Cette thèse prétend décoder le langage musical du tango rioplatense et étudier scientifiquement sa potentialité de mutation. Ainsi, l’œuvre de tango « porteño » sera analysée parallèlement à la proposition de tango « nómade » d’Astor Piazzolla. Ce travail analytique est focalisé sur les paramètres, les éléments compositionnels, les aspects idiomatiques de la performance et les outils d’arrangement caractéristiques, en comparaison permanente avec l’usage chez Piazzolla. L'objectif est de dissocier les éléments qui conforment et qui créent les structures si particulières du tango traditionnel et d’analyser profondément leurs constitutions, ainsi que leurs relations avec d’autres composants, pour ensuite observer leurs applications chez Piazzolla. La première partie de cette étude analyse les modalités de performance, les niveaux de précision dans la représentation graphique et l’œuvre de tango porteño et de Piazzolla. Les quatre parties suivantes se penchent sur les paramètres rythmiques, mélodiques, harmoniques, formels et orchestraux. Chaque partie est divisée en deux sections, la première analyse systématiquement le fonctionnement des paramètres dans le tango porteño, et la deuxième étudie les mêmes paramètres chez Piazzolla. / This thesis claims to decode the musical language of the tango rioplatense and to study scientifically its potentiality of transformation. Therefore, the tango "porteño" will be analyzed at the same time as the "nomadic" proposition of Astor Piazzolla. This analytical work is focused on the tango musical parameters, the compositional elements, the idiomatic aspects of the performance and the typical tools of arrangement, in permanent comparison with Piazzolla’s application.The first part of this study analyzes the modalities of performance, the levels of precision in the graphic representation of the tango porteño and Piazzolla’s. The following four sections bend over the rhythmic, melodic, harmonics, formal and orchestral parameters. Every part is divided into two sections, the first analysis systematically the functioning of the parameters in the tango porteño, and the second studies the same parameters on Piazzolla’s music.

The Argentine tango, a beautiful and sexually-charged partnered dance form, is most often characterized as a passionate drama between a man and a woman, where the masculinity of the male dancer as the leader contrasts with the femininity of the female follower. Its origins are deeply rooted in earliest twentieth-century Argentine life, particularly in the barrios of Buenos Aires, where tensions of culture, race, class, sexuality and privilege clashed head on. Because tango is historically and popularly accepted as a heterosexual dance, little attention has focused on its very earliest development and practices, when men often partnered with other men to learn it. This practice was so common that in 1903 the Argentine magazine Caras y Caretas [Faces and Masks] published a series of photographs portraying two men dancing tango to illustrate its basic steps and maneuvers. Inside this early practice lie uninterrogated questions on issues of sexual preference, identity and homosexuality. As a professional dancer and dance scholar, I have explored this aspect of tango’s history from two perspectives: through traditional historiography that investigates the documentation of its iv early practice, and through choreography and performance of an original dance work that affirms that continued practice today. Tango Vesre is a dance performance, that through live performance and video projection, spotlights a 100-year evolution of male tango dance in the Buenos Aires of 1910 and 2010. This work analyzes male/male tango partnerships from historic, performative and choreographic perspectives, examining issues of homosexual bonding and sexual identity through tango dance practice. The choreographic creative process for the dance performance intertwines deep archival research in Argentina and the United States, ethnographic research in Buenos Aires, and studio/movement explorations. In 2009, tango was designated an “Intangible Cultural Heritage” by the United Nations Educational, Scientific and Cultural Organizations (UNESCO); Tango Vesre investigates this art form's unacknowledged history and brings forward a new perspective. / text

Diss., 2000. / Bibliogr. p. 372-407.

Zugl.: Lüneburg, Univ., Magisterarbeit, 2005

Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão. Programa de Pós-Graduação em Linguística. / Made available in DSpace on 2012-10-22T20:24:57Z (GMT). No. of bitstreams: 0 / O propósito desta dissertação é analisar a evolução lexical do lunfardo através de tangos interpretados por Carlos Gardel, no período de 1917-1935. Apesar de argentinos e uruguaios identificarem atualmente o lunfardo como a expressão lingüística que os caracteriza e de vozes e expressões lunfardas se encontrarem presentes nos meios de comunicação de massa e em exponentes da literatura castelhana, esse fenômeno lingüístico continua gerando polêmica na hora de definir e avaliar sua real dimensão dentro da língua espanhola falada na região do Rio da Prata. A partir de uma abordagem sociolingüística, uma definição descritiva do lunfardo não poderia se formular sem diferenciar as fases de sua evolução diacrônica. Este estudo distingue duas fases diferenciadas: a primeira, quando o lunfardo surge nas penitenciárias de Buenos Aires, em 1870, como jargão dos presos; e a segunda, nas primeiras décadas do século XX, quando se transforma em um repertório lexical que passa ao nível coloquial da fala. Nesta segunda fase, destacamos o tango como um dos elementos difusores do lunfardo. Para analisar a relação do tango com este fenômeno lingüístico, elaboramos um corpus com letras de tango do repertório de Carlos Gardel, o maior expoente deste gênero musical. Observamos a interferência da música como veículo de expressão da linguagem popular, colaborando para que o lunfardo passasse de língua de grupo de marginais a linguagem popular de setores menos favorecidos da população, nos arrabales e nos conventillos dos imigrantes, e posteriormente viesse a ser um fenômeno policlassista sem diferenciação de idade, sexo ou atividade profissional. O estudo destaca que certas regularidades encontradas nos aspectos fonológicos, morfológicos, morfofonéticos e sintáticos do lunfardo colaboraram, em parte, para a consolidação da norma da língua

