Este trabalho apresenta um estudo analítico dos elementos melódicos e gestuais presentes em Notas Soltas (1978) para flauta transversal solo e Notas Irresponsáveis (1986/87) para trio de flautas transversais de Bruno Kiefer. O livro Introduction to Post-Tonal Theory de Joseph Straus é utilizado como referencial teórico para a abordagem melódica. Buscamos identificar quais são os padrões de escrita empregados pelo compositor e procurar relações entre as duas peças. Utilizamos o catálogo de Gestos Musicais apresentados por Luciane Cardassi em A música de Bruno Kiefer : "terra", "vento", "horizonte" e a poesia de Carlos Nejar. Através dos resultados dessas análises, procuramos entender como se dá a escrita idiomática do compositor, bem como encontrar traços em comum entre repertório escolhido para essa pesquisa e obras de Kiefer investigadas por outros autores. / The purpose of this work is to present an analytical study of the melodic elements and gestures in Bruno Kiefer’s pieces entitled Notas Soltas (1978) for solo flute and Notas Irresponsáveis (1986/87) for flute trio. The theoretical framework for the melodic approach is based on Joseph Straus’ Introduction to Post-Tonal Theory. The aim has been to identify the musical patterns employed by the composer and their relationship in both works. The catalogue of Musical Gestures compiled by Luciane Cardassi in A música de Bruno Kiefer: "terra", "vento", "horizonte" e a poesia de Carlos Nejar was also used. Through the analyses of these two works it was possible to understand the idiomatic character of Kiefer’s style, while finding common traces in other works by the same composer.

Este trabalho apresenta um estudo analítico dos elementos melódicos e gestuais presentes em Notas Soltas (1978) para flauta transversal solo e Notas Irresponsáveis (1986/87) para trio de flautas transversais de Bruno Kiefer. O livro Introduction to Post-Tonal Theory de Joseph Straus é utilizado como referencial teórico para a abordagem melódica. Buscamos identificar quais são os padrões de escrita empregados pelo compositor e procurar relações entre as duas peças. Utilizamos o catálogo de Gestos Musicais apresentados por Luciane Cardassi em A música de Bruno Kiefer : "terra", "vento", "horizonte" e a poesia de Carlos Nejar. Através dos resultados dessas análises, procuramos entender como se dá a escrita idiomática do compositor, bem como encontrar traços em comum entre repertório escolhido para essa pesquisa e obras de Kiefer investigadas por outros autores. / The purpose of this work is to present an analytical study of the melodic elements and gestures in Bruno Kiefer’s pieces entitled Notas Soltas (1978) for solo flute and Notas Irresponsáveis (1986/87) for flute trio. The theoretical framework for the melodic approach is based on Joseph Straus’ Introduction to Post-Tonal Theory. The aim has been to identify the musical patterns employed by the composer and their relationship in both works. The catalogue of Musical Gestures compiled by Luciane Cardassi in A música de Bruno Kiefer: "terra", "vento", "horizonte" e a poesia de Carlos Nejar was also used. Through the analyses of these two works it was possible to understand the idiomatic character of Kiefer’s style, while finding common traces in other works by the same composer.

