Este trabalho relata uma trajetória particular de criação que envolve uma série de questionamentos estéticos, teóricos e técnicos que resultaram em uma coleção de obras musicais. Três delas foram escolhidas para compor este memorial: Percusmática (para sons eletroacústicos em 8.0), Quatro Cenas para Piano e Quatro Cenas para Grupo de Câmara, pois refletem a relação simbiótica entre a pesquisa bibliográfica, a experimentação em estúdio e a condução de processos composicionais por meios acústicos instrumentais e eletroacústico acusmático. O memorial divide-se em duas partes: a primeira aborda a pesquisa bibliográfica, as ideias e conceitos que foram propulsores do impulso criativo, como aqueles relacionados a escuta musical, o objeto sonoro, a composição pela sonoridade, a música especulativa e a processos composicionais formalizados. A segunda, procura descrever os processos composicionais realizados e as implicações das discussões teóricas acerca da sonoridade, composição e escuta musical em seu desenvolvimento, assim como a influência da escuta acusmática vivenciada na prática eletroacústica em estúdio. Algumas das referências composicionais e musicais derivam de conceitos e ideias da música eletrônica e concreta desenvolvida a partir dos anos 50, da música textural dos anos 60 e da música espectral no final dos anos 70, como: o objeto sonoro, classe de sons homogêneos, sons granulares, tipo de grão, textura de massa, densidade, envelope sonoro, contorno dinâmico, composição tímbrica e composição pela sonoridade. / This work describes a particulary path of creation that envolves a series of aesthetical, theoric and technic questions that resulted in a collection of musical works. Three of them where chosen to compose this paper: Percusmática (for electracoustics sounds in 8.0), Quatro Cenas para Piano e Quatro Cenas para Grupo de Câmara, because they reflect the symbiotic relationship between the bibliographical research, the studio experience and the leading of compositional processes in instrumental-acoustics and elecracoustic-acusmatical means. This work is divided in two parts: first approaches the bibliographical research, the concepts and ideas that improved the creative impulse, as thus related to musical listening, sound object, composition through sonority, speculative music and fomalized compositional processes. Second describes the compositional processes and the consequences of the theorical discussions about sonority, composition and musical listening in their development, as the influence of the acousmatic listening experienced in the electracoustic routine in studio. Some of the compositional and musical references are derived from concepts and ideas of the concrete and electronic music of the fifties, the textural music of the sixties and the spectral music of the late seventies, like: the sound object, class of homogeneaous sounds, granular sounds, type of grain, mass texture, density, sound evelope, dynamic contour, timbristic composition and composition through sonority.

This thesis deals with syllable boundaries in Czech and the issue of their determination. The theoretical part discusses the concept of the syllable in terms of both phonetics and phonology, introduces several approaches to syllabification (i.e. division of words into syllables) along with factors that are relevant in syllabification, and it also presents a survey of methods used in syllable boundary investigation. The following chapters describe a series of experiments that are to be a basis for formulating a syllabification model of Czech. The first group of experiments examines the phonetic correlates of syllable affiliation of intervocalic consonants (using electropalatography and temporal parameters). A phonotactic analysis of a spoken and a written corpus follows, in which we computed type and token frequencies of occurrence of word-initial and word-final clusters. The subsequent chapter introduces three behavioural experiments, in which the participants work with words and syllables without explicitly focusing on syllable boundaries (synchronization of syllables with a metronome pulse; syllable permutation; inserting silence into words). The first two experiments examined what phonetic and phonological factors are relevant in the syllabification of Czech words. The aim of the third...

