In the world today, Concert Halls for Symphony Orchestra and Choir are generally â enclosed performance spacesâ that are completely cut-off from the outside: Whether itâ s a time of daylight or moonlight, rain or shine, summer or winter, spring or autumn, the environment within remains the same all the time. I asked the question: â What if a concert hall offers views outside?â To be more specific, the question is: â What if a concert hall offers views outside through the use of glass, along with other building materials, despite the fact that glass offers lower reflectivity and lower transmission loss for lower frequencies of sound, compared to certain other materials?â Hence the title: Interaction of Low Frequency Sound with Glass and other Building Materials in the Design of a Concert Hall for Symphony Orchestra and Choir. / Master of Architecture

Writing in 2001, musicologist Axel Klein concluded that Stanford’s reception history has been significantly impacted by the complicated national identities surrounding both the composer and his music. A lifelong devotee of the nineteenth-century Austro-Germanic tradition, Stanford’s status as an Irish-born leading figure of the ‘English’ Musical Renaissance has compromised the place that the composer and his musical output occupy within the history of Western music. Stanford is well-known for being an outspoken critic on matters musical and Irish. Although his views seldom appear ambiguous, there is still a sense that the real Stanford remains partially obscured by his opinions. Through an examination of his symphonic works, this thesis seeks to readdress our understanding of Stanford and his relationship with Ireland and the musical community of his time. Although A. Peter Brown has stated that the symphony was not a central genre for the composer, it is my argument that, on the contrary, the symphony was a pivotal form for him. Considering these works within the broader history of the symphony in Europe in the nineteenth century, and through a critical examination of Stanford’s relationship with Ireland, this thesis seeks to demonstrate that these seven works can be read as an allegory for the composer’s relationship both with his homeland and with the musical community of his time. His struggle to combine the universality of symphonic expression with a need to articulate his Irish identity parallels Stanford’s own attempts to integrate himself within both British and European musical communities, and further demonstrates, in his eventual rejection of it, that it was only when he attempted to forge a more individualistic path through his music that he found a way of expressing his individual Irish identity.

Este trabalho tem como objetivo e se justifica por analisar o primeiro movimento da Sinfonia n. 3, de Mahler (1860-1911) sob a ótica da vertente teórica que considera a forma como processo, no tempo. Composta em 1895, esta peça apresenta uma combinação de processos harmônicos dilatados pelo uso do cromatismo, entradas sucessivas de elementos temáticos, passagens direcionadas por eventos com flutuações na densidade, textura, timbre e rítmica, o que resultou em certa dissolução nas fronteiras formais tradicionais. Para atingir tal meta, tem por base os conceitos de forma como processo segundo Schmalfeldt (2011); música como processo por Hasty (1997); e breves considerações acerca de filosofia do processo e devir, de acordo com Seibt (2013). De maneira complementar às nossas discussões acerca de forma como processo, o \"modelo\" de Forma Sonata se fundamenta em Hepokosky e Darcy (2006) e as funções formais da sentença, em Caplin (1998). Os gráficos de vozes condutoras schenkerianas são apresentados segundo Forte e Gilbert (1992), e Neumeyer e Tepping (1992); os cinco componentes da tonalidade, de acordo com Tymoczko (2011); aspectos de textura, rítmica e dinâmica têm por base as considerações apresentadas por Berry (1987), Erickson (1975), Kostka (2012) e Schoenberg (2008 [1967]); aspectos de cunho histórico se baseiam principalmente em Fischer (2011) e Liberman (2010). Na conclusão buscamos a inter-relação das questões históricas e as da análise musical, resgatando os principais aspectos de nossa análise processualmente baseada sob a luz de uma reflexão sobre as questões revelados. / This work aims to analyze the first movement of Mahler\'s 3rd Symphony from the perspective of Form as Process. Composed in 1895, this musical piece features a combination of expanded harmonic processes by use of chromaticism, thematic elements, and events with fluctuations in density, texture, timbre and rhythm, which results in some dissolution from formal boundaries. To achieve this goal, we have based on the concepts of Form as Process, according to Schmalfeldt (2011); Music as Process, according to Hasty (1997); and Process Philosophy and Becoming, according to Seibt (2013). Complementary to these ideas we present Sonata Form according to Hepokosky and Darcy (2006) and Sentence according to Caplin (1998). We also present concepts of these authors: Forte and Gilbert (1992) and Neumeyer and Tepping (1992), schenkerian analysis; Tymoczko (2011), Five Components of Tonality; Berry (1987), Erickson (1975), Kostka (2012) and Schoenberg (2008 [1967]), liquidation, aspects of texture, rhythm and dynamic; Fischer (2011) and Liberman (2010), historical perspective. At the conclusion we present reflections about our musical analysis and relate it to historical issues.

