Submitted by Automa??o e Estat?stica (sst@bczm.ufrn.br) on 2016-04-01T19:33:09Z No. of bitstreams: 1 DoraUtermohlDeQueiroz_DISSERT.pdf: 1749672 bytes, checksum: cde6a7dbb81b3489c269147422a1dc4b (MD5) / Approved for entry into archive by Arlan Eloi Leite Silva (eloihistoriador@yahoo.com.br) on 2016-04-06T23:42:55Z (GMT) No. of bitstreams: 1 DoraUtermohlDeQueiroz_DISSERT.pdf: 1749672 bytes, checksum: cde6a7dbb81b3489c269147422a1dc4b (MD5) / Made available in DSpace on 2016-04-06T23:42:55Z (GMT). No. of bitstreams: 1 DoraUtermohlDeQueiroz_DISSERT.pdf: 1749672 bytes, checksum: cde6a7dbb81b3489c269147422a1dc4b (MD5) Previous issue date: 2015-06-12 / Este trabalho aborda os desafios t?cnicos e interpretativos da obra Tra?ado ?ntimo e Hesitante de Bruno Angelo, al?m da import?ncia de envolver a m?sica contempor?nea e as t?cnicas estendidas na inicia??o ao violoncelo, utilizando alguns materiais derivados da pe?a. O objetivo desta pesquisa ? proporcionar aos violoncelistas sugest?es para a solu??o dos problemas apresentados na pe?a e em obras que utilizem t?cnicas semelhantes, assim como incentivar a utiliza??o de materiais sonoros da m?sica contempor?nea com alunos iniciantes. / This works sheds light on the technical challenges regarding the use of extended techniques at the piece ?Tra?ado ?ntimo e Hesitante? by Bruno Angelo and the use of some of these techniques in the cello initiation. The main goal of the research is to provide cellists interested in the performance of the piece with ideas to surpass the technical difficulties as well as to introduce new ideas of using sound materials of contemporary music in the beginner cello teaching.

Submitted by Automa??o e Estat?stica (sst@bczm.ufrn.br) on 2016-03-18T21:55:11Z No. of bitstreams: 1 KleberDessolesMarques_DISSERT.pdf: 2847376 bytes, checksum: 46f24e70f118ab99ec0b8aa3bbaa95af (MD5) / Approved for entry into archive by Arlan Eloi Leite Silva (eloihistoriador@yahoo.com.br) on 2016-03-19T00:12:57Z (GMT) No. of bitstreams: 1 KleberDessolesMarques_DISSERT.pdf: 2847376 bytes, checksum: 46f24e70f118ab99ec0b8aa3bbaa95af (MD5) / Made available in DSpace on 2016-03-19T00:12:57Z (GMT). No. of bitstreams: 1 KleberDessolesMarques_DISSERT.pdf: 2847376 bytes, checksum: 46f24e70f118ab99ec0b8aa3bbaa95af (MD5) Previous issue date: 2015-02-27 / Esta disserta??o aborda o uso de t?cnicas estendidas para saxofone na obra Minus, para saxofone soprano em Bb solo, composta por meio de colabora??o compositor-int?rprete, entre Agamenon de Morais e o saxofonista Kleber Dessoles. O texto est? organizado da seguinte maneira: a primeira parte traz um apanhado hist?rico do repert?rio de m?sica de concerto para saxofone, desde o in?cio do s?culo XX, passando pelo uso de t?cnicas estendidas para o instrumento e pelos principais personagens e fatos hist?ricos desse per?odo de tempo, dados esses obtidos a partir de pesquisa bibliogr?fica e documental; a segunda parte trata da colabora??o compositorint?rprete, desde os casos documentados nos s?culos XVIII e XIX at? chegarmos aos dias de hoje, explorando de que maneiras as colabora??es podem acontecer e as suas motiva??es, por meio de pesquisa bibliogr?fica; a terceira e ?ltima parte versa sobre a obra em si, seguida de um relato pormenorizado da colabora??o entre o compositor e o int?rprete, bem como explica??es minuciosas das t?cnicas estendidas que constam na obra (multif?nicos e flatterzunge), por meio de pesquisa bibliogr?fica, documental e relatos dos encontros entre compositor e int?rprete. Ao final do processo de colabora??o, pode-se dizer que o resultado final da obra foi derivado da soma dos conhecimentos do compositor e do int?rprete, combinados, quase como se a composi??o tivesse uma dupla autoria. O documento resultante do relato do processo pode auxiliar compositores e int?rpretes a comporem para saxofone, bem como a nortear futuras experi?ncias de colabora??o. / This dissertation deals with the use of extended techniques for the saxophone in the piece Minus (for solo saxophone in Bb), composed through a composer-performer collaboration between Agamenon de Morais