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The purpose of this project is to assist voice teachers in training tenors by selecting forty art songs that are pedagogically useful in the training of the tenor voice, and providing specific pedagogical strategies for the learning process of the selected repertoire. The list of repertoire consists of ten art songs from each of the four main Western singing languages: Italian, English, German, and French. These four languages have been selected because they represent the vast majority of standard art song repertoire for the typical undergraduate tenor. What is missing in current literature, and what this project addresses, is a pedagogically focused analysis of carefully chosen set of art song repertoire for the tenor voice. This project aids teachers and young tenors in technique and repertoire selection by identifying technical issues in each song, explaining ways to approach those technique issues, and highlighting positive pedagogical results from learning each song. By following the strategies set forth in this project, the tenor and teacher will be better equipped to select appropriate art song repertoire beyond those songs presented in this project and address vocal technique through the song learning process. The body of the dissertation begins with a discussion of pedagogical areas in which the tenor's technique is most distinct from other voice parts including: passaggio, vowel modification, appoggio, giro, chiaroscuro, tessitura, and agility. A brief introduction of each song will include stylistic information on the piece and analysis of the song including range, tessitura, level of difficulty, and vocal demands. I will then discuss specific examples of difficult melodic passages, or phrases that are of pedagogical value and offer specific exercises that can aid the tenor in the song learning process. The information discussed in each song provides a starting point for further repertoire selection beyond this project by introducing the teacher and tenor to composers, collections, or cycles that logically supplement the list of selected repertoire.

This study presents a discourse analysis of two films from Santa Catarina State, Brazil, one a feature-length film and the other a short film, viz.: A Novembrada, by Eduardo Paredes, and Cruz e Sousa, o poeta do Desterro, by Silvio Back. These are contemporary films, both based on constitutive elements of the Santa Catarina identity. A Novembrada relates to the political event of the same name, which took place during the military dictatorship on the occasion of a visit by General Figueiredo to the city of Florianópolis. The event was recorded by the local press, enabling the film to take those records as its basis in order to develop a fictional interpretation. Meanwhile, Cruz e Sousa, o poeta do Desterro, is based on the work of the Santa Catarina poet, to develop a fictional film interpretation of his work. The two films are exemplary of local film output, in which the political element is constitutive in various dimensions, not just in the subject matter, as in A Novembrada, but more importantly in how, specifically, the background record and the cinematographic material are worked in together in forms of interpretation that mobilize discursive memories. One manner of understanding that interweave, either by way of what is constructed or by way of what is preconstructed and silence, is made possible by the theory and method of discourse analysis, which results in a historical and ideological contextualization of this slice of Santa Catarina’s cinematography. / Submitted by Rogele Pinheiro (rogele.pinheiro@unisul.br) on 2018-01-17T16:59:45Z No. of bitstreams: 1 102517_Lucio.pdf: 4661913 bytes, checksum: 65912b234c0262106db8246bb8ac6167 (MD5) / Approved for entry into archive by Gheovana Figueiredo (gheovana.figueiredo@unisul.br) on 2018-01-17T17:20:55Z (GMT) No. of bitstreams: 1 102517_Lucio.pdf: 4661913 bytes, checksum: 65912b234c0262106db8246bb8ac6167 (MD5) / Made available in DSpace on 2018-01-17T17:20:55Z (GMT). No. of bitstreams: 1 102517_Lucio.pdf: 4661913 bytes, checksum: 65912b234c0262106db8246bb8ac6167 (MD5) Previous issue date: 2010 / Este trabalho apresenta uma análise discursiva de dois filmes catarinenses, um curta metragem e um longa, a saber, A Novembrada, de Eduardo Paredes e Cruz e Sousa, o poeta do Desterro, de Silvio Back. Trata-se de filmes contemporâneos, ambos baseados em elementos que constituem a identidade catarinense. A Novembrada refere-se ao evento político de mesmo nome, ocorrido na época da ditadura militar, na ocasião da visita do general Figueiredo à cidade de Florianópolis. Esse evento foi registrado pela mídia jornalística local, o que permitiu que o filme tomasse por base esse registro para desenvolver um gesto de interpretação ficcional. Por outro lado, Cruz e Sousa, o poeta do Desterro, baseia-se na obra do poeta catarinense e desenvolve uma interpretação fílmica dessa obra. Os dois filmes constituem exemplares de uma cinematografia local, cujo elemento político é constitutivo em diferentes dimensões, não só na temática, como é o caso de A novembrada, mas principalmente na forma como se faz a imbricação material do registro de base e do cinematográfico, em gestos de interpretação que mobilizam memórias discursivas. O modo de compreender essa imbricação, seja pela via do construído, seja pela via do pré-construído e do silêncio, é possibilitada pela teoria e método da análise do discurso, o que resulta na contextualização histórica e ideológica desse recorte da cinematografia catarinense.

