Orientador: Esdras Rodrigues Silva / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-26T00:34:41Z (GMT). No. of bitstreams: 1 Santos_JulianoBuosidos_M.pdf: 5944297 bytes, checksum: 6493cd8b9254b752c233881a86712f71 (MD5) Previous issue date: 2014 / Resumo: Esta pesquisa tem o propósito de divulgar um repertório pouco conhecido e interpretado atualmente: a música germânica escrita para consort de violinos para mais de quatro vozes, na segunda metade do século XVII. Um estudo histórico e estilístico nos possibilita aproximar desse repertório, identificando as influências que recebeu, seus antecedentes e seu desenvolvimento. Constataremos que a composição para este tipo de ensemble não foi um movimento isolado e nem raro, mas sim uma forma de instrumentação e escrita musical explorada em sua época, dada a sua rica e sofisticada possibilidade inventiva / Abstract: This research wishes to unveil a repertoire, which is little known and very seldom played nowadays: the music written for consort of more than four violins in the seventeenth-century in germanic lands. An historical and stylistic study shall allow us to improve our knowledge of this repertoire, identifying its origins, its influences and development. We will realize that this type of music was neither a peculiar nor a remote one, but rather that it was a particular form of instrumentation, customarily used by composers in that period, given its beautiful and sophisticated aesthetics / Mestrado / Praticas Interpretativas / Mestre em Música

This lecture-recital paper deals with some of the music of the early 1900's, examining both original xylophone solos and piano rags arranged for the xylophone. An attempt is made to identify the role of the xylophone in ragtime music and its implications for the present day xylophonist. In this investigation a brief history of ragtime music is presented along with the history of the xylophone. The history of ragtime is traced from its beginnings around 1890 to its decline during the 1930's, developing from cakewalks and folk rags into its various styles of Classic rags, Popular rags, Advanced rags, and Novelty rags. The history of the xylophone is traced from the middle ages to its emergence as an orchestral instrument, popularized by a Polish Jew named Michael Josef Gusikov during the early 1800"s. The popularity of the xylophone in the United States increased along with that of ragtime music; from approximately 1890 to 1935 the xylophone experienced what most refer to as its "golden age." Many solos for the instrument, both original and transcribed, were published toward the end of this era. As the popularity of the xylophone declined, these solos went out of print.

This thesis explores the genesis of black choralism in late-nineteenth-century colonial South Africa, attending specifically to its dialectic with metropolitan Victorian choralism. In two introductory historiographic chapters I outline the political-narrative strategies by which both Victorian and black South African choralism have been elided from music histories. Part 1 gives an account of the "structures" within and through which choralism functioned as a practice of colonisation, as "internal colonialism" in Britain and evangelical colonialism in the eastern Cape Colony. In chapter 1 I suggest that the religious contexts within which choralism operated, including the music theoretical construction of the tonic sol-fa notation and method as "natural", and the "scientific" musicalisation of race, constituted conditions for the foreign mission's embrace of choralism. The second chapter explores further such affinities, tracing sol-fa choralism's institutional affiliations with nineteenth-century "reform" movements, and suggesting that sol-fa's practices worked in fulfilment of core reformist concerns such as "industry" and literacy. Throughout, the thesis explores how the categories of class and race functioned interchangeably in the colonial imagination. Chapter 3 charts this relationship in the terrain of music education; notations, for instance, which were classed in Britain, became racialised in colonial South Africa. In particular I show that black music education operated within colonial racial discourses. Chapter 4 is a reading of Victorian choralism as a "discipline", interpreting choral performance practice and choral music itself as disciplinary acts which complemented the political contexts in which choralism operated. Part 1, in short, explores how popular choralism operated within and as dominant politicking. In part 2 I turn to the black reception of Victorian choralism in composition and performance. The fifth chapter examines the compositional discourse of early black choral music, focussing on the work of John Knox Bokwe (1855-1922). Through a detailed account of several of Bokwe's works and their metropolitan sources, particularly late-nineteenth century gospel hymnody, I show that Bokwe's compositional practice enacted a politics that became anticolonial, and that early black choral music became "black" in its reception. I conclude that ethno/musicological claims that early black choral music contains "African" musical content conflate "race" and culture under a double imperative: in the names of a decolonising politics and a postcolonial epistemology in which hybridity as resistance is racialised. The final chapter explores how "the voice" was crucial to identity politics in the Victorian world, an object that was classed and racialised. Proceeding from the black reception of choral voice training, I attempt to outline the beginnings of a social history of the black choral voice, as well as analyse the sonic content of that voice through an approach I call a "phonetics of timbre".