and the saxophonist Kleber Dessoles. The text is organized in the following manner: the first part brings the historical background of the concert music written for the saxophone since the beginning of the 20th-century, exploring the use of extended tehcniques and the main characters and historical facts of this period, with data obtained through a literature review; the second part deals with the issue of the composer-performer collaboration, since cases documented in the 18th and 19th centuries until nowadays, exploring in which different ways collaborations may happen and the motivations behind them; the third and final part is about the specific work, followed by a detailed description of the collaboration between the composer and the interpreter, as well as detailed explanations about the extended techniques present in the work (multiphonics and flatterzunge), through bibliographic and documental research, as well as descriptions of the meetings between composer and interpreter. At the end of the collaborative process, one may say that the final result was created from a sum of the composer's knowledge with the interpreter's, almost as if the composition had double authorship. The document describing this process may help composers and interpreters in composing for the saxophone, as well as guide future collaborative experiences.

Submitted by Automa??o e Estat?stica (sst@bczm.ufrn.br) on 2016-04-01T19:33:09Z No. of bitstreams: 1 FredericoArantesNable_DISSERT.pdf: 898485 bytes, checksum: 6e98b154b756c77b06de731a02976916 (MD5) / Approved for entry into archive by Arlan Eloi Leite Silva (eloihistoriador@yahoo.com.br) on 2016-04-07T00:07:52Z (GMT) No. of bitstreams: 1 FredericoArantesNable_DISSERT.pdf: 898485 bytes, checksum: 6e98b154b756c77b06de731a02976916 (MD5) / Made available in DSpace on 2016-04-07T00:07:52Z (GMT). No. of bitstreams: 1 FredericoArantesNable_DISSERT.pdf: 898485 bytes, checksum: 6e98b154b756c77b06de731a02976916 (MD5) Previous issue date: 2015-06-12 / A pe?a Sept Papillons de Kaija Saariaho ? considerada uma obra de destaque na produ??o atual para violoncelo. O presente trabalho busca contextualiz?-la e oferecer reflex?es sobre as dificuldades t?cnicas encontradas em seu estudo, discorrendo tamb?m sobre conceitos importantes para a interpreta??o. Como procedimento metodol?gico foram estudados autores como MOISALA (2009) e VICTORIO (2015) que d?o fundamenta??o ao entendimento do processo composicional e ? an?lise dos gestos propostos pela compositora. Em um segundo momento foi realizada uma entrevista com Natasha Farny, uma violoncelista reconhecida por sua performance da obra, a qual utilizamos como refer?ncia junto ? performance da coreana Seung Ri Jung e a grava??o do violoncelista Anssi Karttunen, a quem foi dedicada a pe?a. Concomitantemente ao estudo do material bibliogr?fico e realiza??o das entrevistas, a pe?a foi trabalhada e apresentada no ?mbito do PPGMUS-UFRN. A experi?ncia obtida pelos recitais e pela pesquisa da obra resultou em sugest?es para violoncelistas interessados no estudo e na performance da mesma. / Sept Papillons by Kaija Saariaho is a relevant piece in the contemporary cello repertoire. This research aims to study the context of the piece and approaches the technical and musical challenges presented in the work. As a methodological procedure, authors like MOISALA (2009) and VICTORIO (2015) were studied, giving basis to the understanding of the compositional process and to the analysis of the gestures proposed by the composer. Following, an interview was carried out with Natasha Farny, a cellist recognized for her performance of the work and utilized as reference, together with the Korean cellist Seung Ri Jung?s performance and the recording of Anssi Karttunen, to whom the piece was dedicated. Whilst the research of the bibliographical material and the interviews were taking place, the piece was studied and performed at the Masters of Music Program at UFRN. The experience obtained by the recitals and the research resulted in suggestions for cellists interested in its study and performance.

