In this thesis I explore how music-text relations in Frank Zappa’s music work together to express a central narrative, with a particular focus on his use of musical allusion. First, I frame Zappa’s creative perspective from a Dadaist philosophy, illuminating an underlying critique of American culture through the use of musical and lyrical devices such as allusion. I explore how Zappa uses allusion as a narrative device and how these allusions affect a listener’s interpretation of a track. Finally, I provide an in-depth analysis of “Billy the Mountain” from the 1972 album Just Another Band From L.A. I first present an overview and analysis of the narrative as it is presented in the lyrics and then explore how musical parameters contribute to the narrative of the track. By understanding the interaction of music and text, I create a platform from which Zappa’s music can be better understood.

Thesis (MMus)--Stellenbosch University, 2013. / ENGLISH ABSTRACT: When twentieth century music composed specifically for children is discussed, Sergei Prokofiev’s Peter and the Wolf and occasionally Benjamin Britten’s The Young Person’s Guide to the Orchestra are the two examples most often mentioned, as if they represent the sum total of works in this genre. It seems then that there is a general lack of awareness of the actual existence of a rich variety of twentieth century music for children. Consequently the conclusion seems justified that most music educators in South African primary schools do not include this music in their repertoire nor has it been specifically recommended for use in the 2005 or 2011 syllabi. The question that prompted the current study is whether this repertoire of contemporary children’s music can be exploited to a much larger extent in South African primary schools than has been the case up until now. In the educational system of 2005, where ‘subjects’ have been replaced by ‘learning areas’, the former subject, Class Music, has been integrated into a new learning area consisting of four components (music, drama, dance and visual arts). However, this more comprehensive learning area has been implemented without actually making provision for more time on the time table than was formerly allocated to Class Music. With the implementation of CAPS in the Foundation Phase (Gr R – 3) in 2011 and in the Intermediate Senior Phase (Gr 4 - 9) in 2013, extra time allocated proves to still be insufficient for continual, thorough teaching of music. Although strong concern had been expressed previously about the fragmentation of subject content and the low status of music education in South African schools, this concern was not really addressed in both the curricula of 2005 and 2011, and subject content within the components is still scaled down to compensate for lack of time. This has also had serious consequences for the training of teachers. Requirements of the curriculum are only given in the form of general guidelines and teachers with no musical education, who have to teach the musical component, have no clearly defined examples to go by. For that reason a catalogue is included in this study by which teachers can gain access to relevant examples of twentieth century music. In the main section of this study music for children is examined in its historical context, it is defined and categorised. Strategies by which composers attempt to find access to a child’s world are also examined. While it may be assumed that children are familiar with the tonal idiom of folk, sacred and popular songs, composers of twentieth century music see themselves challenged to introduce children to a modern musical idiom, not compromising accessibility and a child friendly approach. In addition to the general discussion of the extensive repertoire of twentieth century music for children, four examples are selected to examine more specifically how composers go about when composing such music. These are: Wir bauen eine Stadt (Paul Hindemith), l’Histoire de Babar (Francis Poulenc), Die Weihnachtsgeschichte (Carl Orff) and The little sweep (Benjamin Britten). (Die Weinachtsgeschichte was translated into the Griqua dialect by Prof Hans du Plessis especially for the purpose of this study). The educational potential of twentieth century music for children is vast. Even with minimal teaching time it can be an efficient and time saving medium of tuition that at the same time opens up an exciting contemporary sound world to the young learner. / AFRIKAANSE OPSOMMING: Wanneer daar oor twintigste-eeuse musiek vir kinders gepraat word, word daar dikwels spontaan na Sergei Prokofjef se Pieter en die Wolf en miskien na Benjamin Britten se The Young Person’s Guide to the Orchestra verwys, asof dit die ‘somtotaal’ van die genre uitmaak. Hieruit blyk dit dat daar oor die algemeen ‘n onbewustheid ten opsigte van die beskikbaarheid van ‘n ryke verskeidenheid van werke in hierdie genre bestaan. Dit blyk ook dat die meeste musiekopvoeders in Suid-Afrikaanse laerskole nie hierdie musiek by hul repertorium insluit nie en dat dit ook nie in die sillabusse van 2005 en 2011 spesifiek gepropageer word nie. Die vraag wat aanleiding gee tot die huidige ondersoek is of die pedagogiese waarde van sodanige eietydse musiek nie baie beter in Suid-Afrikaanse skole ontgin kan word as wat tans die geval is nie. Met die 2005-onderwysbedeling waar ‘vakke’ met ‘leerareas’ vervang is, is Klasmusiek in die vier-komponent-leerarea Kuns en Kultuur, met musiek, drama, dans en visuele kuns as spesialis-onderafdelings, geïntegreer. Die Kuns en Kultuur leerarea, wat inhoudsgewys meer omvattend as Klasmusiek was, is sonder ‘n ruimer tydstoekenning ingestel. Met die implementering van KABV in die Grondslagfase (Gr R-3) (2012), en in 2013 by die Intermediêre en Senior Fase (Gr 4 – 9) is die tydstoekenning marginaal verruim, maar steeds onvoldoende vir volgehoue, deeglike onderrig van musiek. Hoewel sterk kommer oor die dilemma van onder meer voortdurende fragmentasie van inhoude asook die lae, kwynende status van musiekopvoeding in Suid-Afrikaanse skole reeds voorheen uitgespreek is, is hierdie kommer nie werklik in die leerplanne van 2005 of 2011 aangespreek nie. In teendeel, die vakinhoud binne die onderskeie komponente is steeds ontoereikend, omdat daar nie genoeg tyd beskikbaar is om werksinhoud deeglik te onderrig nie. Die nuwe bedeling hou verder ook implikasies vir die opleiding van opvoeders in, deurdat vereistes binne die skoolkurrikulum uit breë riglyne ten opsigte van vakinhoud bestaan. Die dilemma van ‘n opvoeder sonder musiekopleiding wat die musiekkomponent moet aanbied, is dus duidelik. Daarom word, as hulpmiddel vir opvoeders, ‘n katalogus by hierdie studie ingesluit om die leemtes in die kurrikulum te help ondervang. In die hoofdeel van hierdie studie word musiek vir kinders in ‘n historiese konteks geplaas, gedefinieer en gekategoriseer. Verder word die middele ondersoek waarmee komponiste van hierdie musiek toegang tot die leefwêreld van die kind probeer verkry. Terwyl aanvaar kan word dat kinders vandag vertroud is met die tonale idioom soos dit in volks-, gewyde of populêre liedere voorkom, kom komponiste van twintigste-eeuse musiek voor die uitdaging te staan om kinders met die moderne musiektaal vertroud te maak sonder om toeganklikheid en kindervriendelikheid prys te gee. Bykomstig tot die algemene bespreking van die omvangryke repertoire van twintigste eeuse musiek vir kinders word vier werke gekies om meer spesifiek te bepaal hoe komponiste te werk gaan wanneer hulle sodanige musiek komponeer, te wete Wir bauen eine Stadt (Paul Hindemith), l’Histoire de Babar (Francis Poulenc), Die Weihnachtsgeschichte (Carl Orff) en The little sweep (Benjamin Britten). (Vir hierdie studie is Die Weihnachtsgeschichte spesiaal deur Prof Hans du Plessis in die Griekwa-dialek vertaal). Twintigste-eeuse musiek vir kinders het veelsydige gebruiksmoontlikhede. Met minimale onderrigtyd kan dit ’n doeltreffende, tydsbesparende medium van onderrig wees, en terselftertyd ’n opwindende, eietydse klankwêreld vir kinders oopsluit.

