em letras de canções brasileiras

No description available.

Orientador: Antonio Rafael Carvalho dos Santos / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-27T08:57:52Z (GMT). No. of bitstreams: 1 Sion_Roberto_D.pdf: 8247516 bytes, checksum: 8011c6724815011e3f5df6552a8f5b91 (MD5) Previous issue date: 2015 / Resumo: Esta tese pretende contribuir com reflexões sobre arranjo a partir da experiência profissional do autor. Segue-se um histórico conciso de como a escrita do arranjo se desenvolveu, do final do século XIX até hoje, nos Estados Unidos e no Brasil. O autor descreve o contexto social relativo a seu aprendizado, atuação como músico e as três diretrizes de sua atividade: a música popular brasileira, a tradição jazzística e a herança erudita. Finalmente, a criação de um arranjo exclusivo é demonstrada através de análise textual, grade de partitura e registro sonoro ao vivo pela Orquestra Jovem Tom Jobim / Abstract: This paper intend to contribute with some reflections about musical arranging from the author's professional experiencies. It is offered an historical description of its roots, from the late XIX century until today in the United States and Brazil. The author also comments the social contexts on which his learning and working were developed, emphasising the role played by brazilian popular music, jazz and classical backgrounds in his music. From this point on, it is described the researches and procedures taken in account to write an exclusive arrangement, using text explanation, original score and alive recording by Tom Jobim's Youth Orchestra / Doutorado / Processos Criativos / Doutor em Música

Death, as a subject, has been treated extensively throughout history, both in literature as well as in music. The focus of Memento mori is to portray the inevitability of death through music. The first part of the document is an essay exploring the topic of death, its inevitability, unpredictability and the fragility of life. This section also includes a number of examples of composer's whose works have influenced the composition of the piece. The title of the work is meant to reflect that death catches up with all of us and that humans no matter how invincible they feel at certain stages of life will, eventually, succumb to death. The second part of the document is the notated orchestral score. The work is for full orchestra and solo violoncello. It is in three acts that loosely resemble three stages of life; Youth followed by life in adulthood and finally death. The work is not programmatic and the piece's formal structure varies from a traditional concerto, for although comprised of three distinct acts, there are no pauses between them. The entire work is meant to be dark and morbid and the specter of death looms throughout the piece.

No description available.

This research is an investigation into Hakka shange 客家山歌 (Hakka mountain songs) and their relationship with Hakka ethnicity, with principal discussions on the interplay between music making and ethnic/cultural identity in the Hakka populations. Hakka is a complex ethnic and cultural phenomenon which stepped into the limelight of history beginning in the 19th century. This study includes research into archival materials for an in-depth understanding of Hakka ethnicity and Hakka shange in the context of historical development, aiming to obtain new information/data and insights into historical data and theories documented by earlier studies. In this study, both synchronic and diachronic aspects are covered. Framed in an ethnomusicological paradigm, which posits music as part of culture and social life and utilises ethnography as a major means of gathering data, the study incorporates fieldwork carried out on location in Hong Kong and the Chinese mainland as an essential component. Seeing cultures as fluid and adaptable to outer forces rather than as a monolithic entity, the aim of this study is not to seize the “last opportunity” to preserve records of Hakka shange, before this musical tradition declines further into oblivion, but rather, to account for the processes by which traditional music adapts to the global system at various local levels. It is noteworthy that, in the local-global continuum, a society is not conceived as a static and structured system in which music is performed as a mere cultural marker that connects to or reflects the other structural parts of that society. On the contrary, a society is seen as a flexible and fluid social space in which music plays an active, transformational role. / published_or_final_version / Music / Doctoral / Doctor of Philosophy

Crescent City Tableaux is an original omposition in three movements for wind ensemble that portrays aspects of the city of New Orleans. The fifteen-­‐minute composition uses musical quotation and jazz-­‐influenced styles within an essentially tonal idiom to create a musical tribute to that city. The first movement, “Jackson Square,” introduces melodic and rhythmic motives and sets the tone for the rest of the piece. The second movement, “‘I understand that somewhere it has rained,’” addresses the sadness and anger caused by Hurricane Katrina. The thirdmovement, “Second Line,” celebrates the brass band and Mardi Gras Indian traditions of New Orleans. The accompanying document provides a review of relevant literature for the wind ensemble and symphony band, an analysis of Donald Grantham’s J’ai été au bal and the third movement of Michael Daugherty’s Lost Vegas, and a discussion of the music that is quoted in the work. Analytical essays on each of the three movements discuss structural features, motivic processes, and compositional techniques. / School of Music