Submitted by Automa??o e Estat?stica (sst@bczm.ufrn.br) on 2016-07-11T18:12:28Z No. of bitstreams: 1 NataliaCristinaPinheiro_DISSERT.pdf: 3381819 bytes, checksum: 43c7407f2565abcde6fcc0741eb5ae18 (MD5) / Approved for entry into archive by Arlan Eloi Leite Silva (eloihistoriador@yahoo.com.br) on 2016-07-19T20:19:20Z (GMT) No. of bitstreams: 1 NataliaCristinaPinheiro_DISSERT.pdf: 3381819 bytes, checksum: 43c7407f2565abcde6fcc0741eb5ae18 (MD5) / Made available in DSpace on 2016-07-19T20:19:20Z (GMT). No. of bitstreams: 1 NataliaCristinaPinheiro_DISSERT.pdf: 3381819 bytes, checksum: 43c7407f2565abcde6fcc0741eb5ae18 (MD5) Previous issue date: 2015-12-15 / Este trabalho consiste em identificar e classificar as t?cnicas estendidas no contrabaixo ac?stico. O principal objetivo dessa categoriza??o ? proporcionar ao contrabaixista uma melhor compreens?o e pr?tica dessas t?cnicas. Para isso, realizou-se uma revis?o bibliogr?fica, pois foi observado que, no meio acad?mico, este tema ? novo e seu entendimento para alguns m?sicos ainda ? complexo e nebuloso. No intuito de auxiliar nas dificuldades do contrabaixista, as t?cnicas estendidas foram divididas em duas partes, propondo abordagens diferentes. A primeira traz a experimenta??o e explora??o de t?cnicas convencionais e n?o convencionais de outros instrumentos no contrabaixo ac?stico. A segunda busca identificar e classificar as t?cnicas estendidas, demostrando trechos de composi??es do repert?rio solista do instrumento. Nelas, ainda s?o referenciados autores e suas contribui??es para a pr?tica instrumental dessas t?cnicas. Nas duas categorias de classifica??o, foram apresentados procedimentos a serem adotados pelo contrabaixista para a execu??o das referidas t?cnicas, assim como sugest?es para seu estudo. Dentre os resultados principais, verificou-se que, por meio da proposta de classifica??o destas t?cnicas, podem-se incorporar novos recursos ao universo t?cnico e timbr?stico deste instrumento. Por fim, constatou-se a cria??o de uma composi??o realizada por meio da intera??o entre compositor e int?rprete, contendo novas t?cnicas estendidas ou t?cnicas estendidas n?o encontradas no repert?rio contempor?neo solista do instrumento. / This work is to identify and classify extended techniques on acoustic bass. The main purpose of this classification is to provide the bass better understanding and practice these techniques. For this, we carried out a literature review, it was noted that, in academia, this topic is new and understanding for some musicians is still complex and nebulous. To assist in the difficulties of the bass player, the extended techniques were divided into two parts, proposing different approaches. The first part proposes the experimentation and exploration of conventional and unconventional techniques from other instruments on acoustic bass. The second seeks to identify and rank the extended techniques, showing excerpts from the solo instrument repertoire compositions. On each, there are still referenced authors and their contributions to the instrumental practice these techniques. In both categories of classification procedures were presented to be adopted by the bass player for the implementation of those techniques, as well as suggestions for their study. Among the main results, it was found that through the proposed classification of these techniques, one can incorporate new resources to technical universe and timbre of the instrument. Lastly, it was found a creation of a composition performed by interaction between composer and performer, containing new extended techniques or extended techniques not found in the instrument's contemporary soloist repertoire.