Ce mémoire est une étude phonologique et phonétique visant à ordonner les voyelles nasales en fonction de leur degré en sonorité. Jusqu'à présent, la sonorité des voyelles nasales n’a pas été abordée dans la littérature phonologique et phonétique; ainsi, cette étude vise à combler cette lacune de la recherche en menant une étude typologique et expérimentale des différentes qualités des voyelles nasales. La première partie du mémoire comprend un examen du comportement et de la distribution des voyelles nasales dans les langues du monde afin d'élucider leur place dans l’échelle de sonorité. La partie typologique montre que, dans trois des langues étudiées, seules les voyelles nasales hautes subissent des processus phonologiques comme l’harmonie nasale et la réduction vocalique tandis que, dans deux des langues étudiées, seule la voyelle nasale basse subit des processus phonologiques comme le changement vocalique déplacement de la voyelle et l’attraction de l’accent. La deuxième partie est une expérience nasométrique dans laquelle l’intensité des voyelles nasales et orales est mesurée. L’analyse d’intensité permet de déterminer le niveau de sonorité de chaque voyelle nasale car l’intensité est considérée comme le corrélat physique le plus saillant de la sonorité. L'analyse statistique descriptive effectuée sur l'ensemble des données des voyelles organisées selon leur hauteur (c'est-à-dire haute, mi-haute, mi-basse ou basse) et leur type (nasal ou oral) montre que [a] est la voyelle orale la plus haute en intensité relatif. Quant aux voyelles nasales, [ĩ] est la plus élevée en intensité. Ainsi, suite à l’analyse statistique inférentielle, nous avons établi une échelle permettant de classer les voyelles orales et nasales en fonction de leur intensité. / This thesis is a phonological and phonetic study to classify nasal vowels according to their rank in sonority. To date, the sonority of nasal vowels has not been covered in the phonology and phonetics literature; thus, this study aims to fill that research gap through conducting a typological and experimental investigation of different qualities of nasal vowels. The first part of this thesis includes an examination of the behaviour and the distribution of nasal vowels in the world’s languages to elucidate the place of nasal vowels in sonority hierarchy. The typological part of this study shows that, in three selected languages, only high nasal vowels undergo phonological processes such as nasal harmony and vowel reduction while, in two other selected languages, only the low nasal vowel undergoes phonological processes like vowel shift and attraction of stress. The second part of this study presents the findings of a nasometric experiment in which the intensity of nasal vowels and oral vowels is measured. Analysing intensity helps to determine the level of sonority of each nasal vowel, because intensity is considered the most salient physical correlate of sonority. The descriptive statistical analysis performed on the data set of vowels organized according to height (i.e., high, mid-high, mid-low, and low) and type (nasal or oral) shows that, [a] is the highest in relative intensity. As for nasal vowels, [ĩ] is the highest in intensity. Thus, according to the inferential statistical analysis, we established a scale that classifies oral and nasal vowels according to their intensity.

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Submitted by Renata Lopes (renatasil82@gmail.com) on 2016-09-27T12:17:34Z No. of bitstreams: 1 tiagorubini.pdf: 11662811 bytes, checksum: 3930e6f8b70037b16a956f75fd05ff7f (MD5) / Approved for entry into archive by Diamantino Mayra (mayra.diamantino@ufjf.edu.br) on 2016-09-27T15:15:12Z (GMT) No. of bitstreams: 1 tiagorubini.pdf: 11662811 bytes, checksum: 3930e6f8b70037b16a956f75fd05ff7f (MD5) / Made available in DSpace on 2016-09-27T15:15:12Z (GMT). No. of bitstreams: 1 tiagorubini.pdf: 11662811 bytes, checksum: 3930e6f8b70037b16a956f75fd05ff7f (MD5) Previous issue date: 2016-05-06 / CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / O presente trabalho é uma incursão teórica e prática na arte sonora, mais especificamente na sonoridade eletrônica. Começamos a discussão pelo viés da musicologia e como ela foi afetada pelos estudos de gênero, desde perspectivas feministas