Cláudio Santoro (1919-1989) compôs, ao todo, quatorze sinfonias ao longo de toda a sua vida. A Primeira Sinfonia para duas orquestras de cordas (1940), além de possuir uma formação instrumental curiosa, também representa uma das obras inaugurais de sua primeira etapa como compositor, procurando ao lado de Koellreutter, novos paradigmas para a composição musical de seu tempo, tendo influenciado uma geração de compositores brasileiros. Este trabalho pretendeu desenvolver uma atenta e inédita análise da Primeira Sinfonia de Cláudio Santoro, procurando demonstrar sobre qual estética atonal, sendo ela dodecafônica ou livre, a obra foi escrita. Além da identificação sugerida, propõe-se também a averiguação de possíveis hibridismos estéticos que podem ter ocorrido na Primeira Sinfonia de Santoro. A análise atenta dos movimentos que constituem essa obra, utilizando métodos como a Teoria dos Conjuntos desenvolvido por Allen Forte, a Teoria dos Contornos Musicais de Robert Morris e a relação parcimoniosa entre diferentes coleções tal como proposto por Dmitri Tymoczko, nos permitiu identificar alguns processos pós-tonais, que indicam influencias de autores como Claude Debussy, Paul Hindemith e Heitor Villa-Lobos no primeiro movimento Allegro Majestoso da Primeira Sinfonia de Santoro. A manutenção de algumas sonoridades como a coleção pentatônica, a escala de tons inteiros e a coleção acústica, são alguns dos indícios que nos permite identificar tais influencias na obra de Santoro. No segundo movimento Andante quasi adagio, podemos observar um processo serial tradicional, que se desenvolveu a partir de duas séries que se relacionam. Tal apontamento foi possível a partir do método da identificação e contagem serial, tal como proposto por autores como Kostka e Francolí. No terceiro movimento, observamos uma estrutura que é engendrada a partir de coleções simétricas como a coleção eneatônica e a escala octatônica paradigmática, além de outras formatações simétricas que ocorrem a partir de sobreposições entre camadas, procedimento que também é encontrado na obra de Villa-Lobos. Nesse sentido, a Primeira Sinfonia para duas orquestras de cordas de Cláudio Santoro, foi engendrada através de procedimentos pós tonais considerados livres e sistêmicos, sendo possível observar hibridismos estilísticos nesta obra. / Cláudio Santoro (1919-1989) composed, in all, fourteen symphonies throughout his life. The First Symphony for two stringed orchestras (1940), in addition to possessing a curious instrumental formation, also represents one of the inaugural works of his first stage as composer, looking alongside Koellreutter, new paradigms for the musical composition of his time, having influenced a generation of Brazilian composers. This work developed a complete, attentive and unpublished analysis of the First Symphony of Claudio Santoro, trying to demonstrate on which atonal aesthetic, being it dodecaphonic or free, had written the work in question. Besides the suggested identification, it is also proposed the investigation of possible aesthetic hybridity that may have occurred in the First Symphony of Santoro. The careful analysis of the movements that constitute this work, using methods such as the Theory of Sets developed by Allen Forte, Robert Morris\'s Theory of Musical Constraints and the parsimonious relation between different collections as proposed by Dmitri Tymoczko allowed us to identify some post Which indicate influences by authors like Claude Debussy, Paul Hindemith and Heitor Villa-Lobos in the first Allegro Majestic movement of the First Symphony of Santoro. The maintenance of some sonorities such as the pentatonic collection, the whole-tone scale and the acoustic collection are some of the indications that allowed us to identify such influences in Santoro\'s work. In the second Andante quasi adagio movement, we can observe a traditional serial process, which developed from two series that relate, such an approach was possible from the method of serial identification and counting, as proposed by authors such as Kostka and Francolí. In the third movement, we observe a structure that is generated from symmetrical collections such as the eneatonic collection and the paradigmatic octatonic scale, as well as other symmetrical formations that occur from overlaps between layers, a procedure that is also found in the work of Villa-Lobos. In this sense, the First Symphony for two chord orchestras by Claudio Santoro was conceived through postural procedures considered free and systemic, being possible to observe stylistic hybrids in this work.