Submitted by Automa??o e Estat?stica (sst@bczm.ufrn.br) on 2016-03-18T21:55:10Z No. of bitstreams: 1 ChristinaMarieBogiages_DISSERT.pdf: 6037377 bytes, checksum: a84cd83b8fb5234d4404581803968c7f (MD5) / Approved for entry into archive by Arlan Eloi Leite Silva (eloihistoriador@yahoo.com.br) on 2016-03-18T23:07:38Z (GMT) No. of bitstreams: 1 ChristinaMarieBogiages_DISSERT.pdf: 6037377 bytes, checksum: a84cd83b8fb5234d4404581803968c7f (MD5) / Made available in DSpace on 2016-03-18T23:07:38Z (GMT). No. of bitstreams: 1 ChristinaMarieBogiages_DISSERT.pdf: 6037377 bytes, checksum: a84cd83b8fb5234d4404581803968c7f (MD5) Previous issue date: 2014-12-04 / Essa disserta??o apresenta uma investiga??o do processo evolutivo das t?cnicas estendidas do obo?, atrav?s de uma analise da literatura e de pesquisa em pr?tica. O intuito deste trabalho ? facilitar a aprendizagem dos obo?stas interessados em estudar essas t?cnicas. Al?m disso, atrav?s da experimenta??o, o aluno ? encorajada ? explorar as perguntas subsequentes sobre a est?tica do som, o conceito de gesto como elemento visual e sonoro adicional, e os processos de colabora??o e cria??o em ?tempo real?. No decorrer do trabalho, s?o discutidas a rela??o entre o instrumento (o obo?) e as t?cnicas estendidas, e duas defini??es poss?veis de t?cnicas estendidas, oferecidas por Luk Vaes (2009) e Gardner Read (1993). S?o abordados a forma e o motivo pelos quais alguns compositores t?m utilizado t?cnicas estendidas em suas obras, incluindo breves discuss?es sobre t?cnicas estendidas na composi??o em tempo real (improvisa??o), t?cnicas estendidas e recursos tecnol?gicas, gesto c?nico como t?cnica estendida e sugest?es para o m?sico querendo abordar gestos c?nicos na performance. Quatro pe?as foram analisadas: ?I Know This Room So Well? ? Lisa Bielawa (2007-9); ?Four Pieces for Oboe and Piano? ? Ernst Krenek (1966); ?In Freundschaft? ? Karlheinz Stockhausen (1978); ?Atem? ? Mauricio Kagel (1969-70) e foram investigadas as dificuldades e solu??es associadas a cada t?cnica estendida encontrada nas pe?as. As seguintes fontes sobre t?cnicas estendidas foram utilizadas como base de pesquisa: livros - Heinz Holliger?s Pro Musica Nova (1972); Gardner Read?s Compendium of Modern Instrumental Techniques (1993); Peter Veale & ClausSteffen Mahnkopf?s The Techniques of Oboe Playing (1994); e Libby Van Cleve?s Oboe Unbound: Contemporary Techniques (2004); e artigos Nora Post?s ?Monophonic sound resources for the oboe: Part I ? Timbre? (1984), ?Part II- Pitch and other techniques? (1984), and ?Multiphonics for the oboe? (1982). / This dissertation presents an investigation of the evolutionary process of extended oboe techniques, through literary analysis and practical research. The objective of this work is to provide assistance to oboists interested in learning these techniques. Additionally, this work encourages the student, through the process of experimentation, to explore the questions that may arise around the aesthetics of sound, the concept of gesture as an additional visual and aural element in music, and the collaboration and ?real-time? creation processes. Discussed within the work, are the relationship between the instrument (the oboe) and extended techniques, and two possible definitions of extended techniques, provided by Luk Vaes (2009) and Gardner Read (1993). Also explored are the how and why some composers have utilized extended techniques in their compositions, including brief discussions relating to extended techniques in real-time composition (improvisation), extended techniques and technological resources, theatrical gesture as an extended technique, and suggestions of how musicians might approach theatrical gestures in performance. Four works were visited: ?I Know This Room So Well? ? Lisa Bielawa (2007-9); ?Four Pieces for Oboe and Piano? ? Ernst Krenek (1966); ?In Freundschaft? ? Karlheinz Stockhausen (1978); ?Atem? ? Mauricio Kagel (1969-70); and an exploration of the difficulties and solutions associated with each extended technique found within these pieces, was carried out. The following founding works on extended oboe techniques were used, as a basis for research: books - Heinz Holliger?s Pro Musica Nova (1972); Gardner Read?s Compendium of Modern Instrumental Techniques (1993); Peter Veale & Claus-Steffen Mahnkopf?s The Techniques of Oboe Playing (1994); and Libby Van Cleve?s Oboe Unbound: Contemporary Techniques (2004); and articles - Nora Post?s ?Monophonic sound resources for the oboe: Part I ? Timbre? (1984), ?Part II- Pitch and other techniques? (1984), and ?Multiphonics for the oboe? (1982).

