This study presents an overview of the compositional style of David Maslanka and an analysis of his piece for wind band Unending Stream of Life. The sevenmovement work is based in part on the melody of the hymn tune “Lasst uns Erfreuen”, which is commonly known as “All Creatures of Our God and King.” David Maslanka has developed a unique compositional style that has been strongly influenced by the chorales of J.S. Bach and the writings of Swiss psychologist Carl Jung. Through the process of “active imagining” (Jung, 1964) Maslanka creates original works for wind band. The use of a hymn tune melody and short motives, both conventional and contemporary harmonic progressions, baroque and classical forms, tonal centricity, strong rhythmic drive, expanded instrumentation, and the theme of transformation are all essential to Maslanka’s compositional style. The study is intended to inform scholars and conductors about the: (1) melodic material, (2) harmony and tonality, (3) form, rhythm and tempo relations, (4) orchestration, and (5) unifying elements and musical nuances of David Maslanka’s Unending Stream of Life. / Introduction to the study -- Review of related literature -- Compositional style of David Maslanka -- History and analysis of the hymn tune Lasst uns erfreuen -- Background and analysis of Unending stream of life -- Summary and conclusions. / School of Music

Made available in DSpace on 2016-04-26T18:18:21Z (GMT). No. of bitstreams: 1 Luiz Marcelo Brandao Carneiro.pdf: 8206534 bytes, checksum: c194824321693fb490a6bd01c2ded109 (MD5) Previous issue date: 2009-12-16 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / OBJECTIVES: Investigate the narrative construction processes of the comic book Watchmen, based in the concepts of intertextuality, intersemioticity, polyphony, dialogism and unending; examine the way the artwork establish a foucaultian critic to the control society; develop the analysis of the thematicanalytical points of the distopic fiction, of the cultural-historical context of the Cold War and of the intersemioticities with Ésquilo s Chained Prometheus and with Mary Shelley s Frankenstein or The Modern Prometheus. RELEVANCE: Watchmen is a very rich construct in terms of language and of content. In its almost four hundred pages, it offers to the reader a complex semiosis, full of cultural-artistic references taken from various sources. These referentials install on the watchmenian narrative also their languages and their significates, and they are added of a characters discourses perspective that is polyphonic and dialogical, in the same basis Bakhtin worked these perspectives over Dostoiévski s oeuvre. And, following the bakhtinian shaping, the story is not ended as a concluding synthesis. Over the years, Watchmen has been considered a paradigmatic work and has been said in various instances as the best comic book ever written. Hypothesis: Watchmen is constructed as a nonlinear and multi-layered narrative, with a multiplicity of signifying levels that make it a narrative mosaic in which co-exist e to which converge all of its referentials. METHODOLOGIC-THEORETICAL ASPECTS: the research is bibliographical, applying on the object the theoretical topics. REACHED RESULTS: The intertextualities of the comic book established it as a narrative focused on the history and on the creative and conceptual developments of its own genre. The intersemioticities revealed the possibility of the construction of an artistic architecture fulfilled with different language and contents, in multiple levels, constituting a polissemy. The bakhtinian elaborations of the polyphony, dialogism and unending showed adequate to direct applyings to Watchmen, setting the comic book as polyphonic, dialogical and opened / OBJETIVOS: Investigar os processos de construção narrativa da história em quadrinhos Watchmen, com base nos conceitos de intertextualidade, intersemioticidade, polifonia, dialogismo e inacabamento; examinar a maneira pela qual a obra tece uma crítica de molde foucaultiano à sociedade de controle; desenvolver a análise, na obra, dos pontos temático-analíticos da ficção distópica, do contexto histórico-cultural da Guerra Fria e das intersemioticidades com o Prometeu Acorrentado de Ésquilo e com o Frankenstein ou O Moderno Prometeu, de Mary Shelley. JUSTIFICATIVA: Watchmen é um construto riquíssimo em termos de linguagem e em termos de conteúdo. A obra, ao longo de suas quase quatrocentas páginas, oferece ao leitor uma semiose complexa, eivada de referenciais artístico-culturais oriundos de diversos campos. Esses referenciais instalam na narrativa watchmeniana tanto suas linguagens quanto suas significações, e são adicionados de uma perspectiva de construção dos discursos das personagens que é polifônica e dialógica, nas mesmas bases em que Bakhtin trabalhou essas perspectivas sobre a obra de Dostoiévski. E, seguindo o molde bakhtiniano, a história não é finalizada enquanto síntese conclusiva. Ao longo dos anos Watchmen vem sendo tratada como obra paradigmática, e é considerada em variadas esferas a melhor história em quadrinhos já escrita. HIPÓTESE: Watchmen é construída como uma narrativa não-linear e multi-narrativa, com uma multiplicidade de camadas de significação que a tornam um mosaico narrativo no qual coexistem e para o qual convergem todos os seus referenciais formadores. ASPECTOS TEÓRICO-METODOLÓGICOS: trata-se de uma pesquisa bibliográfica que aplica sobre o objeto os pressupostos teóricos levantados. RESULTADOS OBTIDOS: As intertextualidades da obra firmaram-na como narrativa que foca sua atenção na história e nos desenvolvimentos criativos e conceituais de seu próprio gênero. As intersemioticidades revelaram a possibilidade de construção de uma arquitetura artística que se valha de linguagens e de conteúdos diversos, em múltiplos níveis, constituindo uma polissemia. As elaborações bakhtinianas da polifonia, da dialogia e do inacabamento mostraram-se adequadas para uma aplicação direta à Watchmen, caracterizando a obra como polifônica, dialógica e aberta