Este trabalho apresenta um estudo analítico dos elementos melódicos e gestuais presentes em Notas Soltas (1978) para flauta transversal solo e Notas Irresponsáveis (1986/87) para trio de flautas transversais de Bruno Kiefer. O livro Introduction to Post-Tonal Theory de Joseph Straus é utilizado como referencial teórico para a abordagem melódica. Buscamos identificar quais são os padrões de escrita empregados pelo compositor e procurar relações entre as duas peças. Utilizamos o catálogo de Gestos Musicais apresentados por Luciane Cardassi em A música de Bruno Kiefer : "terra", "vento", "horizonte" e a poesia de Carlos Nejar. Através dos resultados dessas análises, procuramos entender como se dá a escrita idiomática do compositor, bem como encontrar traços em comum entre repertório escolhido para essa pesquisa e obras de Kiefer investigadas por outros autores. / The purpose of this work is to present an analytical study of the melodic elements and gestures in Bruno Kiefer’s pieces entitled Notas Soltas (1978) for solo flute and Notas Irresponsáveis (1986/87) for flute trio. The theoretical framework for the melodic approach is based on Joseph Straus’ Introduction to Post-Tonal Theory. The aim has been to identify the musical patterns employed by the composer and their relationship in both works. The catalogue of Musical Gestures compiled by Luciane Cardassi in A música de Bruno Kiefer: "terra", "vento", "horizonte" e a poesia de Carlos Nejar was also used. Through the analyses of these two works it was possible to understand the idiomatic character of Kiefer’s style, while finding common traces in other works by the same composer.

Résumé : La réduction du bruit tonal des ventilateurs basse vitesse est un défi très important pour l’industrie. Lorsqu’il émerge du bruit large bande, ce rayonnement est la source de gênes auprès de la population, que ce soit pour de petits ventilateurs d’ordinateurs ou de gros ventilateur miniers. Afin de contrôler le bruit tonal, de nombreuses techniques ont été développées au fil de ces dernières décennies. Une méthode alliant simplicité et efficacité se démarque néanmoins : le contrôle par obstruction de l’écoulement. Malgré les études menées jusqu’alors, les mécanismes aéroacoustiques de réduction du bruit associés à cette méthode restent mal compris. Pour répondre à cette problématique, ce projet de Doctorat s’intéresse à l’étude de l’intéraction entre l’obstruction et le ventilateur au moyen de simulations aéro-acoustiques. De plus, une méthodologie numérique de design de l’obstruction est proposée afin de réduire les coûts associés aux multiples test expérimentaux. / Abstract : Tonal noise radiated by low-speed fans is a prime challenge for many industries. When this component emerges from the broadband noise, the acoustic radiation is particularly harsh for the human ear, whether it comes from a small computer cooling fan or from a large mine ventilation fan. Several methods have been developed over the last decades to control tonal noise. Nevertheless, one simple and efficient technique stands out: the adaptive passive control with flow obstruction. Despite all the research conducted on this method, the aeroacoustic mechanisms responsible for the noise reduction are not fully understood. Therefore, the present thesis aims at investing the obstruction-fan interaction using aeroacoustic simulations. Moreover, a numerical design methodology is proposed to reduce the cost induced by extensive experimental tests.

