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Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2018-11-09T10:25:01Z No. of bitstreams: 1 Elizabeth Rizzi Lyra.pdf: 2052746 bytes, checksum: 8383184eedebe141b1581ed70266daa7 (MD5) / Made available in DSpace on 2018-11-09T10:25:01Z (GMT). No. of bitstreams: 1 Elizabeth Rizzi Lyra.pdf: 2052746 bytes, checksum: 8383184eedebe141b1581ed70266daa7 (MD5) Previous issue date: 2018-09-19 / This work is part of the research line “Reading, Writting and Portuguese Language Teaching”, from the Postgraduate Program in Portuguese Language of the Pontifical Catholic University of São Paulo. It has as general objective, the constitution of the female ethos in songs written by women composers, as well as the reading, from the rhetorical perspective of those songs in the learning environment of a regular school. Therefore, we have analyzed the female participation in the music history and the application of musical genre in the formation of youth education since the Old Greece back to current days. Based on the theoretical concepts, we analyze the songs Resposta (1958) from Maysa, Essa mulher (1978) composed by Joyce feat Ana Terra and Pagu (2000) from Rita Lee, so we could analyze which rhetorical appeals are applied in the constitution of the ethos of the woman. We highlighted through this analysis, the related aspects to the ethos (the composer’s credibility) and the logos (arguments and figures), just as the pathetic effects awakened in the audience by those songs. The ethos of the resistance and the manifestation of the passion for so long repressed, strongly uncovers in the songs. Regarding the reading in class, we can assure that the songs become rich sources in the formation of competent readers / Esta tese, inserida na linha de pesquisa Leitura, Escrita e Ensino de Língua Portuguesa, do Programa de Estudos Pós-Graduados em Língua Portuguesa da Pontifícia Universidade Católica de São Paulo, tem como tema o estudo da constituição do ethos feminino em músicas compostas por oradores do sexo feminino, bem como a leitura, sob a perspectiva da retórica, dessas músicas em sala de aula. Para que isso fosse possível, fizemos um breve percurso histórico sobre a participação da mulher na música, e da utilização do gênero canção na formação educacional dos jovens desde a Grécia Antiga até os dias atuais. Amparados pelos conceitos retóricos, analisamos as canções Resposta (1958) de Maysa, Essa mulher (1978) composta por Joyce em parceria com Ana Terra, e Pagu (2000) de Rita Lee para assim investigar quais recursos retóricos são utilizados na constituição do ethos da mulher. Evidenciamos, ao longo de nossa análise, aspectos relativos ao ethos (credibilidade do orador) e ao logos (argumentos e figuras), bem como os efeitos patéticos despertados no auditório por essas canções. O ethos da resistência e de manifestação de paixões há tanto reprimidas se descortinou potentemente nas canções. Com relação à leitura em sala de aula, podemos afirmar que as canções tornam-se fontes riquíssimas na formação de leitores competentes

This thesis discusses the life and work of the eighteenth-century French composer, Julie Pinel. Pinel’s extant music comprises one collection of music, Nouveau recueil d’airs sérieux et à boire à une et deux voix, de Brunettes à 2 dessus, scène pastorale, et cantatille avec accompagnement, published in 1737, of which a critical edition has been produced in volume II of this thesis. There is little information regarding Pinel’s life and work, however, the preface and privilège included in her Nouveau recueil provide some clues as to Pinel’s biography. Her life and music are examined, with reference to the social, literary and musical environment she was working in. An added dimension is that Pinel was working as a professional musicienne at a time when women were beginning to find their voice and place in professional society. Pinel claims authorship of the majority of the poems in her collection, and the rest come from anonymous sources. Pinel’s literary and musical output illustrates her obvious knowledge of the current trends in eighteenth-century France, with most of her poetry written for a female poetic voice, displaying many of the fashionable themes of the day. Her music displays a variety of styles, ranging from simple airs in binary form, traditionally found in most French airs sérieux et à boire, to the operatic, and the fashionable rococo styles.

Thesis (doctoral)--University of London, 1998. / BLDSC reference no.: DX202539.