O advento das inovações artísticas do século XX vislumbrou maneiras renovadoras de articular aspectos composicionais, ganhando assim novas possibilidades instigantes e exigindo do criador de arte a procura de métodos para solucionar problemas arquiteturais novos. Ao lidar com obras de caráter complexo, o iniciante pode se ver em um \"Cul-de-sac\", remoendo-se entre a escrita criativa contemporânea e a escrita efetiva tradicional. Propondo visualizar esses problemas parcialmente, o espectro da minha pesquisa abarcará, contando com exemplos de análise da peça escolhida, \"Musique Funèbre\", ao menos os seguintes tópicos: polifonia pós-tonal; clareza das vozes (ou a dispensa da mesma) em meio a texturas complexas; \"part-writing\" (ou a dispensa da mesma) entre acordes complexos; fraseologia e microrrelações formais entre frases em meio a uma polifonia de harmonia não trivial; inovações das texturas e suas consequências; e, em adição, uma análise harmônica da linguagem do compositor selecionado, não necessariamente reconhecida e difundida por importantes publicações. Os resultados esperados se apresentarão na forma de uma dissertação analítica debruçada sob a temática proposta, em conjunto à produção composicional do autor. Em particular, foram desenvolvidos dois métodos de análise que são aplicáveis a uma grande quantidade de repertórios variados, embora não necessariamente servindo a todos os gêneros possíveis. Eles foram batizados na seção de \"Metodologia\" por \"Método dos Caminhos Especulativos\" e \"Método das Variáveis Sintéticas\", e são explicados brevemente, quando referidos. Esta pesquisa adquire forte apoio acadêmico por se tratar de uma expansão logicamente seguida do trabalho de Iniciação Científica desenvolvido na Graduação do autor em \"Análise de Obras de Béla Bartók com ênfase aos processos contrapontísticos\", sob a orientação do Prof. Dr. Silvio Ferraz no departamento de música da ECA/USP. / The coming of artistic innovations in the Twentieth-Century Music has given a glimpse of renovating manners to articulate compositional aspects, achieving thus new instigating possibilities and requiring creators to search architectural problem-solving methods. In dealing with works of complex character, the beginner might get in a \"Cul-de-sac\", mulling between contemporary creative writing and effective traditional writing. Proposing to visualize these problems partially, the spectrum of my research will include, with examples of analysis of the selected piece, \"Musique Funèbre\", at least the following topics: post-tonal polyphony; clarity of voicing (or its denial) amidst complex textures; \"part-writing\" (or its denial) among complex chords; formal phraseology and micro-relations between phrases inside a harmonically-nontrivial polyphony; textural innovations and its dismemberments; and also, in addition, the harmonic analysis of the selected composer, not necessarily well-known and diffused by important publishings. The expected results will be presented in the form of an analytical dissertation addressed under the proposed theme, in conjunction to the compositional production of the author. Particularly, two methods of analysis were developed with applicability to a great extent of varied repertoire, even though not necessarily fitting all possible genders. They were named in the \"Methodology\" section as \"Speculative-Paths Method\" and \"Synthetic-Variables Method\", and get briefly explained, when referred to. This research acquires strong academic support for being a logically-followed expansion by the work of \"Scientific Initiation\" during the author\'s Under-graduation program about \"Analysis of Works of Béla Bartók with emphasis to the contrapuntal processes\", under orientation by Prof. Dr. Silvio Ferraz, in the music department of ECA/USP.