Made available in DSpace on 2014-06-11T19:22:19Z (GMT). No. of bitstreams: 0 Previous issue date: 2010-05-04Bitstream added on 2014-06-13T19:27:27Z : No. of bitstreams: 1 moro_aem_me_arafcl.pdf: 689150 bytes, checksum: bc19afe1f2e0933a1f9873451ec68d62 (MD5) / Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Nesta dissertação, buscamos compreender a produtividade das ideias do Círculo de Bakhtin no exame do diálogo e da interação entre o sistema de linguagem musical e o sistema de linguagem verbal. Analisamos formas de representação do discurso musical em contos de Machado de Assis (1839-1908). Para tanto, refletimos inicialmente sobre a relação de M. M. Bakhtin (1895-1975) com a música, o seu pensamento musical e sua importância teórica para a constituição da metodologia dialógica de análise da linguagem. Como são as ideias do Círculo sobre dialogismo, discurso direto, indireto e indireto livre, polifonia, modulação tonal e sinfonismo dialógico? A partir dessas ideias, como é possível analisar os alcances objetivos do pensamento musical de Machado de Assis em seus contos? Sendo assim, expomos e comentamos a estrutura, a organização e o funcionamento do material, da forma e do conteúdo do “som significativo” representado na linguagem verbal e musical. Por meio dessa concepção bakhtiniana, estudamos os alcances de continuidades e descontinuidades materiais, formais e semânticas do pensamento musical nas relações do sujeito com os elementos de linguagem musical e verbal. Desse modo, exploramos como o discurso musical de Machado de Assis foi percebido e tratado em perspectiva literária historiográfica e musicológica. Discorremos sobre como o sujeito, o tempo e o espaço aparecem refletidos, refratados e acomodados no diálogo da literatura com a música. Também examinamos como os temas do discurso musical machadiano são modulados no gênero conto e como eles são representados em esferas de atividades da cultura musical brasileira. Por fim, analisamos a posição dialógica do sujeito autor na enunciação do discurso musical e sua condução temática / In this dissertation, we have researched the productivity of ideas from “Bakhtin’s Circle” to the examination and understanding of “dialogue” and possible interactions between verbal and musical languages. By this way, we have analyzed Machado de Assis (1839-1908)’s musical discourse representation forms in his Brazilian short stories. So, at first, we have reflected about M. M. Bakhtin’s musical language relationships answering what your musical thought is like and showing its theoretical importance to the constitution of dialogical methodology on language analysis. In other words, what the ideas from the Circle about dialogism, reported direct and indirect and free indirect speech, polyphony, tonal modulation and dialogical symphonism are like? Starting from those ideas, how is possible to analyze material objective reaches of the Machado de Assis’s musical thought in his short stories? We have exposed and commented the material structure, the formal organization and the content semantic function of the “meaningful sound” represented in verbal and musical language. Through that bakhtinian conception, we have studied material reaches, formal and semantic continuities and descontinuities of musical thought in subject’s relationships with musical and verbal language elements. We have explored how Machado de Assis’s musical discourse was first perceived and treated by historiographic literary critic and musicology perspective. We have discoursed about how subject, time and space appear contemplated, refracted and suitable in literature’s dialogue with music. We have also examined how musical themes from machadian literary discourse are modulated by short story genre and how they are represented in Brazilian culture spheres of musical activities. Finally, we have analyzed the subject author's dialogic position, his musical discourse enunciation and his thematic conduction

Cette recherche explore l’harmonie mise en œuvre par Jean-Philippe Rameau (1683-1764) dans ses tragédies en musique : Hippolyte & Aricie (1733, seconde version en 1742, troisième en 1757), Castor & Pollux (1737 et 1754), Dardanus (1739 et 1744), Zoroastre (1749 et 1756) et Les Boréades (1764). L’étude du parcours harmonique de chaque œuvre, sur la base d’un relevé exhaustif du corpus des partitions gravées, suscite l’invention de procédures d’aide à l’analyse traduites en algorithmes – les traités théoriques du compositeur étant employés à des fins d’interprétation des chiffrages écrits dans les partitions ; l’analyse est ainsi menée de façon exhaustive à toutes les échelles temporelles repérables, depuis le parcours tonal des ouvrages pris dans leur ensemble jusqu’au travail de détail de la rhétorique harmonique dans les dialogues. Par delà les découpages dramatiques (épisodes, répliques) ou spectaculaires (tableaux, changements), des modes de structuration proprement musicaux apparaissent, révélant une architecture harmonique des œuvres. Des exercices comparatifs entre les œuvres, entre leurs différentes versions et avec quelques ouvrages d’autres compositeurs complètent l’approche en isolant quelques traits caractéristiques du style singulier de Rameau. / Jean-Philippe Rameau (1683-1764) has left five tragédies en musique: Hippolyte & Aricie (1733, second version in 1742, third in 1757), Castor & Pollux (1737 and 1754), Dardanus (1739 and 1744), Zoroastre (1749 and 1756) and Les Boréades (1764). This research is devoted to the study of the harmony implemented by the composer in these works, seen through the homogeneous corpus of the engraved scores. To this purpose, algorithmic procedures have been developed to assist the exhaustive analysis of the five tragédies’ music – the composer’s theoretical writing serving as reference to understand the scores’ harmonic figures. The analysis has been carried at all temporal scales, from the characterization of the overall form to the detail of the harmonic rhetoric in dialogs. Beyond the dramatic or performative structures of the operas, the musical shaping reveals a harmonic architecture of each work. Comparisons between the tragédies or with works by other composers offer new insights on Rameau’s particular musical style.

