O presente trabalho tem o objetivo de investigar o uso da improvisação nas gravações iniciais do Tamba Trio, grupo surgido no início da década de 1960 no Rio de Janeiro. Ao longo da pesquisa, foram utilizadas algumas ferramentas de análise para compreender quais as modalidades de improvisação presentes nas gravações. Comparações foram feitas entre o Tamba com outras manifestações da mesma época. Nessas análises, foram encontrados aspectos que permitem concluir que o Tamba representou importantes tendências estilísticas da época e que influenciaram a produção da música instrumental brasileira desde então. / This work aims to investigate the use of improvisation on the first recordings of Tamba Trio, a group that came together in the beginning of the 1960s in Rio de Janeiro. Throughout the development of the work, various analysis tools were used, in order to understand the modes of improvisation present in the recordings. The findings thereof were used to compare Tamba with other artists of the same period. The results allows the conclusion that Tamba Trio represented and pioneered some important trends that influenced the so called Brazilian Instrumental Music that has been produced since then.

Orientador: Mauricy Matos Martin / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-19T08:53:27Z (GMT). No. of bitstreams: 1 Gazzaneo_PauloRicardo_M.pdf: 98397622 bytes, checksum: a5a81a88fa3f72b844922c50d620d3cc (MD5) Previous issue date: 2011 / Resumo: Esta dissertação tem como objetivo principal o estudo analítico da estrutura da forma do Trio Marítimo para violino, violoncelo e piano de Almeida Prado. Baseadas neste estudo e nas entrevistas com o compositor, são apresentadas sugestões de interpretação. Estas sugestões estão alicerçadas na técnica de composição do compositor chamada Transtonalismo, sobre a qual é construída toda a textura da obra. Foram realizadas três etapas para este estudo: a primeira tratou do reconhecimento e análise das formas musicais estruturadas em cada movimento da peça; a segunda envolveu diretamente as entrevistas com o compositor quando foram tratados os aspectos de textura e construção harmônica utilizando-se o Transtonalismo e a terceira apresentou as sugestões de execução baseadas nas duas etapas anteriores. O resultado mostra também que, apesar da textura particular de Almeida Prado em sua composição, esta peça foi concebida sobre formas musicais e conduções harmônicas herdadas do período clássico, e expõe que, ainda hoje, apesar da evolução da escrita musical e das transformações nos métodos de composição e sua textura, as formas musicais do passado ainda sobrevivem a estes avanços / Abstract: The main objective of this dissertation is an analytical study of the structure and forms employed in the Trio Marítimo for violin, cello and piano by Almeida Prado. Based on this study and interviews with the composer, suggestions of interpretation are presented. These suggestions are based on the composer's compositional technique called Transtonalism, that serves as basis for the whole texture of the work. This study involved three steps: the first one dealt with the recognition and analysis of structured musical forms in each movement of the piece; the second one involved direct interviews with the composer when it has been argued the aspects of texture and harmonic construction, using the Transtonalism, and the third one, performance suggestions presented based on the previous two steps. The result also shows that despite the particular texture of Almeida Prado in his composition, this piece was conceived on musical forms and harmonic conduction inherited from the classical period, especially Beethoven demonstrating that, despite the evolution of musical writing and processing methods of composition and texture, the musical forms of the past still survive these advances / Mestrado / Praticas Interpretativas / Mestre em Música

