Denna studie har som ansats att diskutera vad populärkulturen har för påverkan. Detta görs genom att anta ett mindre perspektiv och ta upp hur populärkulturella tv-serier om terapi kan påverka och har påverkat de bilder som finns av terapi och terapeuter. Genom att tillämpa en kvalitativ metod har semistrukturerade intervjuer med fyra terapeuter och psykologer genomförts. Detta ger ytterligare ett nytt perspektiv då det är de som omfattas av mediebilden som ges möjlighet att diskutera den. Frågorna som tagits upp är huruvida de populärkulturella skildringarna är att betrakta som representativa och vad det kan ha för betydelse. Dessa resultat har sedan kopplats till medieteorier om påverkan. Genom att analysera materialet som framkommit vid intervjuerna med hjälp av medieteorierna har studien visat att populärkulturens har en konstruktionistisk påverkan. Detta innebär att tv-serierna om terapi har en påverkan men dess inverkan sker subtilt i den meningen att den hjälper till att förstärka normer som statuerats på annat håll, ur den samhälleliga inställningen till ämnet eller nyhetsskildringar. Genom att tv-serier ger en representativ skildring av terapi bidrar detta till att normalisera och förstärka terapin och terapeutens roll i samhället. Detta är möjligt och har varit nödvändigt eftersom det under de senaste 15-20 åren växt fram ett större intresse för psykisk hälsa och dess betydelse har omförhandlats. Den tidigare karikatyriska bilden av terapeuten och patienten har ersatts av en modern representation som gör bägge parter mer rättvisa.

Coloratura arias for soprano were popular with Viennese opera audiences in the late eighteenth century. Prima donnas of the Singspiel and opera buffa companies expected composers to write arias that would display their technical skills, even requesting substitute arias to replace less virtuosic ones in revivals of older operas. However, in using coloratura in the comic opera genres, Mozart was not only creating an opportunity for virtuoso display of the singer's talent, but was also using this vocal style as a dramatic and rhetorical device, one that defined a character's social level. depicted her emotions, and advanced her dramatic situation. This thesis investigates how coloratura functions in Mozart's soprano comic roles by examining the arias of three characters from two different operas: Konstanze and Blonde in the Singspiel Die Enifiihrung aus dem Serail, and Susanna in the opera buffa Le nozze di Figaro. An analysis of these arias shows evidence of Mozart's skill in using coloratura while meeting the conflicting demands of diva and drama.

The location of the available research literature and its relationship to the pedagogy of the female high voice is the subject of this thesis. The nature and pedagogy of the female high voice are described in the first four chapters. The next two chapters discuss maintenance of the voice in conventional and experimental repertoire. Chapter seven is a summary of all the pedagogy. The last chapter is a comparison of the nature and the pedagogy of the female high voice with recommended areas for further research. For instance, more information is needed to understand the acoustic factors of vibrato, singer's formant, and high energy levels in the female high voice.

Les prétentions esthétiques de la série télévisée Les Soprano nous ont convaincu qu’elle s’inscrit dans une période significative de l’histoire des médias : la migration du cinéma et la de littérature vers la sérialité télévisée, avec tout ce que cela implique de transformations sociale, esthétiques et économiques fondamentales. Nous mettrons cette période en parallèle avec celle du cinéma du vingtième siècle et du roman du dix-neuvième siècle, afin de montrer que l’œuvre est habitée, de manière aussi bien volontaire qu’involontaire, par certaines contradictions multidimensionnelles inhérentes aux mutations de l’industrie culturelle. Ces contradictions impliquent la contamination pathologique du récit par l’interruption et la répétition, connotant une passivité fondamentale de l’Homme moderne. / The aesthetic pretensions of the television series The Sopranos have convinced us that it is part of a significant period in the history of the media: the migration of cinema and literature towards televised seriality with all that this implies of social, aesthetic and economic transformations. We will put this period in parallel with that of the twentieth century cinema and the nineteenth century novel to show that the work is inhabited, both voluntarily and involuntarily, by certain multidimensional contradictions inherent in the mutations cultural industry. These contradictions imply the pathological contamination of the story by interruption and repetition, which connotes a fundamental passivity of modern man.