This study is an ethnomusicological analysis of Scottish competition bagpiping, examining three fundamental aspects of performance: sound aesthetics, performance aesthetics and the modal complex of the core repertoire. Through a mixture of discussions, modal analysis and reflections upon performance, it deconstructs the music of the 2/4 competition pipe march and the aesthetics surrounding competition performance. Focussing on a small number of the world's leading Highland bagpipers, this research demonstrates how overall sound combined with the individual choices about repertoire and how to play it, results in the maintenance of individual identity. In chapter three, analysis of the ‘modal complex', comprising pitch sets, hierarchies, phrasing-structure, the double-tonic, structural tones, melodic motifs and rhythm-contour motifs reveal the characteristics of various modes in the 2/4 competition pipe march. As an insider of this music-culture, I offer a definition of mode based upon motivic content rather than pitch set. The modal complex is framed by an understanding of how pipers themselves think about their competitive tradition. Understanding the concepts presented in this thesis provides an original and holistic picture of how Scottish bagpipe competition performance sounds the way it does.

This study of large-scale closure in Mozart's sonata-form first movements focusses on the structure and function of the closing section in these works, the section that brings the exposition and recapitulation sections to an end. Also taken into account are closural effects of the coda (when present) and the subordinate theme area. Because sonata form in the 18th-century involves a variety of differently-functioning sections such as themes and transitions, the analytical approach adopted centers on matters of form—the ways in which all the various channels of musical structure (primarily rhythm, melody, and harmony) interact to shape a particular piece—and in particular on the form of the closing section. The study is limited to one composer's use of one section in one formal type, thereby reaching highly specific conclusions about this facet of sonata form at a particular stage in music history. Since each section of sonata form has a distinct, unique structure and function, the study aims at identifying these in the closing section, and at contrasting them with the other sections of the form. If closure is primarily generated in the closing section, then there must be particular structures found mainly in that section that are responsible for closure. The majority of Mozart's closing sections are based on a model which can be simplified to aabbcc, where each letter symbolizes one group. The second, fourth, and sixth entries may be either exact repeats or variants of the first, third, and fifth entries respectively. The most common lengths in measures are (4 + 4) + (2 + 2) + (1+1). An example is the Sonata for Violin and Piano in B-flat Major, K. 454, mm. 50-65. Chapter 1 is primarily a survey of previous writing on the subject of closure. Chapter 2 presents a theory that accounts for structure at various levels of Mozart's sonata form. Chapters 3 through 6 contain discussion and analysis of different types of closing sections and movements. Chapter 7 includes a summary of the research undertaken. / Arts, Faculty of / Music, School of / Graduate

Orientador: José Roberto Zan / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-26T14:58:27Z (GMT). No. of bitstreams: 1 Vicente_RodrigoAparecido_D.pdf: 3123932 bytes, checksum: f86d66df46900853b99ebd4269c3bc7f (MD5) Previous issue date: 2014 / Resumo: A década de 1950 é um dos momentos-chave da história da música popular brasileira. Nesse período, diferentes ramos da incipiente indústria cultural se modernizam e começam a se articular de modo mais orgânico. Além disso, recrudesce a segmentação da produção musical, formando-se audiências específicas para cada gênero e estilo em circulação nos principais meios de comunicação. É nesse contexto que surge o Trio Surdina, conjunto ligado num primeiro instante a um programa de rádio que tencionava reproduzir a sonoridade e o ambiente intimista das pequenas boates que então proliferavam na zona sul do Rio de Janeiro. Sua produção se insere na chamada era da "Alta Fidelidade" - tradução literal de High-Fidelity, mais conhecida pela abreviação Hi-Fi -, um momento marcado pela introdução de novos suportes, equipamentos e técnicas de gravação no âmbito da indústria fonográfica. A partir do estudo dos elementos e procedimentos constituintes das performances registradas nos LPs do Trio Surdina, este trabalho investiga em que medida a sonoridade do conjunto informa a existência de uma nova sensibilidade auditiva, de um novo "ouvido social" que se configura entre as décadas de 1940 e 1950, ligado no caso a uma fração da classe média que esteve no centro da vida sociocultural da zona sul carioca. Conforme indicam os discursos da época, certos agentes sociais estavam em busca de um tipo de música mais intimista, "moderna" e de "bom gosto", pautada pela economia de elementos, pelo tratamento "suave" e por uma "técnica aprimorada" de interpretação. A sonoridade concebida pelo Trio Surdina parecia corresponder a tais expectativas, destacando-se no segmento dos chamados "conjuntos de boîte". Em síntese, procurou-se compreender de que modo as obras musicais traduzem e condensam em suas estruturas experiências estéticas, sociais e históricas mais amplas. Nessa direção, destacou-se, ao mesmo tempo, o conteúdo propriamente original e específico da produção do Trio Surdina, isto é, aquilo que, nas músicas, escapa tanto aos padrões e convenções de estilo, quanto aos valores e juízos intrínsecos aos discursos do seu tempo, permanecendo em estado de potência como possibilidades expressivas elaboradas a partir da linguagem da música instrumental / Abstract: The 1950s are one of the key moments in the history of Brazilian popular music. At that time, different branches of the incipient cultural industry modernize and begin to articulate in a more organic way. Moreover, there is an increased segmentation of music production, emerging specific audiences for each style in the main media. It is in that context that is formed Trio Surdina, a musical group associated initially to a radio program that intended to reproduce the sonority and the atmosphere of small nightclubs which then proliferated in the southern area of Rio de Janeiro. The group¿s production is closely associated with an innovation of the recording industry at that time, the "High Fidelity", better known by the abbreviation "Hi-Fi". From the formal study of the Trio Surdina¿s work, this thesis investigates how the sonority of this musical group reflects a new "social listening", which seems to emerge between the 1940s and the 1950s linked to a fraction of the middle class that was in the center of social and cultural life of the southern area of Rio de Janeiro. As indicated by discourses of that time, certain social agents were looking for a kind of more intimate, "modern" and "tasteful" music, characterized by the economy of elements, "soft" treatment and a "refined technique" of interpretation. The sonority conceived by Trio Surdina seemed to correspond to such expectations, especially in the segment of the so-called "boîte groups." In short, this research aims to understand how the music of Trio Surdina translates and condenses into its structures aesthetics, social and historical experiences. At the same time, we emphasize the original and specific content of the production of Trio Surdina; in other words, the content that goes beyond the standards and stylistic conventions, as well as the intrinsic values and judgments to the discourses of that time, remaining as potential expressive possibilities elaborated from instrumental music¿s language / Doutorado / Música, Teoria, Criação e Prática / Doutor em Música