Lili Boulanger (1893-1918) is the first female composer to win the Prix de Rome in France. She had an early death due to Crohn¡¦s Disease at the age of twenty-four. During her brief and difficult life, she completed more than thirty musical pieces, one third of which were choral works. The 1913 Prix de Rome award is a clear line of demarcation of Lili's choral compositions. The early secular choral works, composed for the preparation of the first round of Prix de Rome(1911 to 1913), are much less known; her four well-known grand sacred choral works¡Ð¡§Psaume 24¡¨, ¡§Psaume 129¡¨, ¡§Psaume 130¡¨ and ¡§Vieille prière bouddhique¡¨¡Ðwere written between 1913 and 1918. Regrettably, the early secular works have been overwhelmed by the four splendor sacred works in the past century. Nine of the early works survive, and they were: ¡§Sous bois¡¨, ¡§Renouveau¡¨, ¡§Les sirènes¡¨, ¡§Soleils de septembre¡¨, ¡§Pentant la tempête¡¨, ¡§La source¡¨, ¡§Hymne au soleil¡¨, ¡§Pour les funérailles d¡¦un soldat¡¨ and ¡§Soir sur la plaine¡¨. The lyrics are from nineteen-century French poems; the music has such extreme intensity, dramatic power, demanding vocal techniques, as well as challenging piano skills. This thesis consists of five parts: an introduction, a basic review of Lili Boulanger¡¦s life and works, the analysis of the nine secular choral works, the interpretation of the works and a conclusion. There are also three appendices attached. Appendix 1 offers the translation and a pronunciation guide of the nine works. Appendix 2 is the program of the conducting recital. Appendix 3 is the program of the lecture recital.