Orientador: Maria Lucia Senna Machado Pascoal / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-11T21:59:24Z (GMT). No. of bitstreams: 1 Otsuka_Magaly_M.pdf: 33490955 bytes, checksum: ded56a65b8d2b2470ab8f8a7de5d7d16 (MD5) Previous issue date: 2008 / Resumo: Esta pesquisa tem como objetivo principal o estudo analítico e interpretativo de duas peças para piano de Marlos Nobre: Sonata Breve, opus 24 (1966/2000) e Tango, opus 61 (1984). A metodologia abrange três pontos principais: o levantamento biográfico e histórico da vida do compositor; o estudo do material musical e de técnicas de análise; a leitura e análise das peças, bem como o levantamento das dificuldades encontradas e as sugestões de estudo. O trabalho se justifica pela necessidade do estudo e divulgação da música contemporânea brasileira, como também pela contribuição para as pesquisas no campo das Práticas Interpretativas. A bibliografia trata de assuntos relacionados à análise e aos princípios de técnica pianística. A conclusão aponta as principais características do idioma pianístico do compositor, referentes às duas peças, utilizando a análise e as experiências adquiridas durante o estudo, resultando em possíveis soluções para uma interpretação consciente. / Abstract: The main goal of this research is the analysis and interpretative study of two of Marlos Nobre's piano pieces: Sonata Breve, opus 24 (1966/2000) and Tango, opus 61 (1984). The methodology includes three main points: to introduce the biography and historical data of the composer's life; study of the musical material and analysis techniques; to read and analyze both pieces, as well as to show the difficulties and propose studies suggestions. Another purpose of this study can be justified by the need for the study and promotion of contemporary Brazilian music and its contribution for the researches of Interpretative Practices. The bibliography deals with topics related to analysis and principles of pianistic techniques. The Conclusion section shows the main characteristics of the composer's pianistic idiom, related to both pieces, using the analysis and experience acquired during this study, with the intent of finding solutions for a consistent interpretation. / Mestrado / Mestre em Música

Geógrafo / No autorizada para ser publicada en el Portal de Tesis Electrónicas de la U. de Chile.

El presente Seminario de Título es un trabajo de investigación sobre el uso de la armonía clásico-romántica en el lenguaje musical del repertorio de Tango. A través del análisis armónico de su discurso musical, hemos querido demostrar que este género logra constituir notables ejemplos para el estudio de ciertas temáticas específicas de la armonía, posibles de ser utilizados en el ejercicio de la docencia de esta asignatura básica para la formación musical especializada. Para ello, se realizó un estudio exhaustivo sobre el Tango, su historia y evolución, su relevancia social y su estilística musical, cuya síntesis se expone en la Introducción de este escrito. Con respecto a la Armonía, abordamos las temáticas de Modulación, Progresiones Armónicas, Intercambio Modal, Armonía Alterada y Ritmo Armónico, ejemplificadas a través de 92 trozos musicales analizados, extraídos de 23 tangos. Nuestro objetivo fundamental consiste en brindar un material didáctico de análisis armónico como un apoyo a la enseñanza de la Armonía, basado en un repertorio alternativo al tradicionalmente usado, en este caso de música popular urbana latinoamericana, que motive y estimule al estudiante en su aprendizaje

Among all symptoms of Parkinson’s Disease (PD), depression and sleep dysfunction have the highest impact on quality of life, yet sleep disturbances and depression symptoms are often left unrecognized and untreated. With the rising annual cost of pharmacologic treatments for PD and the increasing prevalence of PD in the United States, there is a need to implement effective non-pharmacologic regimens, such as physical exercise. Adherence to exercise regimens can often be challenging, especially for elderly patients with progressive neurological impairment. However, enjoyable exercises, such as dancing, involve socialization and musical stimuli that are associated with increased motivation in patients. Dance exercise has been shown to have significant improvement in motor symptoms, functional mobility, mood, and quality of life in PD patients compared to no intervention or traditional exercises. Previous studies have shown that Tango style dancing has additional benefits for PD patients as it may selectively activate areas of the brain associated with motor and non-motor symptoms (the basal ganglia and anterior putamen, respectively) during backward walking and metered rhythmic movement. However, no studies have yet investigated the effect of dance intervention on sleep quality in patients with PD. The proposed study is a randomized control trial that will compare the sleep quality improvement of 90 elderly PD patients in two treatment arms, a Tango dance intervention with walking and walking alone (control group). The Tango group will participate in a 6-month Adapted Tango class designed for PD patients. Sleep quality will be measured as the primary outcome using the Parkinson’s Disease Sleep Scale (PDSS-2). Depression will be measured as a secondary outcome using the BDI-II. This will be the first study to investigate the effects of dance intervention on sleep quality in patients with PD, applying an adapted Tango program similar to those used in previous studies. If the results of this study reveal positive effects of Tango on sleep quality, clinicians may be able to recommend Tango-style dance exercise as a therapeutic intervention to target sleep disturbances and improve quality of life for patients with PD.

This piece is an exploration of tango music. Having played, arranged, composed, and performed this music since 2011, I consider myself steeped and well-versed in the culture and musical language of tango, and this piece is an attempt to synthesize this rich body of music with my own personal style. This work is firmly grounded in the aesthetic of tango dance music from the “Golden Age” of tango in Argentina (1935-1955) and post-Golden Age music. The intent is to create music that is immediately accessible to a layperson, recognizable as tango to someone conversant in the genre, yet distinctively new and part of the evolution of this music. The instrumentation is a cross between a chamber orchestra and a tango ensemble. Strings, flutes, clarinets, F horns, and percussion are joined by a rhythm section of piano, classical guitar, and two bandoneons (tango concertina). The lone upright bass is considered part of the rhythm section as well, rather than as part of the strings. It comprises five movements and runs approximately 25 minutes.