The study addresses the preparatory information needs of potential performers of solo classical guitar concerti. Identifying a range of specific decisions that play an important part in the pre-performance planning of an anticipated concerto performance provides performance considerations for each selected concerto. The content of six solo classical guitar concerti spanning almost 180 years by six composers from four countries was analysed for the purpose of this study. Two early guitar concerti by guitarist composers Mauro Giuliani (1781-1829) and Ferdinando Carulli (1770-1841), two modern concerti by non-guitarist composers Mario Castelnuovo-Tedesco (1895-1968) and Joaquín Rodrigo (1901-1999) and two modern concerti by guitarist composers Heitor Villa-Lobos (1887-1959) and Leo Brouwer (b.1939) were investigated. The study examines specific compositional and performance aspects of each concerto to serve as a guideline for professional performers, students and teachers. Each concerto was analysed according to similar themes: the historical significance of the investigated concerti, pre-performance considerations, the level of difficulty of selected concerti, technical observations, performance recommendations and observations regarding balance between the soloist and orchestra. As an addendum the study provides a comprehensive list of published concerti for solo classical guitar. / Mini Dissertation (MMus)--University of Pretoria, 2017. / Music / MMus / Unrestricted

Orientador: Sonia Regina Albano de Lima / Resumo: O estudo de multicasos que se segue teve como objetivo investigar os processos de formação de um solista internacional de trompete mediante a análise da trajetória de vida de nove trompetistas com reconhecida carreira internacional, utilizando como parâmetros de análise os estágios de desenvolvimento propostos pela ciência da expertise. Para tanto realizou-se uma pesquisa qualitativa fundamentando-se em revisão de literatura. A revisão de literatura concentrou-se em textos relacionados ao desenvolvimento da expertise em todas as áreas de conhecimento e principalmente, no desenvolvimento da expertise em música. Os trompetistas solistas escolhidos foram: Rafael Méndez, Timofei Dokshizer, Maurice André, Wynton Marsalis, Håkan Hardenberger, Ole Antonsen, Sergei Nakariakov, Alison Balsom e Pacho Flores. Para a análise do material coletado foram utilizados os estágios de desenvolvimento da expertise propostos pelos pesquisadores Anders Ericsson (2016), Isabela Wagner (2015), Rena Subotnik e Linda Jarvin (2005) os quais compõem o referencial teórico de presente pesquisa. A partir dos dados coletados e das análises efetuadas, foi possível identificar similaridades entre a trajetória de vida dos solistas escolhidos e os estágios propostos pelos autores de referência e, assim, apontar aspectos inerentes à formação do trompetista-solista. Os resultados dos estudos desenvolvidos permitiram a elaboração de um quadro com quatro estágios do desenvolvimento trilhados pelos trompetistas solis... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: The following multicase study aimed to investigate the processes of formation of an international trumpet soloist by analyzing the life trajectory of nine trumpeters with recognized international careers, using as parameters of analysis the stages of development proposed by the science of expertise. Therefore, a qualitative research was conducted based on literature review. The literature review focused on texts related to the development of expertise in all areas of knowledge and especially the development of expertise in music. The soloist trumpeters chosen were: Rafael Méndez, Timofei Dokshizer, Maurice André, Wynton Marsalis, Håkan Hardenberger, Ole Antonsen, Sergei Nakariakov, Alison Balsom and Pacho Flores. For the analysis of the collected material were used the stages of development of expertise proposed by the researchers Anders Ericsson (2016), Isabela Wagner (2015), Rena Subotnik and Linda Jarvin (2005) which make up the theoretical framework of this research. From the collected data and the analyzes performed, it was possible to identify similarities between the life path of the chosen soloists and the stages proposed by the reference authors and, thus, to point out aspects inherent to the formation of the soloist trumpeter. The results of the developed studies allowed the elaboration of a four-stage framework of development followed by the soloist trumpeters surveyed as a conclusion of the research. It is hoped that this framework and the reasoning that justifies... (Complete abstract click electronic access below) / Résumé: L’étude multicase suivante visait à étudier les processus de formation d’un soliste de trompette international en analysant la trajectoire de vie de neuf trompettes ayant des carrières internationales reconnues, en utilisant comme paramètres d’analyse les stades de développement proposés par la science de l’expertise. Par conséquent, une recherche qualitative a été menée sur la base d’une revue de la littérature. La revue de la littérature s'est concentrée sur les textes relatifs au développement de l'expertise dans tous les domaines de la connaissance et en particulier au développement de l'expertise en musique. Les trompettistes solistes choisis étaient: Rafael Méndez, Timofei Dokshizer, Maurice André, Wynton Marsalis, Håkan Hardenberger, Ole Antonsen, Sergei Nakariakov, Alison Balsom et Pacho Flores. Pour l'analyse du matériel collecté, nous avons utilisé les étapes de développement de l'expertise proposée par les chercheurs Anders Ericsson (2016), Isabela Wagner (2015), Rena Subotnik et Linda Jarvin (2005) qui composent le cadre théorique de cette recherche. À partir des données collectées et des analyses effectuées, il a été possible d'identifier des similitudes entre le chemin de vie des solistes choisis et les étapes proposées par les auteurs de référence et, ainsi, de souligner les aspects inhérents à la formation du trompettiste soliste. Les résultats des études développées ont permis d'élaborer un cadre de développement en quatre étapes suivi par les trompettistes s... (Résumé complet accès életronique ci-dessous) / Doutor

