Diss.--Albert-Ludwigs Universität, Fribourg-en-Brisgau, 1996. / Bibliogr. p. 269-286. Index.

abstract: Composer James DeMars has found a unique voice in the poetry of Alberto "Tito" Rios. The imagery combines memories and experiences of life on the Mexican/American border with scenes of love at various stages of life. The purpose of this study is to examine the structure, artistry and contemporary significance of Tito's Say, a cantata for soprano and baritone soloists, chorus, and orchestra by James DeMars with text by Alberto Rios, and to gain understanding of its inception, creation, composition, and subsequent performances. Description will be given in detail to increase familiarity with the work among choral musicians. Within this document, the reader will learn from personal interviews about James DeMars and Alberto Rios, focusing on their influences and experiences, including the circumstances leading up to the creation of Tito's Say. Furthermore, the reader will discover why the work was composed and how the collaboration came to be, details about its premiere, subsequent performances, and varying versions of this composition. A descriptive exploration and analysis of the text, its musical treatment, as well as an analysis of each of the five movements of the work are included herein, focusing on harmony, form, and style. Last, the author seeks to address stylistic and formal traits that unify the work, and performance considerations and challenges for the choir and for the orchestra. Appendices include available reviews, more extended biographies of both the composer and the poet compiled from interviews, and a works list of DeMars's compositions. / Dissertation/Thesis / D.M.A. Music 2012

Made available in DSpace on 2014-06-11T19:28:01Z (GMT). No. of bitstreams: 0 Previous issue date: 2007-01-18Bitstream added on 2014-06-13T19:15:53Z : No. of bitstreams: 1 zanetti_ap_me_mar.pdf: 820830 bytes, checksum: 77f4ebdc46a2b0c91abbce1b59349d13 (MD5) / Partindo dos pressupostos teórico-metodológico de Geertz, em que afirma ser a ideologia o resultado de uma manipulação intencional de formas culturais, além de Foucault, das formas de problematização, ou seja, o modo através do qual determinado tema, determinado objeto, parecem se impor num certo momento como aquilo que há para ser pensado; também em práticas e modificações, todos os jogos de poder que “objetivam” o fenômeno e o propõem ou o impõe como alvo de reflexão e de ação aparentemente obrigatório e quase natural; tomo como objeto de estudo o pensamento de Alberto Torres e sua apropriação “intelectual-política”, onde sua produção intelectual e a biografia nos permite interpretar uma visão do Brasil no período histórico que marcaram os anos de propaganda republicana, consolidação da República e o descontentamento imediato, por parte dos intelectuais que viram o projeto de República de seus sonhos malogrados. A problematização destacada nesse trabalho é da construção de um projeto político de “organização nacional” de Alberto Torres que apenas teve alcance décadas depois, com a geração de 1920, sendo reapropriado, no esforço prático dos intelectuais de substituir as práticas arrivistas das oligarquias e afirma seu papel como classe dirigente. / From Geertz's theoretical-methodological presupposition which states that ideology is the result of an intentional manipulation of cultural patterns, besides Foucault,of problematizing patterns, so as the way through which determined issue,determined object seem to be, in a certain moment, imposed as what to be thought about; also in practices and modifications, all the games of power that aim the phenomenon and propose it or impose it asan obeject of reflection and action apparently obligatory and almost natural; I take as object of study Alberto Torres's thought and his political-intellectual assumption in which his intellectual production and the biography allow us to interpret a view of Brazil in a historical period which marked the years of the republican propaganda, the consolidation of the Republic and the immediatedissatisfaction by the intellectuals who saw the failure of the Republic project of their dreams. The problematic spotted in this work is the construction of Alberto Torres's political project of national organization which was only reached some decades later with the generation of 1920, being readopted in the effort of replacing opportunist practices of the oligarchies and assure his role as a directing class.

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He aquí una visión personal de la vida y obra de quien hoy en día es considerado como el santo patrono de los científicos. Alberto Magno fue un religioso católico ávido por entender la naturaleza de todas las cosas. Fue autor de diversas obras filosóficas y teológicas, pero tambiénde tratados sobre minerales, biología, física e incluso de alquimia. Vivió en la Europa del siglo XIII y ya entonces defendía los principios del método científico. / He aquí una visión personal de la vida y obra de quien hoy en día es considerado como el santo patrono de los científicos. Alberto Magno fue un religioso católico ávido por entender la naturaleza de todas las cosas. Fue autor de diversas obras filosóficas y teológicas, pero tambiénde tratados sobre minerales, biología, física e incluso de alquimia. Vivió en la Europa del siglo XIII y ya entonces defendía los principios del método científico.

Orientador: Maria Elizabete Sampaio Prado Xavier / Dissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Educação / Made available in DSpace on 2018-07-22T19:53:20Z (GMT). No. of bitstreams: 1 Jorge_Marcos_M.pdf: 5793408 bytes, checksum: ec30d17829b501b81d946896a4b908bd (MD5) Previous issue date: 1997 / Resumo: O trabalho buscou analisar nos estudos socio-históricos de Alberto Torres, os primeiros fundamentos teóricos da abordagem da Educação e da "Questão Social" da "República Velha". Num segundo momento, pretendeu discutir os temas abordados numa perspectiva contemporânea e estabelecer uma análise aproximativa entre esses diferentes momentos históricos. Finalmente procurou avaliar o agravamento da questão social nos últimos tempos, bem como o comportamento das elites na sua apreensão e tentativas de solução / Mestrado / Filosofia e História da Educação / Mestre em Educação

This essay analyzes the connections between some of the theories about masculinities and the sociopolitical context of Chile under the dictatorship of General Augusto Pinochet in the movie Tony Manero, by Pablo Larrain, and the novel Mala onda, by Alberto Fuguet. It proposes that the dictator and consequently the ideology of dictatorship are exacerbated representations of masculinity, and this study signals their inherent contradictions and repercussions in this country\'s social environment during its period of authoritarian regime. From this perspective, the protagonists of both fictional works, who come from different social and economic sectors of the Chilean society, can be considered oppressed individuals and oppressors themselves within this context, establishing different kinds of relationship with it. The oppression that they suffer is not only characterized by the authoritarian practices in force but also "and mainly" by the explicit and implicit guidelines of a "code of masculinity" that is put across by the regime and which affects society as a whole. Additionally, actively or passively and in a more or less conscious way, from the male groups to which they belong, both leading characters dominate (or try to do so) the groups of men from lower levels of the hierarchical social ranking and all groups of women. Therefore, oppression is an effective tool used to help maintain the structure of the dictatorship itself and, as a result, the ideological basis of men\'s domination. / Master of Arts

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When Alberto Ginastera's oeuvre is viewed as a whole, an essential continuity between compositional ideas often appears in different works. This is especially apparent in the three piano sonatas, where each sonata represents an evolution and a condensation of ideas occurring in the previous one. The evolution of ideas throughout the three sonatas takes place through two primary processes. The first is a shift in cultural focus from reliance on Ibero-American material in the first sonata (1952) to Amerindian in the second (1981), to a synthesis of the two cultural elements in the third (1982). The second means of evolution from sonata to sonata is through a process of symmetrization. Along with constructions using symmetrical scales, material in each of the three sonatas is subjected to various symmetrical procedures which correspond musically to basic geometric symmetry types or operations (bilateral, rotational, and translatory, for instance). The decreasing number of movements evidences a negative dilatation of material, moving from four movements in the first sonata to three in the second, to one in the third. In each case, corresponding material from the previous sonata is integrated into the following sonata. Both independently and as a group the three piano sonatas exhibit "invariance under a transformation."