Orientador: Nuno Cesar Pereira de Abreu, Elisabeth Bauch Zimmermann / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-21T04:16:30Z (GMT). No. of bitstreams: 1 NATAL_Carolina_D.pdf: 7845508 bytes, checksum: 5c1b913692c4e8900021af1828d1ddbf (MD5) Previous issue date: 2012 / Resumo: Esta pesquisa apresenta uma reflexão da relação que fora estabelecida entre a dança e a imagem em movimento, pontuando determinadas épocas desde os primórdios do cinema. Para tal, foram pesquisadas e selecionadas algumas obras, de diversas épocas, a fim de estruturar uma reflexão que atravessasse os períodos históricos, as transformações e as evoluções tanto do domínio dos experimentos cinematográficos quanto dos coreográficos, sob a perspectiva da dança. Discutiu-se a relação da dança na imagem como a construção de uma nova identidade, a qual implica novas inscrições nos espaços. A configuração dessas inscrições foi denominada de espaço-trio, por ser composta por três elementos que se inter-relacionam: espaço da tela - imagem -, o espaço do corpo e o espaço físico - geográfico, os quais metodologicamente nortearão as análises das obras apresentadas. A análise da composição do espaço-trio possibilitou a percepção da criação dos espaços outros, as heterotopias, que é um conceito de espaço estudado por Foucault. Assim, primeiramente, compôs-se um panorama de discussão sobre a dança, delimitando o território cinematográfico como um objeto estético, sobretudo focalizando a época das vanguardas artísticas. Em seguida, analisaram-se obras que se caracterizam como a transição e a afirmação da dança sob a perspectiva do cinema, demonstrando mais autonomia para a exploração da linguagem da dança a partir da interface da imagem em movimento. E, por fim, foram focalizadas três obras que foram constituídas, definitivamente, na concepção da dança na imagem em movimento, as quais articularam as relações entre a dança e o cinema a partir do olhar cinecoreográfico, sob a perspectiva do espaço-trio, no qual se organizam a estrutura de discussão desta tese, denominada dancine. Percebeu-se a relevância fundamental do espaço no contexto coreográfico e como ele se manifesta, também, como uma experiência de corpo. A estrutura do espaço-trio se configurou, ao longo da tese, também como facilitadora para identificar os espaços outros, as heterotopias. Todos esses elementos contribuem para a formação da dancine, a qual aponta uma reconfiguração na percepção da dança, dialogando com as demais expressões artísticas e transformando-se diante deste cenário / Abstract: This research proposes a reflection on the relation once established between dance and the moving image, spotting certain periods since the beginnings of cinema. For that purpose, works of art from different periods have been searched and selected, so that a reflection which goes through different historical periods, focusing on the transformation and evolution of both cinematographic experiments and choreographic areas could be structured, under the dance perspective. The role of dance in the image has been discussed as a new form of identity, which implies new entries in the spaces. The configuration of these entries has been named space-trio, because it is composed of three elements that relate between themselves: screen space - image, body space and physical space - geographic, which will guide the analyses of the works of art here presented. The analysis of the formation of space-trio has enabled the perception of the creation of the spaces of otherness, the heterotopias, which is a concept of space studied by Foucault. Thus, firstly, a discussion panorama on dance was composed, where cinematographic territory was delimitated as an esthetic object, focusing mainly on the periods of artistic avant-garde. Next, works of art which feature the transition and establishment of dance under the cinema perspective were analyzed, showing that autonomy is greater to exploring dance from the moving image interface. Finally, focus was placed on three works of art that were definitely constituted under the concept of dance in the moving image, a concept which articulates the relations between dance and cinema from a cine-choreographic point of view under the space-trio perspective, in which the structure of this thesis is based on, called dancine. The relevance of space in the choreographic context has been raised and also the way in which it presents itself as a body experiment. The structure of space-trio has been set, along this study, also as a facilitator to identify the spaces of otherness, the heterotopias. All these elements contribute to the formation of dancine, which aims at a resetting in the perception of dance, dialoguing with other forms of artistic expressions and transforming itself against this scenario / Doutorado / Multimeios / Doutor em Multimeios

Jacques-Jules Bouffil was a prominent nineteenth-century French clarinetist and composer. Much of the existing biographical information for Bouffil is in French, it is often in obscure locations, and the sources available often contain discrepancies. This document provides the most comprehensive and accurate biography to date of clarinetist and composer Jacques-Jules Bouffil through examination of his studies at the Paris Conservatoire, as well as his performance career with the Paris Opéra-Comique orchestra, the Reicha Wind Quintet, and other organizations. The compositional contributions of Bouffil include a number of chamber music pieces, most notably, six trios for three B-flat clarinets, op. 7 nos. 1-3 and op. 8 nos. 1-3. These six trios comprise some of the most substantial works composed for the medium. They deserve to be better known because of their unusual concertant style writing and compositional rigor. This study offers a new performance edition with rehearsal score of Bouffil’s Trio no. 2, op. 7, a work that is not readily available to modern performers.

There are many archival photography collections that are forgotten or ignored because of their lack of accompanying written documentation. Despite this, these collections have tremendous value which can be discovered through alternate methods of research and analysis. This thesis provides an example of how to approach and research such collections by examining the work of Ernest William Albert Crocker, whose business, Trio Photograph and Supply Company, operated in Victoria from 1908-1946. It presents an introductory review of Crocker's life and work from what he left behind in the Trio Photograph Collection which consists of over 20,000 images. This thesis examines his photographs from both documentary and aesthetic perspectives and constructs a comparison between Crocker's work and that of a contemporary Vancouver photographer, Leonard Frank (1870-1944). It establishes an appreciation for the significance of the Trio Photograph Collection within the contexts of social and photo-history and lays the foundation from which any future research of Crocker' s photographs can begin. / Graduate

This essay examines the three main large-scale chamber music works for strings and piano written by the Mexican composer Manuel M. Ponce: the Romantic Trio for violin, cello and piano (1912), the Sonata for violoncello and piano (1922), and the Sonata Breve for violin and piano (1930). The purpose of the study is to aid chamber music performers in the understanding, preparation and execution of these works. Written contextually for performing musicians, the format for the study of the individual works includes sections on historical background and commentary on analysis and performance considerations. In addition, each work exemplifies a different musical stage in Ponce's compositional development. The author traces the composer's compositional and stylistic evolution throughout the study of these works. The essay also includes a comprehensive biography of Ponce and a general overview of the composer's chamber music works.