Orientador: Carlos Fernando Fiorini / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-10T12:16:39Z (GMT). No. of bitstreams: 1 Scarduelli_Fabio_M.pdf: 2305303 bytes, checksum: ace5e77f626e331559dee0208fce0bd8 (MD5) Previous issue date: 2007 / Resumo: O compositor paulista Almeida Prado (1943) escreveu quatro peças para violão solo: Portrait (1972/75), Livro para seis cordas (1974), Sonata nº1 (1981) e Poesilúdios nº1 (1983). Trata-se de uma produção estilisticamente variada, que revela diferentes fases percorridas pelo autor. Assim, as peças da década de 70 giram em torno do atonalismo, primeiro em linguagem atonal-serial, e, a partir de 1974, transtonal. Este último conceito foi atribuído à linguagem pradeana pós-cartas celestes nº1, em que se mesclam elementos do discurso atonal, com a redundância e ressonâncias do tonalismo. Já a década de 80 marca um retorno ao uso de estruturas tradicionais, construídas sobre uma linguagem em que predominam elementos tonais e modais, numa madura e pessoal revisitação à fase guarnieriana. As peças de Almeida Prado apresentam ainda uma exeqüibilidade pouco comum para um compositor que não toca violão. A escolha dos modos e centros favorece um amplo uso de cordas soltas, e, inspirados em Villa-Lobos, efeitos e possibilidades próprias do instrumento são explorados na construção de motivos musicais. Partindo então do estudo de questões estéticas, estruturais e idiomáticas, o trabalho se fundamenta no intuito de elaborar, por fim, uma concepção interpretativa desta obra, que constitui uma considerável parcela do repertório do violão brasileiro / Abstract: The brazilian composer Almeida Prado (*1943) has written four pieces for solo guitar: Portrait (1972/75), Livro para seis cordas (1974), Sonata nº1 (1981) and Poesilúdios nº1 (1983). It is a production of varied styles, which reveals its author¿s different phases. So, the pieces of the 70s orbit around atonality, at first with an atonal-serial language, and, after 1974, transtonality. This last concept was attached to his post-cartas celestes 1 language, in which elements of an atonal discourse blends with tonal system¿s redundances and resonances. The decade of the 80s issues the return of traditional structures, built over a language filled with tonal and modal elements, attesting a mature and personal comeback to the Guarnierian phase. Almeida Prado¿s pieces also present an uncommon feasibility for a non-guitarist composer. The choice of modes and centers favors opens strings and, inspired by Villa-Lobos, effects and possibilities of the instrument are explored in the construction of musical motives. Taking this aesthetical, structural and idiomatical issues as starting points, this work intends to elaborate an interpretative conception of his works, which constitutes a considerable part of the brazilian guitar repertoire / Mestrado / Praticas Interpretativas / Mestre em Música

Orientador: Emerson Luiz de Biaggi / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-14T17:02:25Z (GMT). No. of bitstreams: 1 MocciaroGallardo_Liliana_M.pdf: 1557745 bytes, checksum: 5ab22341eb73c4b7360809987e93f873 (MD5) Previous issue date: 2009 / Resumo: A Sonata para viola solo de György Ligeti, composta entre 1991 e 1994, contém os processos compositivos característicos do período entre 1950 e 1994. A Sonata é composta por seis movimentos: Hora Lunga , Loop, Facsar, Prestissimo con sordino, Lamento e Chaccone chromatique. A obra destaca e valoriza a sonoridade da viola explorando todos os registros e muitas das possibilidades técnicas do instrumento. Com o objetivo de alcançar uma interpretação embasada no estilo do compositor, iniciamos a pesquisa com uma breve biografia, buscando informações que aproximem o intérprete de sua obra e seu pensamento musical. A seguir, o segundo capítulo contextualiza teoricamente cada movimento da sonata, preparando o caminho para as decisões adotadas na prática, descritas no terceiro capítulo, que tem o objetivo de auxiliar na resolução das demandas técnicas e interpretativas da obra. / Abstract: The Sonata for solo viola (1991-1994) by György Ligeti features the musical processes created by the composer in the period between 1950 and 1994. The work consists of six movements: Hora Lunga, Loop, Facsar, Prestissimo con sordino, Lamento and Chaccone chromatique. The piece features and values the sonority of the viola, by exploring its whole range and many of its technical possibilities. In order to achieve a performance based on the composer's style we begin this study with a short biography, highlighting information which will help the performer understand the composer's musical thinking and works. The second chapter outlines theoretically each movement of the sonata, paving the way for the subsequent technical strategies put into practice, and described in the third chapter, which has the purpose of helping to solve the work's technical and interpretative demands. / Mestrado / Praticas Interpretativas / Mestre em Música

Karlheinz Stockhausen’s Kathinkas Gesang als Luzifers Requiem presents mental, physical, and musical challenges that go beyond the usual expectations of an instrumentalist, extending and redefining the traditional idea of virtuosity. Using firsthand performance experience, score and recording study, and flutist interviews, this document explores the effects of some of these heightened demands and argues that the particular performance situation presented by Kathinkas Gesang brings up critical questions about the performer’s role, the nature of performance and of the musical work, and the existence of an authoritatively “authentic” interpretation. Employing an expanded definition of virtuosity that includes interpretation and encompasses both choices and actions, the document discusses the extensions of virtuosity into two main areas: first, memory; and second, staging and movement, covering both practical suggestions and larger implications. Finally, it examines how the performer’s negotiation of these challenges relates to questions about authenticity and agency. Performance is defined here as a creative and collaborative act, not attempting to duplicate previous performances or recordings, but rather to give the best realization of the piece possible in the given circumstances, according to the individual’s interpretation of the score’s directions. There is no single “authentic” interpretation, but rather a rich multiplicity of possibilities, and the performer’s creative agency and personal authenticity are necessary for the full realization of the work.

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