Esta pesquisa propõe, por intermédio da análise musical, evidenciar e avaliar a contribuição de Villa-Lobos a partir da utilização de uma linguagem musical pós-tonal em seu último período criativo (1948-1959), a partir da recorrência do uso de simetrias como elementos estruturais e cadenciais no primeiro movimento da Fantasia para saxofone soprano e pequena orquestra. No que tange ao transitar de Villa-Lobos entre a música de tradição clássica e outras linguagens, no Capítulo 2, é exposto e discutido um significativo paralelo com a obra Blue Rondo A La Turk, de D. Brubeck (1959), sugerindo uma possível troca de influências entre Villa-Lobos e o jazz estadunidense (cool jazz) das décadas de 1950-60. Propõe-se, também, sob a perspectiva contextual, como parte do escopo dessa pesquisa, a reflexão sobre qual seria a raiz para as motivações de Villa-Lobos ao incluir o saxofone em uma parte significativa de sua obra, a ponto de torná-lo um dos compositores brasileiros que mais escreveu para o instrumento no século XX. No que diz respeito às questões contextuais em torno da obra de Villa-Lobos, serviram-nos de base os estudos de Andrade (1972), Béhague (1994), Horta (1986), Kiefer (1981), Mariz (1989), Paz (2004), Peppercorn (2000), Soares (2001) e Silva (2011). Para as questões impossibilitadas de análise de acordo com os padrões tonais, utilizamos como referência a teoria dos conjuntos a partir dos estudos de Forte (1973) e Straus (2013). Em relação a simetrias, serviram de base os trabalhos de Salles (2009; 2016) e Visconti (2016). Referente à gestualidade cadencial, como base, os estudos de Dudeque (2013; 2017) e Salles (2010; 2016). Sobre as relações de Villa-Lobos com os elementos composicionais da música Pós-Tonal, serviram-nos de referência os estudos de Salles (2009; 2016), Piedade (2015), Antokoletz (1992), Albuquerque (2014), Nery Filho (2012), Kiefer (1981), Coelho de Souza (2010), Kostka (2006; 2012) e Wisnik (1997). Para a compreensão do processo de aproximação e apropriação dos elementos da música clássica, por compositores do jazz, utilizamos os estudos de Pinto (2011), Calado (1990), Carneiro (1986), Berendt (1987), Ramsey (1989), Race (1962), Schuller (1986; 1989) e Vanderheyden (2010). / This research proposes, through musical analysis, to evidence and evaluate the contribution of Villa-Lobos from the use of a post-tonal musical language in his last creative period (1948- 1959), from the recurrence of the use of symmetries as structural and cadential elements in the first movement of Fantasia for soprano saxophone and small orchestra. As for Villa-Lobos\'s transition from classical music to other languages, in Chapter 2, a significant parallel is exposed and discussed with the work Blue Rondo A La Turk of D. Brubeck (1959), suggesting a possible villalobian influence on American jazz (cool jazz) from the 1950s-60s. As part of the scope of this research, it is also proposed from a contextual perspective the reflection on what would be the root of Villa-Lobos\'s motivations by including the saxophone in a significant part of his work, to the point of making it one of the Brazilian composers who most wrote for this instrument in the 20th century. As far as the contextual issues surrounding Villa-Lobos\'s work are concerned, the studies of Andrade (1972), Béhague (1994), Horta (1986), Kiefer (1981), Mariz (1989), Paz (2004), Peppercorn (2000), Soares (2001) and Silva (2011) were our basis. For the questions that are impossible to analyze according to the tonal patterns, we used as a reference the set theory from the studies of Forte (1973) and Straus (2013). In relation to symmetries, the works of Salles (2009; 2016) and Visconti (2016) served as a basis. Regarding the cadential gestuality, as a basis, the studies of Dudeque (2013; 2017) and Salles (2010; 2016). On Villa-Lobos\'s relations with the compositional elements of Post-Tonal music, the studies of Salles (2009; 2016), Piedade (2015), Antokoletz (1992), Albuquerque (2014), Nery Filho (2012), Kiefer (1981), Coelho de Souza (2010), Kostka (2006; 2012) and Wisnik (1997) were used as a reference . For the understanding of the process of approximation and appropriation of the elements of classical music by jazz composers, we used the studies of Pinto (2011), Calado (1990), Carneiro (1986), Berendt (1987), Ramsey (1989), Race (1962), Schuller (1986, 1989) and Vanderheyden (2010).