Esta dissertação parte do pressuposto de que os operadores argumentativos e os conectivos, que, aqui, chamamos genericamente de operadores, estão correlacionados com a tessitura textual e pretende verificar se a freqüência relativa da ocorrência deles influi no grau de coesão e coerência que se atribui ao texto no momento da sua leitura. O substrato de trabalho é constituído por um conjunto de redações produzidas para as atividades propostas em diversas disciplinas que envolvem a prática de redação. As redações foram avaliadas por três professores de Língua Portuguesa de Ensino Médio e Ensino Superior de acordo com critérios em que o grau de coesão e coerência é o requisito mais relevante para averiguação. Procuramos, então, constatar a dependência entre a freqüência relativa de operadores e a nota fornecida pelos avaliadores. Os resultados sugerem a existência dessa dependência, mesmo quando os operadores selecionados não se apresentam corretamente empregados segundo as operações lógicas usuais previstas pela sintaxe. / This dissertation begins with connective and argumentative operators, called here, generally, as operators, which are related to textual texture and intends to check if the relative frequency of their occurrence influences on the degree of cohesion and coherence that attributes to the text at the moment of its reading. The substrate of the work is constituted by a group of compositions produced for the proposal activities in several subjects, which involves composition practice. Three Portuguese Language of High School and College teachers according to the criteria in which the degree of cohesion and coherence is the most important requisite for checking evaluated the compositions. We look for to verify the dependence between the relative frequency of operators and the grade attributed by the professors. The results suggest the existence of this dependence, even when the selected operators don´t present themselves correctly used according to the usual and normal operations required by syntax.

The purpose of this study is to investigate the management of tessitura in the choir though the use of choral pivoting in Frank Martin's Messe pour double choeur a cappella (1922), since the ranges of a vast number of choral works extend beyond the limits of what the American Academy of Teacher's of Singing have deemed "best" and "safest." According to the American Academy of Teachers of Singing, many great teachers of singing hesitate to allow their "pupils to participate in choral singing because experience has proven that, due to the unusually high tessituras dominating the arrangements of many choral works, harm is done to the voice. "This study includes an in-depth summary of the anatomy and physiology of the vocal mechanism in specific registers and the potential for harm, vocal strain, or vocal fatigue when singers must sing in an extremely high or low tessitura for an extended amount of time. Three methods of vocal pivoting are examined and explanations given as to how choral pivoting may be applied in Messe pour double choeur a cappella.