até o pós-colonialismo, o transfeminismo, a Teoria Queer, questões de interseccionalidade, etc. . Analisamos obras e trajetórias de mulheres pioneiras da música eletrônica e discutimos o funk carioca e o noise como práticas de ativismo. Na intenção de averiguar mais formas de ativismo artístico, falamos sobre a produção de artistas que trabalham com a tecnociência como plataforma. Ao tratar de ciência e tecnologia, trazemos à tona conceitos da sociologia da ciência e da filosofia contemporânea, e comentamos vida e obra de cientistas pioneiras e pioneiros. Também discutimos alguns dos preceitos da cultura do código aberto, que se alastrou da informática telemática a práticas como o circuit bending e a arte tecnocientífica. A fim de reconhecermos a nossa produção como uma prática de código aberto, detalhamos no último capítulo alguns dos projetos práticos desenvolvidos durante o mestrado com o objetivo de torná-los reprodutíveis por outras pessoas. / Thefollowingthesisisatheoreticalandpracticalincursioninsoundart,or,morespecifically, in electronic sonority. We start the discussion through musicology and how it was affected by gender studies, from feminist perspectives to post-colonialism, transfeminism, Queer Theory, matters of intersectionality, etc. . We annalyse life and work of pioneer women in electronic music and also discuss carioca funk and noise as forms of activism. In order to further discuss artistic activism, we pay attention to the production of artists who work with technoscience as a platform, dialoguing with some of the queer activist community’s agenda. When talking about technoscience, we come up with concepts proposed by the sociology of science and contemporary philosophy, and comment life and work of pioneer scientists. We will also discuss some of the open source culture precepts, which were spread from telematic computer technologies to practices such as circuit bending and art as scientific research. To acknowledge our production as a form of open source practice, we detail along the last chapter some of the projects developed during our master’s degree research hoping they can be assembled by other people.

The guitar chord (a sonority based on the open strings of the guitar) is one of Alberto Ginastera's compositional trademarks. The use of the guitar chord expands throughout forty years, creating a common link between different compositional stages and techniques. Chapters I and II provide the historical and technical background on Ginastera's life, oeuvre and scholar research. Chapter IV explores the origins of the guitar chord and compares it to similar specific sonorities used by different composers to express extra-musical ideas. Chapter V discusses Ginastera's initial uses and modifications of the guitar chord. Chapter VI explores the use of the guitar chord as a referential sonority based on Variaciones Concertantes, Op. 23: I-II, examining vertical (subsets) and horizontal (derivation of motives) aspects. Chapter VII explores uses of trichords and hexachords derived from the guitar chord in the Sonata for Guitar Op. 47.

The dissertation examines mainly segmental assimilatory processes of Xhosa phonology within the dependency framework. This model is a multi-faceted approach which involves hierarchical organisation of features into larger constituents known as gestures. The analysis includes an elementary historical background to the development of phonological theory with emphasis on the shift from traditional linear approaches to modern non-linear models, as well as a shift from derivational theories to representational frameworks. An exploration of the phonetics/phonology interface through the application of gestures is considered an advantage of using the dependency framework over other theories of phonology. The focus of the dissertation is the description of phonetically-motivated and morphologically-motivated Xhosa phonological processes. A brief exposition of the use of the dependency framework in non-assimilatory Xhosa phonological processes is given as a possible recommendation in the conclusion of the dissertation. / Language Education, Arts and Culture / M.A. (African Languages)