Este trabalho tem como objetivo e se justifica por analisar o primeiro movimento da Sinfonia n. 3, de Mahler (1860-1911) sob a ótica da vertente teórica que considera a forma como processo, no tempo. Composta em 1895, esta peça apresenta uma combinação de processos harmônicos dilatados pelo uso do cromatismo, entradas sucessivas de elementos temáticos, passagens direcionadas por eventos com flutuações na densidade, textura, timbre e rítmica, o que resultou em certa dissolução nas fronteiras formais tradicionais. Para atingir tal meta, tem por base os conceitos de forma como processo segundo Schmalfeldt (2011); música como processo por Hasty (1997); e breves considerações acerca de filosofia do processo e devir, de acordo com Seibt (2013). De maneira complementar às nossas discussões acerca de forma como processo, o \"modelo\" de Forma Sonata se fundamenta em Hepokosky e Darcy (2006) e as funções formais da sentença, em Caplin (1998). Os gráficos de vozes condutoras schenkerianas são apresentados segundo Forte e Gilbert (1992), e Neumeyer e Tepping (1992); os cinco componentes da tonalidade, de acordo com Tymoczko (2011); aspectos de textura, rítmica e dinâmica têm por base as considerações apresentadas por Berry (1987), Erickson (1975), Kostka (2012) e Schoenberg (2008 [1967]); aspectos de cunho histórico se baseiam principalmente em Fischer (2011) e Liberman (2010). Na conclusão buscamos a inter-relação das questões históricas e as da análise musical, resgatando os principais aspectos de nossa análise processualmente baseada sob a luz de uma reflexão sobre as questões revelados. / This work aims to analyze the first movement of Mahler\'s 3rd Symphony from the perspective of Form as Process. Composed in 1895, this musical piece features a combination of expanded harmonic processes by use of chromaticism, thematic elements, and events with fluctuations in density, texture, timbre and rhythm, which results in some dissolution from formal boundaries. To achieve this goal, we have based on the concepts of Form as Process, according to Schmalfeldt (2011); Music as Process, according to Hasty (1997); and Process Philosophy and Becoming, according to Seibt (2013). Complementary to these ideas we present Sonata Form according to Hepokosky and Darcy (2006) and Sentence according to Caplin (1998). We also present concepts of these authors: Forte and Gilbert (1992) and Neumeyer and Tepping (1992), schenkerian analysis; Tymoczko (2011), Five Components of Tonality; Berry (1987), Erickson (1975), Kostka (2012) and Schoenberg (2008 [1967]), liquidation, aspects of texture, rhythm and dynamic; Fischer (2011) and Liberman (2010), historical perspective. At the conclusion we present reflections about our musical analysis and relate it to historical issues.

Die eingehende Analyse ausgewählter Aspekte der Wort-Ton-Gestaltung in Gustav Mahlers Vokalsinfonik ist Schwerpunkt der vorliegenden Untersuchung. Prämisse ist Mahlers Ausarbeitung ideenprogrammatischer Intentionen, wobei er sich die besondere Stärke der Musik, geistige Sachverhalte in gewisser Weise präziser als Sprache (die hier ins Symbolhafte ausweichen muss) verdeutlichen zu können, offensichtlich bewusst zunutze gemacht hatte. Die Differenziertheit der musikalischen Textinterpretation, zugleich Fokus der Analysen, weist deutliche graduelle Unterschiede auf. Sie reicht vom ,Vertonungscharakter‘ bis hin zur innigsten Anverwandlung von Musik und Textaussage bzw. -semantik. Wesentlich ist das oft proportionale Verhältnis von Grad der Freiheit, die sich Mahler hinsichtlich der Beziehung der Musik zur formalen Topographie des Textes nimmt, zu Intensität und Vielschichtigkeit der musikalischen Textexegese. Je stärker sich ihre musikalische Umsetzung in Richtung ‚Semantik-Ausarbeitung‘ bewegt, verliert die äußerliche Sprache an Materialität, wobei das im Lied von der Erde zutage tretende Amalgam von sprachlicher Semantik und Musik gesondert zu nennen ist. Letztendlich wird die überwiegend eher unbestimmte Textsemantik durch Mahlers Musik denotiert und in zuvor im Bereich der Vokalsinfonik nicht erreichter Intensität zum Klingen gebracht. / Focal point of this thesis is the detailed analysis of selected aspects of the relationship between music and text in Gustav Mahler’s vocal-instru-mental symphonies. Mahler’s elaboration of programmatic intentions functions as background. The composer obviously used the specific quality of music which is able to make spiritual or immaterial facts clearer than language (which here often has to switch over to symbolism). The variety of the text interpretation by Mahler’s music (on which the analyses are focused) shows distinct differences: from a relatively simple setting to music-character to an intense amalgam of music and semantics of the words. An important result of the analyses is the approximate proportionality between independency of Mahler’s music from the text’s formal parameters and intensity of the musical exegesis of the words. The more the music tends to elaborate the semantics, the more decreases the materiality of language. In this context the semantics-music-amalgam in the final movement of Das Lied von der Erde represents an unique example. Ultimately Mahler’s music supplies the denotation of the text semantics. This intermixture shows previously – in the history of development of vocal symphonic tradition – not heard intensity.