This study documents the career of Joseph Eger (b. 1920), who had a short but remarkable playing career in the 1940s, 1950s and early 1960s. Eger toured the United States and Britain as a soloist with his own group, even trading tours with the legendary British hornist, Dennis Brain. He recorded a brilliant solo album, transcribed or arranged several solos for horn, and premiered compositions now standard in the horn repertoire. He served as Principal Horn of the New York Philharmonic, Los Angeles Philharmonic, and the National Symphony. Despite his illustrious career as a hornist, many horn players today do not recognize his name. While Eger was a renowned horn soloist in the middle of the twentieth century, he all but disappeared as a hornist, refocused his career, and reemerged as a conductor, social activist, and author. This dissertation seeks to be the long-overdue comprehensive documentation of Eger's career as the first American horn soloist and his contributions to the world of horn playing. First, a biography of Eger is presented, focusing especially on his education and career as an orchestral player, soloist, and recording artist, including its intersections with the lives of many prominent musicians and personalities of the twentieth century. A personal interview provided most of this information. An examination of what is perhaps Eger's greatest and most lasting contribution, his solo album, Around the Horn, will follow. A discussion of this recording and his Grammy-nominated chamber music album will provide insight into the high quality of his horn playing and the breadth of his repertoire. Finally, Eger's transcriptions and editions of pieces for solo horn and the pieces that were premiered or composed for him will be listed and discussed.

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Entre 1750 et 1810, l’entrée du soliste dans les premiers mouvements de concerto est un événement théâtral et musical. Examinant le corpus de Johann Christian Bach, Haydn, Mozart, Viotti et Beethoven, cette thèse distingue les stratégies compositionnelles récurrentes, constituant la norme de l’époque étudiée. Elle analyse les procédés rhétoriques à l’œuvre en évaluant l’effet produit par chacun par rapport à la norme attendue.La première partie concerne la construction de l’attente du soliste. Elle évalue la fonction introductive du premier tutti, distinguant les « tuttis-cadre » des « tuttis-narratifs » et examinant l’impact de la présence d’une modulation. La deuxième partie étudie les stratégies de clôture de l’exposition orchestrale et l’existence d’une rupture lors de l’entrée du soliste. La troisième partie montre la manière de donner la parole au soliste par le choix de son thème d’entrée, d’une ornementation éventuelle ou l’ajout d’une section introductive virtuose autonome. / Between 1750 and 1810, the entry of the soloist in the first movement of a concerto is a musical and theatrical event. Going through the corpus of Johann Christian Bach, Haydn, Mozart, Beethoven, and Viotti, this thesis distinguishes personal strategies from recurring compositional techniques that are standard in the period under review. It analyzes the rhetorical techniques used through assessing the effect of each technique compared to that of the expected standard.The first part concerns the construction of the expectation of the soloist. It evaluates the introductive function of the first tutti, creating a disctinction between “frame-tuttis” and “narrative tuttis”, and examinating the impact of the presence of a modulation. The second part focusses on the closing strategies of the orchestral exposition and the existence of a break for the soloist’s entry. The third part shows the hand over to the soloist through the choice of the entry theme, the eventual ornementation, and the adding of an autonomous virtuoso introductive section.

