Orientador: Luis Carlos Cagliari / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-07-19T12:54:00Z (GMT). No. of bitstreams: 1 Leme_MariaLuisadeAlmeida_M.pdf: 8518394 bytes, checksum: 1c98113bf77ebe3bef2922cc6736fa0e (MD5) Previous issue date: 1994 / Resumo: A comunidade tirolesa-trentina de Piracicaba (SP) é constituída por dois bairros, que pertencem à Fazenda de Santa Olímpia e à Fazenda de Santana, mais os habitantes da fazenda Negri. É uma comunidade formada por descendentes de imigrantes que vieram do Tirol austríaco (hoje, parte da Região do Trento Itália) no fim do século passado (1877). Da origem até hoje já se formaram cinco gerações. Por terem se mantido unidos, conservaram as tradições do pais de origem. São católicos e para eles, a religião é uma atividade indispensável no dia-a-dia. Da comunidade já saíram muitos religiosos, padres e até bispos. Os costumes culinários e, sobreturo, as festas tradicionais representam outro aspecto da cultura de origem que se manteve bem preservado. Hoje, a comunidade apresenta três dialetos em uso: o dialeto trentino (italiano), falado pelos velhos e entendo também pelos mais novos: o dialeto caipira, representando a variedade de português da região: e uma variante do dialeto caipira, rotulada de misturada, que se caracteriza por ser o dialeto caipira com enorme quantidade de palavras de origem trentina e principalmente, com forte influência fonológica do dialeto trentino, alterando o sistema do português. Este estudo apresenta a história desta comunidade, destaca usos e costumes e mostra a importância da religião. O objetivo principal, porém, é o levantamento da situação linguística, estudando o aspecto fonológico, em particular. A situação de bilinguismo e de variação dialetal é detalhada no seu aspecto fonológico. Fatores sociolinguísticos são contemplados, à medida que possam esclarecer os usos da linguagem na comunidade / Abstract: Not informed. / Mestrado / Mestre em Linguística

Includes bibliographical references / Philip Glass is best known for his role in the establishment of the 1960s minimalist movement, which was characterised by an extensive reduction of musical means. Since the mid-1970s, the composer has adopted a richer, more complex musical language, and distanced himself from the minimalist label. Academic scholarship on the composer's more recent compositions is severely limited, with the result that he is often still viewed as a minimalist. This dissertation's focus is on a more recent work by Glass, the Tirol Concerto for Piano and Orchestra (2000), and thus seeks to contribute to our knowledge of the composer's more recent stylistic development and the extent to which it is minimalist. The research approach entails compositional analyses of the concerto's second movement from both literary and theoretical perspectives. The movement's conception, its background and factors that had an influence on its compositional content are explored through literature studies. This is followed by theoretical investigations of its musical characteristics through the application of functional harmonic analysis and neo-Riemannian theory. Findings from the research provide evidence that the composition's title stems from the 'Tyrolean character' that was requested by its commissioners. However, relations between the movement and the film The Truman show (1998) challenge the composer's affirmations of a Tyrolean folk-song basis. Musically, the movement consists of a simple, repetitive structural and harmonic framework that undergoes superficial variations through melodic, textural and rhythmic changes. Transformational coherence within a functional structure is an essential component of the movement's harmonic content. This dissertation concludes that the piece contains musical characteristics consistent with all of Glass's stylistic periods, including minimalism, as well as new compositional devices that have not been identified previously. It recommends further study of the composer's more recent output , especially through transformational perspectives, and a reconsideration of the ontology and appropriateness of stylistic labels such as minimalism.

Marcel Prawy, born in Vienna, graduated in law. In 1936, the couple Kiepura/Eggerth engaged him as private assistant. Two years later Jan Kiepura helped him to emigrate to New York. In 1943, after his employment ended, Prawy joined the US Army. Finally he returned as an elite soldier to Vienna and began his pioneering work for ‘Broadway Musicals’. In 1955, he was appointed dramaturge at the ‘Wiener Volksoper’. One year later in February, Kiss Me, Kate was performed in two Austrian theatres. The Viennese version was produced by Prawy himself and staged by Heinz Rosen. In Graz André Diehl directed the orchestration by conductor Rudolf Bibl on the basis of a piano score. Prawy relied on a mixture of Austrian theatre luminaries and American actors. In the Volksoper 183 performances took place – Graz had only 16. The reviews for the Viennese premiere reaffirmed the cheers. The criticism of the Graz production did not receive the same attention as Prawy’s production did.