Thesis (Ph. D.)--University of Chicago, Department of Music, August 2002. / Includes bibliographical references. Also available on the Internet.

Karel Ančerl 1968-1973. A documentary monograph OBJECTIVES: The main objective of this thesis is to capture and describe the last five years (1968-1973) of life and artistic achievements of the conductor Karel Ančerl. This is a topic which has not been elaborated on an academic level yet. On the beginning of the captured period we find Ančerl to be a prominent member of the Czechoslovak music environment working as the chief conductor of the Czech Philharmonic. At the end of this period, Ančerl permanently lived and worked in Canada as the chief conductor of the Toronto Symphony. This fact is reflected in the two main topics of this thesis. First, there is the theme of process of following a qualitative change which the Toronto Symphony undertook during Karel Ančerl's leadership. Second, there is the relationship of the conductor to the Czechoslovak environment and its musical tradition. Main axis of the thesis is defined by a chronological following of the affairs of Karel Ančerl's life story in the given period. METHODOLOGY: Since the estate of Karel Ančerl has been missing, some of the important - maybe even the most important - documents still remain unknown. The story is being told with the help of supporting sources, just like is the correspondence between Ančerl and Ivan Medek, which covers...

Orientador: Eduardo Augusto Ostergren / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-08T08:35:25Z (GMT). No. of bitstreams: 1 Gomes_HermesCoelho_M.pdf: 911382 bytes, checksum: 050139607e19dab18b8ad22ab3baecab (MD5) Previous issue date: 2006 / Resumo: Em busca de uma maior compreensão da Sinfonia dos Salmos de Igor Stravinsky, tendo em vista sua interpretação dentro de um processo de preparação e execução, o presente trabalho apresenta recursos teóricos, históricos e técnicos bem como aponta elementos interpretativos como subsídios para o desenvolvimento de tal processo. O trabalho é composto de quatro capítulos que, tendo como foco central a obra em questão, aborda assuntos diversos buscando maior compreensão. O primeiro capítulo apresenta dados do compositor em uma perspectiva histórica. O segundo é uma reflexão sobre os textos bíblicos utilizados na obra e suas origens dentro da tradição hebraica. Já o terceiro capítulo é uma análise da partitura, onde são abordados parâmetros de forma, orquestração, instrumentação, escrita vocal, harmonia e contraponto. Concluindo o presente trabalho, o quarto capítulo apresenta elementos de interpretação da obra, com sugestões para sua preparação e execução. Este último capítulo, além de ser o objetivo primeiro do trabalho, justifica todo o esforço de sua realização / Abstract: As a means for a better understanding of The Symphony of Psalms by Igor Stravinsky, and having in mind its interpretation through the process of preparation and performance, this dissertation discusses theoretical, historical and technical elements that participate in the development of the interpretive process. It is comprised of four chapters each approaching distinct aspects of the composition. The first chapter, in historical perspective, presents data about the composer's life . The second reflects on the Biblical texts used in the work and their origins within the Hebrew tradition. The third presents an analysis of the score as it discusses technical aspects such as musical form, instrumentation, orchestration, vocal writing, harmony and counterpoint. As a conclusion, the fourth chapter discusses interpretive elements and practical suggestions for its performance and interpretation. This final chapter, is indeed the prime objective of this work, and justifies all effort for its realization / Mestrado / Mestre em Música

