Orientador: Denise Hortência Lopes Garcia / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-26T06:20:25Z (GMT). No. of bitstreams: 1 Ishisaki_BrunoYukioMeireles_M.pdf: 14656333 bytes, checksum: 5d14831720fc90003a9646dc72dace4e (MD5) Previous issue date: 2014 / Resumo: Neste trabalho apresentamos a ideia da transmutação aplicada à composição musical. Técnicas oriundas da música eletroacústica como o morphing (tanto em âmbito melódico como timbrístico), interpolação, crossfading e a manipulação progressiva de elementos são estudados a partir de um olhar tecnomórfico e são utilizados de forma integrada como ferramentas composicionais para a realização de transmutações entre estruturas musicais. O primeiro capítulo trata da transmutação nas questões terminológica e conceitual. O segundo capítulo apresenta as técnicas citadas anteriormente com exemplos retirados do repertório do século XX. O terceiro capítulo versa sobre a aplicação composicional das técnicas expostas no capítulo anterior. No quarto capítulo obras compostas pelo autor são descritas para demonstrar o uso das ferramentas composicionais estudadas nesta dissertação / Abstract: In this work, we present the idea of transmutation applied to musical composition. Techniques originated from electroacoustic music like morphing (both melodic and timbral), interpolation, crossfading and progressive manipulation of elements are studied from a tecnomorphic point of view and are used together as compositional tools for performing transmutations between musical structures. The first chapter deals with the transmutation in the terminological and conceptual issues. The second chapter presents the techniques mentioned above with examples drawn from the repertoire of the twentieth century. The third chapter deals with the application of compositional techniques explained in the previous chapter. In the fourth chapter, works composed by the author are described in order to demonstrate the usage of the compositional tools studied in this dissertation / Mestrado / Processos Criativos / Mestre em Música

This thesis examines how mental hygiene principles were adopted for a student audience through the elementary-level health textbooks series, Health and Personal Development, used in Ontario schools from 1952 until 1963. In particular, I explore the didactic messages pertaining to mental hygiene as they related to girls. The results of this analysis demonstrate that healthy mental hygiene and personal development for girls, according to the textbooks, meant becoming wives, mothers, and homemakers, as their own mothers model. While these roles required many skills and responsibilities, and provided women with a certain amount of agency in the female-dominated sphere, girls were represented in the textbooks as having a limited set of options in life: to emulate their mothers’ feminine domesticity, or to risk a life marred by poor mental hygiene.

Throughout the period following Pearl Harbor, as one crisis in Japanese-American relations followed another, the American public opinion was divided. Some newspapers and personalities feared that there would be war over the San Francisco school board crisis, while others believed that talk of war was ridiculous. Partisan politics often affected the course of affairs on the Japanese question.

How do we understand our encounter with ambivalent or visceral aesthetic feelings—textual environments, moods, and atmospheres—if they do not solely belong to the representation of individual or collective emotions? This dissertation proposes a concept of “the feeling of form” to approach these aesthetic feelings as formal dynamics, such as restless orientations and rhythmic intensities. How can literary forms have feelings, and where—or is it necessary—to locate the textual body and the subject of these feelings? The goal of my dissertation is not to show what specific neurological procedures are involved in the emotive-cognitive entanglement between the text and the reader, but to understand “form” as a verb—forming, shaping, mediating, transmitting—whose dynamics and actions manifest the narrative form’s visceral aesthetic feelings, and to examine how such feelings bear significant cultural and political currency. Reading formal dynamics as aesthetic feelings also invites us to adjust our usual gaze at “form” away from categories coined by various formalisms, such as “genre,” “structure,” “focalization,” or “style.” In doing so, we are able to reimagine these categories as part of the dynamics of formal reorientations, rhythms, and syntactic intensities, and to open ourselves up to the impersonal agency and criticality of literary forms. Based on these convictions, my dissertation argues that reading for the feeling of form allows us to experience how literary forms transmit and regenerate volatile experiences of history in ways that complicate, supplement, or subvert the explicit representation of historical events and temporality in a literary text. In this dissertation, I focus on the relationship between the feeling of form and the experience of various histories in Ford Madox Ford’s Parade’s End (1924–1928), Lewis Grassic Gibbon’s A Scots Quair (1932–1934), Lawrence Durrell’s The Alexandria Quartet (1957–60), and Kazuo Ishiguro’s single-volume novel The Unconsoled (1995). Chapter One traces how nauseous form in Parade’s End allows us to experience wartime and postwar anxiety through Christopher Tietjens’s self-revolting and incoherent consciousness. Chapter Two examines how the deterioration of rhythm in A Scot’s Quair transmits a historical experience of gradual suffocation intricately linked with Scotland’s political and ecological disasters. In a brief Coda, I conclude my project by looking at how The Alexandria Quartet and The Unconsoled manifest weakened and depleted feelings of form, and how these feelings prompt us to rethink the relationship of the feeling of form to European heteronormative ideology and the ethics of community formation. The Unconsoled (1995), in particular, serves as a twofold limit case of the feeling of form: first, as a limit case of the futile feeling of form, and second, as a limit case of the distinction between the novel form and the novel series form. This twofold limit case speaks to its own historical experience of futility at the end of history, and responds to the aesthetic and ideological legacies of early twentieth-century experimental novel series. / Graduate / 2021-05-12

This dissertation considers how twentieth century British lyric poets, in continuing the traditional relationship between religion and poetry, respond to changing expectations and assumptions about poetry’s role and power—changes directly related to ongoing social processes of secularization. By combining recent critical insights from secularization theory and lyric theory with close readings of poems, essays, and letters from British poets, this dissertation shows that due to social changes that cohere around World War I, poets like Wilfred Owen, Mary Borden, and David Jones confront an unsettling of traditional strategies of lyric enchantment. This unsettling both imperils the legitimacy of lyric poetics and opens new opportunities. Poets such as Ezra Pound, T.S. Eliot, and H.D. subsequently engage in strategies of deliberate re-enchantment to justify wide-ranging vocations, while the later Eliot, David Jones, and Elizabeth Jennings confront the limits of re-enchantment but still imagine the poetic vocation as connected to religion. In every case, this dissertation shows that lyric re-enchantment (as a distillation of the aesthetic itself) is fundamentally ambiguous; it is necessarily secular and immanent, yet it continues to imply a transcendence that can easily be put to religious or even supernatural ends. The lyric is thus a genre that uniquely registers the opportunities and challenges for the aesthetic in a secular age.