The String quartet, a representative genre in the chamber music, was emerged in the Pre-Classical era, a period that the trio sonata was about at end of its development. The musical characteristics of the string quartets and trio sonatas were closely connected. The present study centers on the transitional stylistic features of the two genres in order to classify the initial stage for the development of the string quartet. This research focuses on the analysis of works of the trio sonata and the string quartet which were written during the transitional period. The thesis consists of three main chapters, in addition to the introduction and conclusion. Chapter one discusses the background of the string chamber music in Pre-Classical era. Chapter two describes the development of the trio sonata from 1720 to 1770. Chapter three concentrates on the musical characteristics of early development of the string quartets. The works of the trio sonata in mid-eighteenth century had already been characterized by the treble-dominated homophonic texture. In addition, the viola replaced the basso continuo and the chordal texture in the inner voices that led to the result in the change of the texture of trio sonata to the string quartet. The emergence of plentiful social occasions in Pre-Classical era required a large number of the chamber music. The string quartets were brought during this crucial moment. The composers at this stage tried a variety of tastes of styles and eventually, the mixed characteristics evolved into a natural, elegance, balanced, and symmetrical style and led the string quartet to its maturity.

Dieter Schnebel's String Trio from 2007-2009 is a spatial sound composition that features unique visual components within a traditional string trio setting. This research provides performers and audiences a more thorough understanding of the String Trio and its evocative aesthetic qualities, by identifying and organizing the ways in which the visual and musical material interact. To provide context for String Trio, a brief overview of Schnebel's compositional style and influence on avant-garde musical trends of the latter half of the twentieth century is provided in chapter 2. Special consideration is given to his instrumental chamber music and works for string instruments. In chapter 3, the prior musical analysis and aesthetic context provides a basis for the many conceptual implications resulting from the incorporation of theatricality into a typically non-theatrical genre. The performers' roles within the ensemble and the ways in which they relate to one another as well as their audience, are illuminated and ultimately contribute to a deeper, enhanced experience of the piece. Expectations and traditional notions concerning formal, classical music etiquette are also explored through Schnebel's complex directional changes in orientation and unconventional utilization of the performance space.

abstract: ABSTRACT &eacutetudes; written for violin ensemble, which include violin duets, trios, and quartets, are less numerous than solo &eacutetudes.; These works rarely go by the title "&eacutetude;," and have not been the focus of much scholarly research. Ensemble &eacutetudes; have much to offer students, teachers and composers, however, because they add an extra dimension to the learning, teaching, and composing processes. This document establishes the value of ensemble &eacutetudes; in pedagogy and explores applications of the repertoire currently available. Rather than focus on violin duets, the most common form of ensemble &eacutetude;, it mainly considers works for three and four violins without accompaniment. Concentrating on the pedagogical possibilities of studying &eacutetudes; in a group, this document introduces creative ways that works for violin ensemble can be used as both &eacutetudes; and performance pieces. The first two chapters explore the history and philosophy of the violin &eacutetude; and multiple-violin works, the practice of arranging of solo &eacutetudes; for multiple instruments, and the benefits of group learning and cooperative learning that distinguish ensemble &eacutetude; study from solo &eacutetude; study. The third chapter is an annotated survey of works for three and four violins without accompaniment, and serves as a pedagogical guide to some of the available repertoire. Representing a wide variety of styles, techniques and levels, it illuminates an historical association between violin ensemble works and pedagogy. The fourth chapter presents an original composition by the author, titled Variations on a Scottish Folk Song: &eacutetude; for Four Violins, with an explanation of the process and techniques used to create this ensemble &eacutetude.; This work is an example of the musical and technical integration essential to &eacutetude; study, and demonstrates various compositional traits that promote cooperative learning. Ensemble &eacutetudes; are valuable pedagogical tools that deserve wider exposure. It is my hope that the information and ideas about ensemble &eacutetudes; in this paper and the individual descriptions of the works presented will increase interest in and application of violin trios and quartets at the university level. / Dissertation/Thesis / D.M.A. Music 2011

abstract: ABSTRACT The purpose of this study is to analyze Tunes from My Home, a Trio for Violin, Cello, and Piano by Chinese-American composer Chen Yi (b. 1953), as well as to provide a performance guide from a collaborative pianist's perspective. Of Cantonese origin herself, Chen Yi composed several works inspired by Cantonese music, including this trio. Chen Yi composed this trio between 2007 and 2008 and dedicated it to her long time friend pianist Pan Xun, who is also of Cantonese origin. Inspired by this shared Cantonese heritage, Chen Yi incorporated within this work three well-known Cantonese tunes, Cantonese instrumental techniques and sonorities, and elements of the shifan luogu, a wind and percussion ensemble often used in traditional Cantonese music. Coming from the same region as the composer, the author of this paper feels connected with this piece, and as a collaborative pianist, has the opportunity to introduce Cantonese music to a wider audience through the piano trio. Chapter one introduces the motivation for this study. Chapter two provides a brief biography of Chen Yi. Chapter three introduces the history, the scales, and the instruments of Cantonese music as well as other Cantonese influences on this trio, especially the three tunes. Chapter four includes a detailed analysis of each movement in terms of the form and application of the tunes and rhythms of Cantonese music. Chapter five shares the author’s experience of approaching and interpreting this piece in an appropriate style based on her Cantonese roots. The conclusion evaluates the significance of the fusion of Cantonese music with Western compositional techniques in this piece. / Dissertation/Thesis / Doctoral Dissertation Music 2017