Esta dissertação parte do pressuposto de que os operadores argumentativos e os conectivos, que, aqui, chamamos genericamente de operadores, estão correlacionados com a tessitura textual e pretende verificar se a freqüência relativa da ocorrência deles influi no grau de coesão e coerência que se atribui ao texto no momento da sua leitura. O substrato de trabalho é constituído por um conjunto de redações produzidas para as atividades propostas em diversas disciplinas que envolvem a prática de redação. As redações foram avaliadas por três professores de Língua Portuguesa de Ensino Médio e Ensino Superior de acordo com critérios em que o grau de coesão e coerência é o requisito mais relevante para averiguação. Procuramos, então, constatar a dependência entre a freqüência relativa de operadores e a nota fornecida pelos avaliadores. Os resultados sugerem a existência dessa dependência, mesmo quando os operadores selecionados não se apresentam corretamente empregados segundo as operações lógicas usuais previstas pela sintaxe. / This dissertation begins with connective and argumentative operators, called here, generally, as operators, which are related to textual texture and intends to check if the relative frequency of their occurrence influences on the degree of cohesion and coherence that attributes to the text at the moment of its reading. The substrate of the work is constituted by a group of compositions produced for the proposal activities in several subjects, which involves composition practice. Three Portuguese Language of High School and College teachers according to the criteria in which the degree of cohesion and coherence is the most important requisite for checking evaluated the compositions. We look for to verify the dependence between the relative frequency of operators and the grade attributed by the professors. The results suggest the existence of this dependence, even when the selected operators don´t present themselves correctly used according to the usual and normal operations required by syntax.

Research on voice change in males has generally fallen into two categories: music education studies of changes in the singing voice and speech studies of changes in the speaking voice. These studies rarely consider differences in the dynamic ability of male singers at different stages of vocal development. The concept of tessitura, a portion of the vocal range in which the singer sounds best, is referred to in the literature on vocal music, but the means for identifying its size and location within the range have not been consistently specified. Tessitura appears to be a portion of the range which is most controllable in terms of dynamics and agility and is optimal in tonal quality. This study used the phonetograph to investigate differences in measures of intensity control between pre-pubertal, pubertal (changing) and post-pubertal voices in 48 males aged 9 to 18 years old. These intensity measures were compared to ratings of vocal effort from a panel of 4 music educators in order to determine if tessitura could be identified from acoustic and perceptual evidence of an optimum vocal area. Results of the study were: 1) post-pubertal voices demonstrated greater control of vocal intensity as revealed in lower mean minimum and comfortable intensity measures, higher overall maximum intensity measures and a larger minimum-to-maximum intensity range; 2) intensity measures for pubertal voices were similar to those observed in pre-pubertal voices, contrary to trends suggested in the literature on voice change; 3) the Greatest Dynamic Range (GDR) on the phonetograph, indicating the range in which singers had the most dynamic control, was smaller than the range in which the singers were judged to sound best; 4) tessitura originated in the lower portion of the vocal range, around the location of mean speaking fundamental frequency. Although registers were not specifically investigated, tessitura appeared to be primarily related to modal register in singers who had completed voice change.

Even before I started studying at the SKH Opera, I was already contemplating what would happen afterwards. So it all started with the idea that I'd like to apply to an Opera Studio after graduation. I realised that the largest market for opera studies is in German-speaking countries, where I could continue to develop my talent and simultaneously earn money working in my profession. For example, in the Opera Studio, an Opera provides a monthly salary. So when I applied to the university, I had to submit the so-called document "Independent project". I didn't write much, so I'd like to quote it here: “The idea for my project consists of organising and performing a few concerts of German classical music in Scandinavia. In order to best prepare for that event, I would first like to build my vocal technique at a high level. This is my main goal. In the next coming year I would like to work on German musical literature but one of the biggest dreams is to prepare a role of Papageno from The Magic Flute.”As you can see, the goal was focused on potential future work and earnings. I was mostinterested in improving my vocal technique and working on the German repertoire. Even though German was never my favorite language and I avoided it as much as I could, I decided that during this year, I'd focus on the German repertoire while also honing my technique. It's worth mentioning - I usually and almost always sang in Slavic or Latin languages, and my favourite language in the opera world is Italian. But why the role of Papageno and the opera “The Magic Flute”? While browsing through the opera repertoire currently in production in the German language, I noticed that “The Magic Flute” was one of the most frequently performed, so I thought it could be a fascinating adventure. While perusing the opera score, I found a character for myself: Papageno5, a role not too low, not too high in the vocal tessitura, a role for a baritone voice. Even though I usually sang bass-baritone roles, I decided to take up the challenge of preparing the baritone part.