L’objectif de cette thèse est de s’interroger sur la prégnance éventuelle de paradigmes romantiques chez les pianistes improvisateurs solistes issus du jazz. Du modèle de la virtuosité soliste au style et plus généralement à l’esprit romantique,est-il possible de déceler, chez eux, une part d’héritage assumée ou non ? Concernant des pianistes aussi différents que les virtuoses de la musique savante romantique du XIXe siècle en Europe et les pianistes de jazz américains du siècle suivant, le terme d’héritage pourrait sembler inadapté voire abusif. Or il ne faut pas sous-estimer l’apport de la musique savante écrite aux musiques improvisées, en particulier dans le domaine pianistique. Tous les pianistes improvisateurs se sont plus ou moins trouvés confrontés à des pages extraites des répertoires classique, romantique ou contemporain, tout au moins pendant leurs études pianistiques qui pour certains, ont été extrêmement approfondies. Peut-on discerner dans le jeu de certains virtuoses les influences des deux grands génies romantiques au caractère si différent que furent Chopin l’intimiste et Liszt l’extraverti au travers de cette virtus latine reliant habileté et transcendance, apanage du héros prométhéen qui vole le feu pour l’offrir à l’humanité ? La musique improvisée est fréquemment une entité de partage, le récital de soliste restant l’exception. C’est à l’occasion de ce moment privilégié que les rares élus, dont la relation à l’instrument sur lequel ils jouent est à chaque fois nouvelle, accèdent au statut de héros en valorisant énergie, action et savoir humain. De Jelly Roll Morton, autoproclamé « inventeur » du jazz à l’improvisation totale de l’ère post-bop, en passant par les pianistes de stride et Art Tatum, la représentation du romantisme revêt des aspects protéiformes allant de l’émancipation des aspects fonctionnels liés à la danse aux préoccupations programmatiques d’un Brad Mehldau se remémorant Schumann. / The aim of this thesis is to question the possible impact of romantic paradigms for soloist improviser pianists coming from the jazz scene. From the soloist virtuosity to the style and more generally to the romantic spirit, is it possible to find in their work a certain heritage, whether it is overtly admitted or not? However, 19th century classical music virtuosi and jazz pianists from the following century are so different that it seems natural to wonder whether the word ‘heritage’ is the proper one to use. Yet, the contribution of written classical music to improvised music pieces shouldn’t be overlooked, especially when examining thepianistic domain. Every improviser pianists have been faced with pieces from the classical, romantic or contemporary repertoire to some extent, at the very least during their piano studies which, for some of them, were extremely advanced. Through the Latin virtus connecting dexterity and transcendence – the prerogative of the Promethean hero stealing fire as a present for humanity - could it be possible to find in the playing of certain virtuosi the influence of the two great romantic geniuses, Chopin the intimist and Liszt the extrovert, whose characters were so different? Improvised music is frequently a moment of sharing (soloists’ recitals being the exception) and it is the moment when a few chosen ones can reach the status of heroes, emphasizing energy, action and human knowledge. From Jelly Roll Morton, self-proclaimed “inventor” of jazz music, the stride pianists and Art Tatum,to the complete improvisation of the post-bop era, romanticism is represented through many different protean aspects such as the emancipation of functional aspects connected to dance or again the programmatic concerns of a certain Brad Mehldau, reminiscing about Schumann.

This study seeks to investigate form and content of African music as exemplified by Bukusu circumcision music. Technological products, growth of urban centres, emergence of industries and the widespread of deadly diseases such as HIV/AIDS have led to remarkable adjustments in the social behaviour and other ways of life in African communities. These adjustments have strained the socio-cultural patterns of African traditional ceremonies leading to a shift in the form, content, significance and performance of music in such ceremonies. The dilemma and problem in the Bukusu community is centred on how to strike a balance between the traditional and modern perspectives in the form, content, organization and performance of Bukusu circumcision music. This dilemma has given rise to three protagonists: the traditionalists, semi-traditionalists and modernists. While traditionalists advocate for the traditional organization and performance of Bukusu circumcision music, the semi-traditionalists mix the modern and traditional aspects. On the other hand, the modernists have altogether done away with the traditional music. This study identifies, investigates and explains the various structures, forms, meanings and functions of traditional Bukusu circumcision music against the backdrop of modernity. Here, by modernity we mean capitalistic and monetary oriented economies together with religious ideologies foreign to the African belief systems. Such ideologies are, for example, embodied in Christianity and Islam. It is recommended that important virtues embodied in the Bukusu circumcision ritual be incorporated and perpetuated within the modern social trends. This would sustain the social controls that such virtues effect and, by extension, stand for in most African communities. Primary and secondary sources of data were consulted. Collection of primary data involved carrying out both participant and non-participant observations in Bungoma District in Western Province of Kenya, where most Bukusus reside. Interviews and focus group discussions were also employed in primary data collection. Purposive and snowball sampling techniques were used to identify respondents who included circumcisers, initiates, song leaders, singers and instrumentalists among others. Secondary sources included information from written materials like books, journals, reports, articles, seminar papers and periodicals. Findings of this research are a record of Bukusu circumcision music, which is ever evolving to conform to the changing socio-cultural and economic situation of the society. They are an invaluable assessment tool in the evaluation of the past, present and future perspectives of the music. Above all, the findings are a repository for reference by future generations in scholarship and ethnomusicological research. / Thesis (DMus (Music))--University of Pretoria, 2007. / Music / unrestricted