Cláudio Santoro (1919-1989) compôs, ao todo, quatorze sinfonias ao longo de toda a sua vida. A Primeira Sinfonia para duas orquestras de cordas (1940), além de possuir uma formação instrumental curiosa, também representa uma das obras inaugurais de sua primeira etapa como compositor, procurando ao lado de Koellreutter, novos paradigmas para a composição musical de seu tempo, tendo influenciado uma geração de compositores brasileiros. Este trabalho pretendeu desenvolver uma atenta e inédita análise da Primeira Sinfonia de Cláudio Santoro, procurando demonstrar sobre qual estética atonal, sendo ela dodecafônica ou livre, a obra foi escrita. Além da identificação sugerida, propõe-se também a averiguação de possíveis hibridismos estéticos que podem ter ocorrido na Primeira Sinfonia de Santoro. A análise atenta dos movimentos que constituem essa obra, utilizando métodos como a Teoria dos Conjuntos desenvolvido por Allen Forte, a Teoria dos Contornos Musicais de Robert Morris e a relação parcimoniosa entre diferentes coleções tal como proposto por Dmitri Tymoczko, nos permitiu identificar alguns processos pós-tonais, que indicam influencias de autores como Claude Debussy, Paul Hindemith e Heitor Villa-Lobos no primeiro movimento Allegro Majestoso da Primeira Sinfonia de Santoro. A manutenção de algumas sonoridades como a coleção pentatônica, a escala de tons inteiros e a coleção acústica, são alguns dos indícios que nos permite identificar tais influencias na obra de Santoro. No segundo movimento Andante quasi adagio, podemos observar um processo serial tradicional, que se desenvolveu a partir de duas séries que se relacionam. Tal apontamento foi possível a partir do método da identificação e contagem serial, tal como proposto por autores como Kostka e Francolí. No terceiro movimento, observamos uma estrutura que é engendrada a partir de coleções simétricas como a coleção eneatônica e a escala octatônica paradigmática, além de outras formatações simétricas que ocorrem a partir de sobreposições entre camadas, procedimento que também é encontrado na obra de Villa-Lobos. Nesse sentido, a Primeira Sinfonia para duas orquestras de cordas de Cláudio Santoro, foi engendrada através de procedimentos pós tonais considerados livres e sistêmicos, sendo possível observar hibridismos estilísticos nesta obra. / Cláudio Santoro (1919-1989) composed, in all, fourteen symphonies throughout his life. The First Symphony for two stringed orchestras (1940), in addition to possessing a curious instrumental formation, also represents one of the inaugural works of his first stage as composer, looking alongside Koellreutter, new paradigms for the musical composition of his time, having influenced a generation of Brazilian composers. This work developed a complete, attentive and unpublished analysis of the First Symphony of Claudio Santoro, trying to demonstrate on which atonal aesthetic, being it dodecaphonic or free, had written the work in question. Besides the suggested identification, it is also proposed the investigation of possible aesthetic hybridity that may have occurred in the First Symphony of Santoro. The careful analysis of the movements that constitute this work, using methods such as the Theory of Sets developed by Allen Forte, Robert Morris\'s Theory of Musical Constraints and the parsimonious relation between different collections as proposed by Dmitri Tymoczko allowed us to identify some post Which indicate influences by authors like Claude Debussy, Paul Hindemith and Heitor Villa-Lobos in the first Allegro Majestic movement of the First Symphony of Santoro. The maintenance of some sonorities such as the pentatonic collection, the whole-tone scale and the acoustic collection are some of the indications that allowed us to identify such influences in Santoro\'s work. In the second Andante quasi adagio movement, we can observe a traditional serial process, which developed from two series that relate, such an approach was possible from the method of serial identification and counting, as proposed by authors such as Kostka and Francolí. In the third movement, we observe a structure that is generated from symmetrical collections such as the eneatonic collection and the paradigmatic octatonic scale, as well as other symmetrical formations that occur from overlaps between layers, a procedure that is also found in the work of Villa-Lobos. In this sense, the First Symphony for two chord orchestras by Claudio Santoro was conceived through postural procedures considered free and systemic, being possible to observe stylistic hybrids in this work.