A proposta deste trabalho é a de discutir aspectos do som da trompa, que está profundamente enraizado no instrumento histórico, anterior ao século XIX. É o som da trompa que inspira os músicos, atrai os ouvintes e estimula os compositores. É seu som que mantém o músico estudando por horas para adquirir as habilidades necessárias para tocar bem. Nos ouvintes, o som da trompa evoca heroísmo e nobreza, saudosismo e romantismo e, por décadas, foi a voz básica destes sentimentos em filmes e trilhas sonoras. Os compositores têm mantido uma relação sempre cambiante com este instrumento que, por sua vez, continua a se modificar, e as inovações que eles propuseram afetaram diretamente o som do instrumento. Esta pesquisa irá explorar as técnicas que os trompistas têm à disposição para dar colorido ao som do instrumento. A maioria destas tem suas raízes na execução da trompa natural e esta é a justificativa para a abordagem utilizada neste trabalho: aplicar as técnicas da trompa natural na execução da trompa de válvulas. O timbre da trompa natural é bastante afetado pela posição da mão. A sonoridade resultante pode ficar abafada, emudecida, metálica, cálida e rica ou aberta e brilhante. A ornamentação em forma de trinados labiais, grupetos e mordentes é um resultado da habilidade do executante, assim como arpejar fácil e fluentemente ao longo da extensão do instrumento, é também um exemplo de habilidade técnica. Esta fluência apresenta-se como um aspecto da cor da tonalidade. A afinação, seja ela diatônica, justa, em quartos de tom ou seguindo a série harmônica naturais, também enfeita a cor do som. Na trompa, a afinação seguindo a série harmônica é obtida simplesmente tocando-se as notas naturais do instrumento. Como músico de orquestra, acredito que o posicionamento correta da mão e o treinamento da flexibilidade na trompa natural beneficiaram-me na obtenção das cores e no balanço desejados na música tocada em meu instrumento de válvulas. Enquanto solista e músico de câmara, os benefícios e novos usos dessas técnicas foram ainda mais evidentes. Este trabalho pretende então demonstrar, pela provisão de exemplos da literatura e da prática profissional, como as técnicas da trompa natural podem melhorar a performance da trompa de válvulas moderna. / The purpose of this document is to discuss aspects of horn sound deeply rooted in the pre-19th-century historical instrument. It is the sound of the horn that inspires players, draws listeners, and stimulates composers. Sound keeps the performer practicing for hours to learn the skills required to play well. To listeners, the horns sound evokes heroism and nobility, wistfulness and romance; for decades it has been an essential voice for such qualities in motion picture sound tracks. Composers have maintained an ever-changing relationship with an instrument that continues to evolve; their innovations directly affect the sound of the horn. This inquiry will explore techniques that horn players could use to color the horns sound. Most of these techniques have their roots in natural horn performance, thus the reason for the manner of my approach: applying natural horn techniques to modern valved horn performance practice. Sound colors are not only characterized by timbre, but also through facility and intonation. Natural horn timbres are largely affected by hand position. The resulting sonority can be muffled, muted, brassy, warm and rich, or open and bright. The players ability to provide ornamentation through lip trills, turns, and mordents is a result of his or her facility. The ability to arpeggiate fluently and easily throughout the range of the instrument is another example of facile technique. This fluency exhibits itself as aspects of tone color. Intonation, whether it be diatonic, just, quartertone or natural harmonic, also colors sound. For the horn, natural harmonic intonation is simply achieved by playing the unadjusted notes of the harmonic series. As an orchestral player, I find that the right hand and flexibility training on my natural horn has been of great benefit in creating, on my valved horn, the colors and balance desired in the music. As a soloist, orchestral and chamber player, the benefits and new uses of these techniques are even more pronounced. This document is designed to demonstrate, by providing examples from the literature and professional practice, how natural horn skills can enhance modern valved horn performance.

