As Christianity spread throughout the Iberian Peninsula during the Middle Ages, many believers attributed miraculous tales to the Virgin Mary and saints. In Camino de Santiago folklore, the Virgin Mary and Saint James intercede on behalf of pilgrims who cannot resolve a crisis without divine assistance. The Codex Calixtinus, a twelfth-century manuscript, contains such a story that occurs in Toulouse called "The Hanged Pilgrim." In this miracle, an innkeeper frames a pilgrim for theft and the local magistrate sentences the accused to hang as a consequence. However, the Virgin Mary and Saint James spare the pilgrim's life because of his devotion and the magistrate orders the pilgrim's release. Over centuries, pilgrims alter the original story as they retell it on the Camino trail. I argue that not only does this miracle of intercession change geographic location from France to the Iberian Peninsula, but that it also transforms from the Virgin Mary and Saint James saving an innocent pilgrim to female victims interceding on behalf of their betrayer and rapist. This analysis traces the displacement of "The Hanged Pilgrim" from a miracle in folklore and poetry to secular metaphoric reconciliation in a Spanish Golden Age play.

Made available in DSpace on 2016-12-08T17:06:49Z (GMT). No. of bitstreams: 1 rodrigo.pdf: 2412265 bytes, checksum: c47ad406e5e63dd52e37553b192af174 (MD5) Previous issue date: 2009-09-15 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This study investigated practical and Urtext editions of the piano sonatas by Joseph Haydn (1732-1809), departing from differences in the notation and interpretation of articulations and ornaments. Chapter I presents the review of literature on notation and instrument interpretation in the eighteenth century; Chapter II presents the piano sonatas by Haydn and aspects of musical notation related to the sonatas; Chapter III presents a comparatives analysis of practical and Urtext editions of Haydn piano sonatas. Finally, we applied to a group of pianists a questionnaire related to the subject of the research, to verify the interpretative posture of each subject before the different types of music publishing. The main contribution of the present study is the assessment of the functions and uses of practical and Urtext editions, with a focus on the changes in the performance practice of Haydn piano sonatas / Neste trabalho foram pesquisadas edições práticas e edições Urtext de sonatas para piano de Joseph Haydn (1732-1809) a partir de diferenças na notação e realização de articulações e ornamentos. O Capítulo I consta a Revisão de Literatura sobre notação e realização instrumental no século XVIII; o Capítulo II refere-se às Sonatas para Piano de Joseph Haydn e seus aspectos notacionais; no Capítulo III é realizado um estudo comparativo entre edições práticas e edições Urtext de sonatas para piano de Joseph Haydn; por fim, foi aplicado um questionário a um grupo de pianistas com perguntas relacionadas ao tema da pesquisa, a fim de verificar a postura interpretativa de cada um dos sujeitos perante os diferentes tipos de edição musical. Como contribuição principal, com esta pesquisa buscou-se avaliar as funções e usos de edições práticas e edições Urtext, destacando-se também mudanças nas práticas de execução de sonatas para piano de Haydn

Das Jahr is considered Fanny Hensel's most impressive accomplishment of piano solo work. However, the only modern edition that is extant includes many additional editorial markings. By further analyzing the sections that are technically challenging or musically demanding from an interpretive standpoint, pianists wishing to perform the work will have to find workable fingerings and pedal markings to learn this piano cycle. For this reason, this dissertation will not only provide readers with an original text of Das Jahr, but also assist pianists in finding practical solutions that can help them to interpret this distinctive work successfully on the modern piano.

The Concerto for Trombone, written in 1763 by Georg Christoph Wagenseil, is a piece in 2 movements for alto trombone and chamber orchestra. The orchestration consists of 2 parts for violin, 1 part for viola, cello and string bass, 2 French horn parts and 2 parts for flute. It is the first concerto form solo work for the alto trombone and was written during a time when wide use of this instrument had been diminished from centuries past. The Concerto for Trombone helped mark the beginning of a time when the musical expressiveness of the trombone began to be noticed in chamber genres where such attention had been lacking in previous decades. Chapter 2 examines the life and musical background of the composer. Chapter 3 discusses the history surrounding the possible origin of the Concerto and its performance history. Chapter 4 provides analytical insights into the construction and format of the piece. Chapter 5 details the creation of an urtext edition of the Concerto. Chapter 6 concludes this document with a performer's guide to the work based on the urtext edition of the solo trombone part to create the performance edition. This performance edition of the work includes historically informed solutions to the problematic technical elements of ornaments. The final section of the chapter makes suggestions regarding the preparation and performance of a historically informed version of the Concerto for Trombone.

The thesis "J. S. Bach and His Piano Pieces for Music Art Schools" is focused on interpretation of the piano music of Johann Sebastian Bach. For the right understanding of the composer's musical narratives, it is necessary to acquire the basic knowledge and principles of the music theory in the Baroque era and to become familiar with the environment in which this extraordinary composer had been professionally developing and composing. This musician is presented here as the founder of a modern fingering whose musical language brought a change into musical thinking and he became inspiration and a role model for composers of the next centuries. This thesis highlights the importance of appropriately selected musical materials in piano teaching and it prefers the performance to be as authentic as possible. The main purpose of this paper is to update the knowledge of methodology and to find a comprehensive guide to a correct understanding of musical language of this genius that would help the music teachers introduce to pupils the beauty and timelessness of Bach's musical work and that would motivate them to other musical discoveries and make them desire to be further educated in music.