Orientador: Lenita Waldige Mendes Nogueira / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-20T15:57:08Z (GMT). No. of bitstreams: 1 Neiva_TaniaMello_M.pdf: 2841719 bytes, checksum: b0f71f81d4ae28e2ce7ec83f95b0aaa0 (MD5) Previous issue date: 2006 / Resumo: A pesquisa consiste em discutir a inserção da mulher no campo da composião musical erudita brasileira na segunda metade do século XX através do estudo de caso. Foram escolhidas cinco compositoras: Maria Helena Rosas Fernandes (1933), Joey de Oliveira (1936), Marisa Rezende (1944), Vânia Dantas Leite (1945) e Denise Garcia (1955). A partir da metodologia da história oral, baseada principalmente em coleta de dados, entrevistas e análise de documentos primários, juntamente com a metodologia de pesquisa de história de conteúdo, caracterizada pela pesquisa bibliográfica fundamentalmente, foram elaboradas as trajetórias de cada compositora, enfocando a composição musical em suas vidas. Trabalhamos com alguns conceitos específicos para realização das análises e da reconstrução do campo, tais como: campo e dominação masculina desenvolvidos por Pierre Bourdieu e de geração por Karl Mannhein. Procuramos compreender a maneira como essas mulheres se tomam compositoras dado uma realidade caracterizada pela quase ausência feminina nesse campo, apesar das inúmeras conquistas da mulher durante o século XX, no Brasil e no mundo / Abstract: This research aims to analyze woman inclusion in the Brazilian classical music composition field in the second half of the twentieth century, through the case investigation. Five composers were chosen: Maria Helena Rosas Fernandes (1933), Joey de Oliveira (1936), Marisa Rezende (1944), Vânia Dantas Leite (1945) and Denise Garcia (1955). From the oral history methodology, based primary in data collection, interviews and analysis of primary documentation, together with the content history research methodology, based in bibliographic research, the biographies of each composers were elaborated, focusing the musical composition in their lives. We worked with some specific concepts for the realization of the analysis and the field re-construction, such as Field and Male Domination developed by Pierre Bourdieu and Generation by Karl Mannhein. We try to understand the way this women became composers inside a reality characterized by an almost female absence in this field, spite the incalculable woman conquests through the twentieth century, in Brazil and the World / Mestrado / Musica / Mestre em Música

The intent of this dissertation is to identify and analyze several pieces by female composers that are technically suitable for the specific development of an advanced Suzuki violin student studying in Suzuki books 7 or 8. The selected pieces can then be used by trained Suzuki teachers, in conjunction with the male-composer-dominated Suzuki repertoire, to enhance students' technical development while also increasing their well-rounded musicianship by exposing them to female composers. The development of off-the-string bow strokes, string crossings, shifting, left-hand articulation and musical expression will be traced through the first six volumes of the Suzuki repertoire in order to understand a Suzuki student's expected abilities pertaining to these technical elements when beginning the repertoire in books 7 and 8. Pieces by female composers highlighting and enhancing the referenced techniques will be identified and analyzed in a similar manner. These pieces will be compiled into a document for Suzuki students and teachers to use, along with appropriate editorial markings and biographies of the composers. This document can be an inspirational supplement to Suzuki students' musical development and help develop an awareness of female composers.

This dissertation examines the work of German composer and vocal pedagogue Nina d'Aubigny von Engelbrunner through her collection of songs entitled "Deutsche, Italienische und Französische Gesänge mit Begleitung des Pianoforte," published in 1797. A brief overview of the life and works of Ms. d'Aubigny is provided, followed by a discussion about the "woman question" as it relates to Ms. d'Aubigny's works. The second part of this project includes a new, modern performance edition of the collection of songs, complete with general editorial guidelines, notes and translations, and a critical report detailing all deviations from the original 1797 edition.

María Grever (1885-1951) overcame racism and gender bias during a pivotal era in American music history to become the first commercially successful Mexican female composer and more specifically, a pioneer of popular music during the first half of the 20th century. Though named the "Madonna of song," her legacy is largely overshadowed by other compositional giants of the era, such as the Gershwin brothers, Cole Porter, and Irving Berlin. Grever's music is sophisticated, heartfelt, and worthy of attention. Her colorful, genuine music adds distinctiveness and variety to recital programs. Grever's songs offer a high level of musical integrity and socio-cultural value. Incorporating her compositions into a singer's vocal repertoire is an excellent way to broaden the scope of styles and languages while maintaining the highest standards of musical study. The following document considers the importance of performing and studying Grever's music by analyzing nine songs representing three compositional periods. I evaluated the songs considering pedagogical benefit, performance value, and significance to her overall oeuvre.