Submitted by Automa??o e Estat?stica (sst@bczm.ufrn.br) on 2016-03-18T21:55:11Z No. of bitstreams: 1 KalyneTelesValente_DISSERT.pdf: 853027 bytes, checksum: bfb33565c73b888e7cc78cad51fc4d19 (MD5) / Approved for entry into archive by Arlan Eloi Leite Silva (eloihistoriador@yahoo.com.br) on 2016-03-18T23:55:48Z (GMT) No. of bitstreams: 1 KalyneTelesValente_DISSERT.pdf: 853027 bytes, checksum: bfb33565c73b888e7cc78cad51fc4d19 (MD5) / Made available in DSpace on 2016-03-18T23:55:48Z (GMT). No. of bitstreams: 1 KalyneTelesValente_DISSERT.pdf: 853027 bytes, checksum: bfb33565c73b888e7cc78cad51fc4d19 (MD5) Previous issue date: 2014-12-09 / Com uma produ??o bastante relevante voltada ao repert?rio do violoncelo, Silvio Ferraz comp?s, em 2012, a pe?a Segundo Respons?rio para violoncelo solista e grupo de c?mara que, em seguida originou o Respons?rio ao Vento, vers?o para violoncelo solo. A pe?a caracteriza-se pela ideia de continuidade constante do som que se transforma atrav?s de diferentes texturas, timbres, din?micas e gestos musicais fazendo uso de t?cnicas estendidas, incluindo grandes se??es em sul tasto tocando em tr?s cordas simultaneamente, trinados de harm?nicos naturais, trinados com harm?nicos naturais abafados, col legno battuto, diferentes tipos de glissando e sons simult?neos de notas harm?nicas e n?o harm?nicas contribuem para uma riqueza de sons e camadas que formam essas texturas. O presente artigo investiga a rela??o do compositor com o violoncelo e contextualiza o Respons?rio ao Vento dentro da produ??o de Silvio Ferraz para o instrumento, analisando as influ?ncias do compositor e abordando aspectos t?cnicos e interpretativos da pe?a a partir de experi?ncias de palco. / Recognized for his relevant writing for the cello, Silvio Ferraz wrote , in 2012, Segundo Respons?rio for cello solo and chamber group which followed Respons?rio ao Vento , a version of the same piece for solo cello . The work is characterized by the idea of continuity of sound moving through different textures , timbres , dynamics and musical gestures. The composer uses extended techniques, such as large sections in sul tasto playing three strings simultaneously, trills of natural harmonics , muffled trills with natural harmonics , col legno batuto , different types of glissando and simultaneous sounds of harmonic and non harmonic notes corroborate to a wealth of sounds and layers that create different textures. This article investigates the relationship of the composer with the cello, and relates Respons?rio ao Vento to his other works and studies the influences of the composer addressing technical and interpretive aspects of the piece drawn from performance experiences.