Orientadores: Maria Lucia Senna Machado Pascoal, Mauricy Matos Martin, / Acompanha 1 anexo / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-14T10:31:09Z (GMT). No. of bitstreams: 1 Souza_IraceleAparecidaVeraLiverode_D.pdf: 13645349 bytes, checksum: a62dc8da62242a0c20df019d5395a33f (MD5) Previous issue date: 2009 / Resumo: Este trabalho tem como principal objetivo realizar uma análise da obra para piano de Eunice Katunda (1915-1990), peças compostas no período de 1946 a 1982. Foi realizado o levantamento das peças, o estudo ao piano, a análise individual, bem como um exame das ferramentas analíticas mais adequadas e pertinentes, conforme características peculiares de cada uma. O estudo de análise investigou as técnicas e os procedimentos da composição, quanto a organização do material utilizado. A fim de contextualizar a compositora e sua obra, fez-se um levantamento biográfico e histórico, amparado por cartas, entrevistas e artigos de jornais obtidos em acervos públicos e particulares, entre os quais os da própria compositora. A conclusão reúne informações de maior interesse obtidas através da análise, identificando o material e as técnicas de composição empregadas o que contribui para a compreensão da linguagem da compositora. O trabalho tem como complementação a editoração destas peças, que se encontram em manuscritos e a gravação de duas peças executadas pela autora deste trabalho. A pesquisa visou ao estudo, à análise e à divulgação de uma compositora pouco estudada e conhecida na música contemporânea brasileira, pretendendo contribuir para mais uma fonte de estudos da música brasileira para piano do século XX. / Abstract: The main objective of this thesis is to analise Eunice Katunda's (1915-1990) piano works composed between 1946 and 1982. The analytical tools were chosen according to the peculiarities of each piece taking in consideration compositional procedures and techniques related to the organization of the musical material employed by the composer. In order to contextualize the composer and her output, a biographical study was made based on personal letters, interviews and newspaper articles obtained in her personal files in order to put into prospective the analyses. Information obtained by the analysis afforded a conclusion in respect to the material, the compositional techniques and idiom of the composer. Complementary to the thesis is added an edition of the pieces, which were previously in manuscript, as well as a recording of two pieces by this author. This research aims an analysis, the study and divulgation of a scarcely known and lesser studied Brazilian composer, as a contribution to the better comprehension of the twentieth-century Brazilian piano music. / Doutorado / Doutor em Artes (Música)

This thesis deals with the method for time conversion of an audio signal based on a different approach to groups tonal and non-tonal segment signal implemented in Matlab. The first part deal with methods for musical signal processing based on time compression or expansion and describes the problems associated with the current way of implementing these methods. The following describes the methods of variable segmentation and tonal and non-tonal components detection in the audio recording. At the second part are these methods of variable segmentation, tonal component detection and time compression or expansion implemented in MATLAB. At the third part is performed testing on sound recordings and evaluation of results.

No description available.