Influenced by post-Lacanian psychoanalytic feminist theory and Judith Butler’s theories of gender performativity, this project examines three fictional brooding male writers from three separate periods of twentieth-century Ireland and Britain and their performances of authenticity, authority, and exceptionalism as artist figures. By tracing a sociohistorical arc and conducting close literary analyses, this project argues that the myth of white male artistic genius is derived from the power and privilege of a cult of individuality that can be used to excuse and justify harmful behaviour and that comes at the exclusion and expense of those outside this highly specific version of hegemonic masculinity. James Joyce’s A Portrait of the Artist as a Young Man, John Osborne’s Look Back in Anger, and Sarah Kane’s Blasted undermine the myth of male artistic genius by exposing the artificial and theatrical nature of the notion of “authenticity” and the posture of being countercultural when one is part of a dominating elite.

Beginning and intermediate piano students typically study the repertoire of the eighteenth and nineteenth centuries. This pedagogical approach leaves them underprepared to approach compositions written since the latter part of the twentieth-century which are significantly different in terms of harmony, rhythm, meter, and compositional procedure. Therefore, a step-by-step method is necessary to prepare a student for the challenges of learning twentieth and twenty-first century piano music. Civil War Variations (1988), by Logan Skelton, is an excellent example of a piece that presents a number of challenges characteristically found in late twentieth-century piano music. The twenty-five variations that comprise the work incorporate a series of twentieth-century musical techniques, namely complex rhythms, extreme dissonance, frequent metric changes, dissonant counterpoint, the inclusion of blues scales and rhythms, and new notations. The purpose of this study is to identify the technical, musical, structural and notational challenges posed by a work such as Logan Skelton’s Civil War Variations; examination of this piece will lead to suggestions regarding repertoire that a teacher may assign to beginning, intermediate, and advanced students in order to prepare them logically and in a step-by-step fashion to cope with and meet the challenges posed by this and other compositions having similar characteristics.

abstract: Ernest Bloch’s Suites for Solo Cello (B. 93, 94, 97) contain a melodic-harmonic language unlike any other twentieth-century unaccompanied work, and when transcribed for viola, become meaningful additions to the existing viola repertoire. Each movement within these three works has its own distinct dancelike character, much like J.S. Bach’s Suites for Solo Cello (BWV 1007-1012). The melodies contain a persistent lyrical quality, and the harmonies are modal and reminiscent of folk music. Rather than compose an appropriate ending to Bloch’s incomplete Suite for Solo Viola (B. 101), a transcription of Bloch’s Suites for Solo Cello provides violists with more variety and opportunity for musicianship. These works present technical challenges such as rapid string crossings, sudden and vast register changes, complex rhythms and meter, and offer interpretationally rich passages. The level of these difficulties can prepare violists for more challenging twentieth-century works; thus, transcribing the Bloch Suites provides an opportunity to bridge a pedagogical divide in solo viola repertoire. This project includes the transcriptions of Bloch’s Suites for Solo Cello, a performance edition, and a recording. Included is an overview of why these works are suitable for the viola, how these arrangements help fill a pedagogical gap in the unaccompanied viola repertoire, and insight into the transcription process. The performance recording captures the accessibility of these works for violists wishing to perform them and shows the integrity and variety of each piece by programming them all on a single recital. / Dissertation/Thesis / Suite No. 1, Prelude / Suite No. 1, Allegro / Suite No. 1, Canzona / Suite No. 2, Prelude / Suite No. 2, Allegro / Suite No. 2, Andante tranquillo, Allegro / Suite No. 3, Allegro deciso / Suite No. 3, Andante / Suite No. 3, Allegro, Andante, Allegro giocoso / Doctoral Dissertation Music 2020

Proceeding from the general judgment that The Ring and the Book is, indeed, Browning's greatest achievement, and that it, more than any other of his works, was responsible for establishing him in an extraordinary position of public acceptance and esteem, I propose, in this study, to examine the four features of The Ring and the Book which have most frequently attracted critical attention and to which the greater portion of analysis and review of The Ring and the Book have been devoted.

This dissertation examines the 1916 US occupation of the Dominican Republic to analyze how US and Dominican stakeholders used public schools to disseminate their notions of Dominican citizenship. Drawing on correspondence and memos from the Department of Public Instruction in the Dominican Republic and US military government, as well as periodicals and newspapers from both countries, this dissertation examines how US officials, education administrators, and guardians engaged in these efforts. Although the US military government used schools to exert state control, Dominicans individually and collectively redirected these state institutions to serve their needs and to negotiate their relationship to the state. Schools were central to how both Americans and Dominicans of all classes articulated, circulated, and practiced ideas about membership to and within the Dominican nation. From plans to create US allies in an expanding US empire to the formation of an economically productive “mulatto” rural peasantry and a cultured and informed citizenry, US officers in the military government as well as Dominican education administrators and guardians, used public schools to realize their imaginings for the Dominican nation.