Made available in DSpace on 2016-12-08T16:51:56Z (GMT). No. of bitstreams: 1 alex.pdf: 1294416 bytes, checksum: a9e5368eec58f31aaa65300e5119de57 (MD5) Previous issue date: 2012-08-30 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This thesis deals with puppet manipulation visible to the audience , focusing on soloist performance. The field of study is defined by the first four editions of the International Puppet Festival, in Florianópolis FITAFloripa, during the years 2007 untill 2010. First of all there are reflexions about different kinds of didacticism in Puppetry, the different age groups desired according to the play, the transformations in the choice and using of modalities of puppetry, and the presence of the direction in brazilian puppet plays. Still having as a reference the quantitative database got from the analysis of the 72 plays that composed the FITAFloripa programme during the period, the research go into the characteristics of the soloist performer activity and the puppet manipulation visible to the audience in Brazil. In this carefully examination it is discussed the relations between the soloist performance and the puppetry and its mains characteristics, followed by a historical research about the first brazilians experiences in the puppet manipulation visible to the audience, with its transformations and distinct ways of performance find in current plays. In the last part of this thesis the plays O Incrível Ladrão de Calcinhas and O Princípio do Espanto are analysed, in order to deepen the study about soloist performance and puppet manipulation visible to the audience. Both plays selected from the FITAFloripa programme present different kind of performance with differences that allows a best ponderation about the subjects. The items developed about the two plays are the soloist performer activity, the puppet manipulation visible to the audience, the direction and the dramaturgy / A presente dissertação trata da animação de bonecos à vista do público, com foco na atuação solo em cena. Parte-se de um campo de estudo delimitado nas quatro primeiras edições, entre os anos de 2007 e 2010, do Festival Internacional de Teatro de Animação de Florianópolis FITAFloripa. Realizam-se primeiramente reflexões sobre as formas de didatismo no teatro de animação, as diferentes faixas etárias almejadas conforme o espetáculo, as transformações nas escolhas e usos de modalidades de animação, além da presença da direção no teatro de animação brasileiro. Ainda tendo como referência os dados quantitativos obtidos pela análise dos 72 espetáculos que compuseram a programação do FITAFloripa no período referido, detalham-se as características da atividade do solista e da animação de bonecos à vista do público no Brasil. Neste aprofundamento discutem-se as relações próprias do solo no teatro de animação e suas principais características, seguido de um levantamento histórico acerca das primeiras incursões brasileiras na animação à vista do público, com suas transformações e distintos modos de atuação encontrados na atualidade. Na última parte do trabalho analisam-se os espetáculos O Incrível Ladrão de Calcinhas e O Princípio do Espanto, a fim de aprofundar o estudo sobre a atuação solo e a animação de bonecos à vista do público. Ambos os espetáculos escolhidos na programação do FITAFloripa apresentam as duas formas de atuação com diferenças que permitem refletir melhor sobre os temas. Os itens aprofundados acerca dos dois espetáculos são a atividade do solista, a animação à vista do público, a direção e a dramaturgia

La version intégrale de cette thèse est disponible uniquement pour consultation individuelle à la Bibliothèque de musique de l’Université de Montréal (http://www.bib.umontreal.ca/MU). / Cette thèse de doctorat comprend l’analyse, les partitions et les enregistrements sonores de plusieurs compositions musicales écrites et improvisées qui furent enregistrées au cours des années 2009 et 2010. Elle vise le développement des éléments de détermination d’un langage musical personnel. Pour ce faire, divers outils furent mis en place, tels que le développement d’un système mélodico harmonique flexible et l’expansion de la palette sonore du vibraphone, grâce à la maîtrise du bending tone. Le corps de cet ouvrage se divise donc en deux parties consacrées à l’élaboration du système de superposition arborescente et à l’aspect soliste recherchant la flexibilité, la virtuosité et l’élargissement des possibilités liées au son de cet instrument de musique. Les concepts élaborés sont appuyés par des illustrations, des références aux partitions et des exemples musicaux ciblés de type jazz et de type classique occidental. / This doctoral thesis involves the analysis, scores and sound recordings of several composed and improvised musical compositions recorded during the years 2009 – 2010. Its main objective is the development of elements determining a personal musical language. To achieve this objective, different tools were put in place such as the development of a flexible harmonic and melodic system and the expansion of the multitude of sound effects of the vibraphone, both achieved by mastering the “bending tone”. The body of this document is divided in two parts devoted to the elaboration of a system of superposition of the different changes that can be brought to the core element and the aspect of the soloist searching for flexibility, virtuosity and the diversity of sounds linked to this particular instrument. The concepts elaborated are supported by illustrations, score references and targeted musical examples including jazz and western classical styles.

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