A proposta deste trabalho é a de discutir aspectos do som da trompa, que está profundamente enraizado no instrumento histórico, anterior ao século XIX. É o som da trompa que inspira os músicos, atrai os ouvintes e estimula os compositores. É seu som que mantém o músico estudando por horas para adquirir as habilidades necessárias para tocar bem. Nos ouvintes, o som da trompa evoca heroísmo e nobreza, saudosismo e romantismo e, por décadas, foi a voz básica destes sentimentos em filmes e trilhas sonoras. Os compositores têm mantido uma relação sempre cambiante com este instrumento que, por sua vez, continua a se modificar, e as inovações que eles propuseram afetaram diretamente o som do instrumento. Esta pesquisa irá explorar as técnicas que os trompistas têm à disposição para dar colorido ao som do instrumento. A maioria destas tem suas raízes na execução da trompa natural e esta é a justificativa para a abordagem utilizada neste trabalho: aplicar as técnicas da trompa natural na execução da trompa de válvulas. O timbre da trompa natural é bastante afetado pela posição da mão. A sonoridade resultante pode ficar abafada, emudecida, metálica, cálida e rica ou aberta e brilhante. A ornamentação em forma de trinados labiais, grupetos e mordentes é um resultado da habilidade do executante, assim como arpejar fácil e fluentemente ao longo da extensão do instrumento, é também um exemplo de habilidade técnica. Esta fluência apresenta-se como um aspecto da cor da tonalidade. A afinação, seja ela diatônica, justa, em quartos de tom ou seguindo a série harmônica naturais, também enfeita a cor do som. Na trompa, a afinação seguindo a série harmônica é obtida simplesmente tocando-se as notas naturais do instrumento. Como músico de orquestra, acredito que o posicionamento correta da mão e o treinamento da flexibilidade na trompa natural beneficiaram-me na obtenção das cores e no balanço desejados na música tocada em meu instrumento de válvulas. Enquanto solista e músico de câmara, os benefícios e novos usos dessas técnicas foram ainda mais evidentes. Este trabalho pretende então demonstrar, pela provisão de exemplos da literatura e da prática profissional, como as técnicas da trompa natural podem melhorar a performance da trompa de válvulas moderna. / The purpose of this document is to discuss aspects of horn sound deeply rooted in the pre-19th-century historical instrument. It is the sound of the horn that inspires players, draws listeners, and stimulates composers. Sound keeps the performer practicing for hours to learn the skills required to play well. To listeners, the horns sound evokes heroism and nobility, wistfulness and romance; for decades it has been an essential voice for such qualities in motion picture sound tracks. Composers have maintained an ever-changing relationship with an instrument that continues to evolve; their innovations directly affect the sound of the horn. This inquiry will explore techniques that horn players could use to color the horns sound. Most of these techniques have their roots in natural horn performance, thus the reason for the manner of my approach: applying natural horn techniques to modern valved horn performance practice. Sound colors are not only characterized by timbre, but also through facility and intonation. Natural horn timbres are largely affected by hand position. The resulting sonority can be muffled, muted, brassy, warm and rich, or open and bright. The players ability to provide ornamentation through lip trills, turns, and mordents is a result of his or her facility. The ability to arpeggiate fluently and easily throughout the range of the instrument is another example of facile technique. This fluency exhibits itself as aspects of tone color. Intonation, whether it be diatonic, just, quartertone or natural harmonic, also colors sound. For the horn, natural harmonic intonation is simply achieved by playing the unadjusted notes of the harmonic series. As an orchestral player, I find that the right hand and flexibility training on my natural horn has been of great benefit in creating, on my valved horn, the colors and balance desired in the music. As a soloist, orchestral and chamber player, the benefits and new uses of these techniques are even more pronounced. This document is designed to demonstrate, by providing examples from the literature and professional practice, how natural horn skills can enhance modern valved horn performance.

The dissertation examines mainly segmental assimilatory processes of Xhosa phonology within the dependency framework. This model is a multi-faceted approach which involves hierarchical organisation of features into larger constituents known as gestures. The analysis includes an elementary historical background to the development of phonological theory with emphasis on the shift from traditional linear approaches to modern non-linear models, as well as a shift from derivational theories to representational frameworks. An exploration of the phonetics/phonology interface through the application of gestures is considered an advantage of using the dependency framework over other theories of phonology. The focus of the dissertation is the description of phonetically-motivated and morphologically-motivated Xhosa phonological processes. A brief exposition of the use of the dependency framework in non-assimilatory Xhosa phonological processes is given as a possible recommendation in the conclusion of the dissertation. / Language Education, Arts and Culture / M.A. (African Languages)