The lecture recital was given on July 25, 1977. Transcriptions and arrangements for clarinet and piano of nineteenth-century Italian opera were popular during the virtuoso wind era and are representative of an important phase in the history of clarinet playing. Arias of Rossini and Verdi and a fantasia based on Rigoletto were performed during the lecture recital. In addition to the lecture recital, three other public recitals were performed, including solo compositions for clarinet and chamber works including clarinet.

The purpose of this study was to determine whether the themes and values represented in lyrics of progressive country music are significantly different from those of traditional country music. Content analytical techniques were used to determine, first, themes and, second, attitudes reflected in those themes in each type of song. The chi square test of independence was u-ilized, and a difference significant to the .05 level was found between themes and attitudes of lyrics in the two song types.

In 1937, Gustav Bumcke (1876-1963) composed the Scherzo, op. 67 for alto saxophone and double-action pedal harp. Since then, over 50 duos were written for various members of the saxophone family and the pedal harp, yet most of this repertoire is rarely performed and many artists are not yet aware of it. This document investigates works that are (1) composed for two musicians: a harpist and a saxophonist; (2) intended for the double-action pedal harp; and (3) originally composed for this instrumentation (no transcriptions). In Part I, An Investigation of the Development of the Genre, pieces are introduced in chronological order, and placed in historical context. Composers such as Gustave Bumcke and Jean Absil wrote short tonal pieces for alto saxophone and harp. In 1969, Günther Tautenhahn composed the Elegy for tenor saxophone and harp, featuring disjunct melodies with wide intervals. In France, Yvonne Desportes and Ida Gotkovsky composed pieces for alto saxophone and harp. Their pieces are substantially longer in duration and have much higher technical demands for both instruments. During the 1980s composers such as Jacqueline Fontyn, Marc Tallet, and Griffith Rose used a variety of extended techniques and avant-garde notation. Mauricio Kagel's Zwei Akte from 1989 is the longest piece in the genre (c. 28 minutes), with pervasive use of extended techniques. During the 1990s composers wrote saxophone and harp duos involving the bass saxophone and the soprano saxophone. Composers such as Quinto Maganini, François Rossé, Armando Ghidoni, and Tomislav Hmeljak wrote pedagogical pieces, suitable for young and intermediate students. In Part II, Annotated Bibliography, 30 published, readily available works for saxophone and harp are presented. The annotation for each piece includes: title, composer (years), dedication, duration, publisher or contact information for obtaining the piece, type of saxophone used, saxophone criteria grade of difficulty chart, harp criteria grade of difficulty chart, and a short discussion of the piece's form, harmony (if applicable), and any outstanding characteristics.

Albert Roussel, a contemporary of Ravel and Debussy, composed nine chamber works which include the flute. His general musical style as well as his use of the flute in these works is discussed in this lecture recital.