Plusieurs opéras français de l'époque romantique comportent des rôles pour soprano possédant un registre particulièrement étendu, requérant aussi de l'agilité, de la puissance et une largeur. Pensons ici aux rôles de Juliette (Roméo et Juliette, Charles Gounod), Marguerite (Faust, Charles Gounod), Manon (Manon, Jules Massenet), Louise (Louise, Gustave Charpentier), Leila (Les pêcheurs de perles, Georges Bizet), ou même Olympia, Stella, Antonia et Giulietta (Les Contes d'Hoffmann, Jacques Offenbach), qui ont tous été composés à l'origine pour une seule et même interprète. Dans ces opéras, le personnage évolue en même temps qu'une orchestration de plus en plus intense. Ces rôles ont un principal point en commun : ils demandent une grande souplesse, mais également une puissance pour surpasser un orchestre parfois très étoffé avec une ligne vocale dramatique et grave, tout en gardant la brillance. Ainsi, une partie de ces rôles pourrait être soutenue par une voix légère, et l'autre partie par une voix large. Malgré certaines croyances, seules certaines sopranos sont en mesure d'interpréter ces grands rôles. Ayant les deux facettes dans ma voix, je me suis dirigée vers ce répertoire tout destiné pour mon type de voix. J'ai donc appris et travaillé quatre rôles de l'opéra français de l'ère romantique, soient Marguerite (Faust, C. Gounod), Leila (Les pêcheurs de perles, G. Bizet), Juliette (Roméo et Juliette, C. Gounod) et Manon (Manon, J. Massenet). Dans cette recherche, je me suis fiée à mon expérience personnelle ainsi qu'à celle d'interprètes et de chefs d'orchestre de renommée internationale afin de recueillir des données pour répondre à la question "Comment développer les caractéristiques vocales nécessaires pour une interprète qui désire chanter les rôles de soprano français romantiques qui requièrent plusieurs types de voix différents?" Par cette recherche, j'ai tenté de répondre à cette question, tout en trouvant des réponses auxquelles je ne m'attendais pas... le but direct étant d'interpréter ces rôles de la façon la plus rapprochée de ce qu'aurait désiré le compositeur. / Several French operas of the Romantic period which we find roles for a type of soprano voice with a particularly extensive register, also requiring agility, but also power and width. Think here of Juliette (Roméo et Juliette, Charles Gounod), Marguerite (Faust, Charles Gounod), Manon (Manon, Jules Massenet), Louise (Louise, Gustave Charpentier), Leila (Les pêcheurs de perles, Georges Bizet), or even Olympia, Stella, Antonia, and Giulietta (Contes d'Hoffmann, Jacques Offenbach), all of which were originally composed for the same performer. In these operas, the character evolves at the same time as an increasingly intense orchestration. These roles have one main point in common: they require both a great flexibility, but also a power to surpass an orchestra sometimes very rich with a dramatic and low vocal line, while keeping the brilliance. Thus, one part of these roles could be supported by a light voice, and the other part by a wide voice. Despite certain beliefs, only certain sopranos are able to interpret these great roles. Having both facets in my voice, I turned to this repertoire, which was designed for my type of voice. I therefore learned and worked on four roles from French opera of the romantic era, namely Marguerite (Faust, C. Gounod), Leila (Les pêcheurs de perles, G. Bizet), Juliette (Roméo et Juliette, C. Gounod) and Manon (Manon, J. Massenet).In this research, I relied on my personal experience as well as that of internationally renowned performers and conductors to gather data to answer the question, "How is it possible to develop the vocal characteristics necessary for a performer who wishes to sing the romantic French soprano roles that require many different voice types?" Through this research, I attempted to answer this question, while finding answers that I did not expect...the direct goal being to perform these roles as close to what the composer would have desired.

Mezzo-soprano roles in French opera at the end of the nineteenth century were fatalistic; that is, the y inevitably bring about min or death. This thesis studies three mezzo-soprano roles in French Romantic opera from a performer's perspective: Carmen in Georges Bizet's Carmen, Dalila in Camille Saint-Sans' Samson et Dalila and Charlotte in Jules Massenet's Werther. These three characters cause the min of three romantic heroes all performed by tenors. What are the new narrative and dramatic functions of mezzo-sopranos in French opera at the end of the nineteenth century? As a performer, it is important to understand one's voice-type, the roles that are generally attributed to it, and the impact they have on dramatic and musical representation. This short analysis will help young performers in their approach to a character in order to have a better comprehension of aIl the dimensions and subtleties that are related to it. / Les rles des mezzo-sopranos dans l'opra franais de la fin du 19ime sicle sont trs fatalistes, c'est--dire qu'ils entranent invitablement la ruine, la mort. Ainsi, dans une perspective d'interprte, cette thse se penche sur trois rles fminins de mezzosoprano de l'opra franais romantique la fin du 19ime sicle : Carmen dans l'opra du mme titre de Georges Bizet, Dalila dans Samson et DWa de Camille Saint-Sans ainsi que Charlotte dans Werther de Jules Massenet. Ces trois personnages occasionnent la perte de trois hros romantiques tous interprts par des tnors. En ce sens, quelles sont les nouvelles fonctions narratives et dramatiques des mezzo-sopranos dans l'opra franais du 19ime sicle? En tant qu'interprte, il est important de bien comprendre notre type de voix, les rles qui lui sont gnralement attribus, l'impact de ceux-ci dans les histoires opratiques et dans leur reprsentation musicale. Cette courte analyse permettra de jeunes interprtes de les guider, de les aider dans leur approche d'un personnage et de mieux comprendre toutes les dimensions et les subtilits qui s'y rattachent.

Thesis (MMus)(Comp)--University of Melbourne, Faculty of the Victorian College of the Arts and Music, 2010. / Typescript.