Submitted by Automa??o e Estat?stica (sst@bczm.ufrn.br) on 2018-03-12T20:35:47Z No. of bitstreams: 1 LeandroFernandesDeOliveira_DISSERT.pdf: 5943967 bytes, checksum: 2eb679a93d4a33a3455f3fd503724733 (MD5) / Approved for entry into archive by Arlan Eloi Leite Silva (eloihistoriador@yahoo.com.br) on 2018-03-19T11:22:40Z (GMT) No. of bitstreams: 1 LeandroFernandesDeOliveira_DISSERT.pdf: 5943967 bytes, checksum: 2eb679a93d4a33a3455f3fd503724733 (MD5) / Made available in DSpace on 2018-03-19T11:22:41Z (GMT). No. of bitstreams: 1 LeandroFernandesDeOliveira_DISSERT.pdf: 5943967 bytes, checksum: 2eb679a93d4a33a3455f3fd503724733 (MD5) Previous issue date: 2017-12-11 / Apresenta a experi?ncia de um trabalho de constru??o perform?tica onde o regente atua na qualidade de mediador no processo interpretativo utilizando, como ferramenta, as t?cnicas estendidas de duas obras: As Quatro Esta??es Portenhas de Astor Piazzolla (1921-1992) e Itiner?rio da Passagem: Ver?nica Nadir de S?lvio Ferraz (1959-). Utiliza a metodologia da pesquisa a??o considerando que a abordagem interpretativa ? desenvolvida pelo autor desta Pesquisa enquanto regente e diretor art?stico da Orquestra Funffec de Cordas (OFC). O contexto social da OFC inclui um trabalho desenvolvido a partir do ano de 2013 e conta com a participa??o de jovens com idade entre 10 e 22 anos. Este Projeto possui uma base t?cnica norteada pelos m?todos tradicionais no ensino de cordas friccionadas escritos, em sua maioria, no s?culo XIX. O objetivo da pesquisa ? apontar as principais dificuldades encontradas no trabalho deste repert?rio em rela??o ?s t?cnicas estendidas. Deste ponto, busca-se explorar as possibilidades e vari?veis oferecidas e, atrav?s do di?logo e pesquisa, estabelecer um crit?rio para a interpreta??o. Ap?s o trabalho de articula??o te?rica e anal?tica das Obras, estabelece-se o processo de constru??o interpretativa, principalmente, no que tange as t?cnicas estendidas utilizadas pelos compositores, anteriormente, mencionados. Assim, elementos das t?cnicas estendidas foram abordados, bem como seus conceitos e aplica??es e os poss?veis resultados sonoros. A comunica??o nos ensaios abriu espa?os para a opini?o dos jovens m?sicos na tentativa de estabelecer um processo em que suas experimenta??es e concep??es de sonoridades pudessem ser aplicadas no processo de interpreta??o do repert?rio proposto. / Presents a experience of work of the performance construction where the conductor acts as mediator in the interpretative process, using as tool the extended techniques of two works: The Four Seasons of Buenos Aires by Astor Piazzolla (1921-1992) and Intiner?rio de Passagem: Ver?nica Nadir by Silvio Ferraz (1959-). We used the action research methodology, considering that the interpretative approach is developed by the author of this research as a conductor and artistic director of the Orquestra Funffec de Cordas (OFC). The social context of the OFC includes a work which was developed since 2013 and it counts on the participation of young people with ages between 10 and 22 years old. This project has a technical base guided by the traditional methods on the teaching of written friction strings, mostly, in the 19th century. The purpose of this research is to identify the main difficulties encountered in the work of this repertoire in relation of the extended techniques, in the point of view seeks to explore the possibilities and available variables and trough this dialog and research, stablish a criterion to the interpretation. After the work of theoretical work and analytical articulation of the work, we established the process of the interpretative construction especially in what concerns the extended technique used by the compositors mentioned above. In this way, elements of the extended techniques were mentioned, such as its concepts and applications and the possible sound result. The communication on the rehearsal opened up space to the opinion of the young musicians on the attempt of stablish a process which its experimentations and conceptions of sonority could be applied on the process of interpretation and suggested repertoire.