This dissertation uses a multiperspectival approach that analyzes production, text, and audience consumption to explore representations of gender and ethnicity in The Home Box Office, Inc. (HBO) original program The Sopranos. I first present the social, political, and economic factors that contributed to the continued critical and commercial success of the show. The hybrid genre of the show - an intermingling of the gangster and soap opera genres - proves particularly significant in its representation of gender and ethnicity. Both textual and audience analyses allow me to respond to the question central to this dissertation: Does The Sopranos reinforce or challenge hegemonic notions of masculinity, femininity, and ethnicity? My textual and paratextual analysis identifies the embodiment of hegemonic masculinity in the male characters, including the ways in which that hegemonic behavior leads to male violence, as depicted in the narrative, and reveals the performances of emphasized femininity and pariah femininities, class, and Italian/Americaness at play amongst the female characters in The Sopranos. Audience analysis reveals that The Sopranos broadly appeals to many Italian/Americans and self-proclaimed feminists, yet the vast majority of fans, particularly those who create fan fiction and frequent chat rooms, are drawn to the show for its violence, sexist imagery, and macho male characters. Thus, the multiperspectival approach of this dissertation proved particularly useful in determining that The Sopranos, in its entirety, ultimately repackages, but yet still reinforces hegemonic notions of gender and Italian/Americaness. / by Niki Caputo Wilson. / Thesis (Ph.D.)--Florida Atlantic University, 2010. / Includes bibliography. / Electronic reproduction. Boca Raton, Fla., 2010. Mode of access: World Wide Web.

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Orientador: Edmundo Pacheco Hora / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-14T15:53:14Z (GMT). No. of bitstreams: 1 Leeuwen_Alexandravan_M.pdf: 13780005 bytes, checksum: b5c4a8ef6a55977943540f7261287c01 (MD5) Previous issue date: 2009 / Resumo: Nesta pesquisa nos propomos a estudar os aspectos da prática musical dramática brasileira, principalmente no Rio de Janeiro entre o final do século XVIII e início do XIX, segundo a trajetória artística da cantora e atriz Joaquina Lapinha, que atuou tanto nos palcos cariocas quanto lusitanos. Por meio do estudo dessa intérprete brasileira, buscamos trazer mais informações acerca da participação feminina na cena lírico-dramática à época, sobretudo das mulheres negras e mulatas em contraste à prática européia dos castrati, comprovando a importância dessa cantora que saiu da colônia para se apresentar em Portugal e até mesmo para Dom João VI. Pelo repertório executado por Lapinha, procuramos demonstrar a presença de elementos do estilo operístico italiano, principalmente de origem napolitana, na obra dramática executada no Brasil no período mencionado, considerando a forte miscigenação presente no que se refere às práticas e experiências comuns ao lusobrasileiro. Buscamos ainda relacionar a influência dessa intérprete em um possível desenvolvimento virtuosístico da escrita musical por meio das obras profanas de Pe. José Maurício Nunes Garcia (1767-1830), a saber: Coro em 1808; o drama O Triunfo da America (1809); e o drama heróico Ulissea (1809). Desenvolvemos também um estudo analítico das linhas vocais para a voz solista nas obras citadas, destacando a ornamentação presente e outros aspectos que favoreçam uma visão ampla do intérprete, procurando fundamentar e enriquecer sua interpretação. Sempre que possível, consultamos fontes primárias, o que nos levou a identificar a relevância dos acervos portugueses para a musicologia brasileira, dentre os quais destacamos o fundo musical da Biblioteca do Paço Ducal de Vila Viçosa, que trouxe informações essenciais à nossa pesquisa. Pretendemos, assim, unir aspectos que contribuam com a pesquisa musicológica no país a elementos de ordem prática, relacionados à interpretação do repertório deste período. / Abstract: In this research we propose to study the aspects of Brazilian dramatic musical practice, mainly in Rio de Janeiro between the end of the eighteenth century and beginning of the nineteenth century, according to the artistic trajectory of the singer and actress Joaquina Lapinha, who performed on both Lusitanian and Carioca stages. Through the study of this Brazilian interpreter, we intend to present more information concerning the feminine participation in the lyric-dramatic scene at the time, in particular, of the black and mulatto women in contrast to the European practice of castrati. As a result, we prove the importance of Lapinha who left the colony to perform in Portugal and even for Dom João VI. Through the repertoire executed by Lapinha, we try to demonstrate the presence of elements of the Italian operistic style, mainly of Neapolitan origin, in the dramatical work executed in Brazil in the mentioned period, considering the strong miscegenation present in the practices and common experiences to the Luso-Brazilian. We also attempt to relate the influence of this performer in a possible virtuosistic development of the musical writing through the profane works of the Father José Maurício Nunes Garcia (1767-1830), namely: Coro em 1808; the drama O Triunfo da America (1809); and the heroic drama Ulissea (1809). We also developed an analytical study of the vocal lines for the soloist in these works, highlighting the ornamentation and other aspects present that favor an ample view of the interpreter, intending to underline and to enrich its interpretation. Whenever possible, we consulted primary sources, fact that lead us to understand the relevance of the Portuguese libraries for Brazilian musicology, amongst which the musical collection of the Vila Viçosa Ducal Palace brought essential information to our research. We intend, thus, to join aspects that contribute with the musicological research in the country to elements of practical order, related to the interpretation of the repertoire of this period. / Mestrado / Fundamentos Teoricos / Mestre em Música