This doctoral essay consists of an annotated bibliography and performance guide of the entire body of Andrés Alén’s solo piano music. Written by one of his former pupils, this document provides the reader with a descriptive summary of each one of Alén’s works regarding tempo markings, meter, form, and keys. In addition, the author provides valuable insights on the pieces’ styles, historical background and recording information. The author includes, as an appendix to this essay, the score of his own alternate closing section (montuno) for Alén’s most famous work, Danzón “Legrand”. The biography of the composer is provided in this essay as well.

Master of Arts / The study of the life and edition of the music of the Spanish chapelmaster and polyphonist Andres de Torrentes (1510-1580) provide the student of Renaissance music with an ideal starting-point both for the study of the thirty-four polyphonic choirbooks held in the archive of Toledo Cathedral and, in turn, for an investigation into the musical life of sixteenth-century Toledo. Torrentes is a logical starting-point because, like his contemporaries Cristobal de Morales (ca.. 1500- 1553), Francisco Guerrero (1528-1599), Sebastian de Vivanco (ca. 1550-1622), Juan Navarro (ca. 1530-1580) and Tomas Luis de Victoria (ca. 1548-1611), he was a prolific composer and one whose musical output, according to Stevenson, "entitles him to the rank of a major composer" Over fifty of Torrentes works are preserved, in manuscript, in Toledo and they include examples of all the important sacred musical genres of the sixteenth century. The manuscript sources of Torrentes1 polyphony have, moreover, survived the accidents of history which have claimed the works of so many of his Spanish contemporaries. Torrentes' career as the longest serving chapelmaster of the Spanish primatial Cathedral in Toledo in the sixteenth century was spread over three separate terms and a study of his career,based upon primary sources, provides us with valuable insights into a period which spans forty-two years (from Torrentes1 first appearance in 1538 until his death in 1580) in the life of one of the most active musical centres of Renaissance Spain. Previous research into the music of the siglo de oro falls into two clearly distinguishable 'waves', the first of which was carried out in the late nineteenth and early twentieth centuries by Spanish scholars such as Pedrell, Angles, Eslava, Elustiza and Rubio Piqueras. With the exception of two studies by Rubio Piqueras, the scholarly literature produced by this group of pioneers mentions next to nothing of either Torrentes or his music. To Rubio Piqueras fell the honour of publishing the first catalogue of the polyphonic choirbooks of Toledo Cathedral2 and the first study devoted to the music and musicians of Toledo Cathedral.3 To date, however, only three of Torrentes pieces have been published and none of the Toledan manuscript choirbooks have received the study they undoubtedly deserve. Although the second, more recent 'wave' of research was the first to employ the thorough methods of modern musicology, it has been preoccupied with a handful of major composers whose works were published during their own lifetimes, namely, Morales, Vivanco, Guerrero, Navarro, and Victoria. It was headed by Stevenson, whose authoritative monograph Spanish Cathedral Music in the Golden Age remains the most thorough and accurate account of the field. Even here, though, Torrentes is relegated to a two-sentence footnote. His name is mentioned, in passing, in Reese's Music in the Renaissance as one of a number of "Spanish composers who flourished about the middle of the sixteenth century, but who are not known to have pursued careers in Italy"4. A similar mention appears in The New Oxford History of Music5. In Die Musik in Geschichte und Gegenwart6, Torrentes is afforded two sentences and a very incomplete and inaccurate list of works. Similar brief references together with inaccurate and/or incomplete lists of works appear in Eitnerrs Biographisch-bibliographisches Quellen- Lexikon7 and Riemann's Musik-Lexikon8. The most accurate account of Torrentes' life and works is Stevenson's entry in The New Grove Dictionary of Music and Musicians9. The present thesis is limited to a study of Torrentes' biography based upon primary sources, a detailed examination of the major manuscript sources of his music and an edition of all of the composer's music which is known to survive- Although some new information concerning performance practices in sixteenthcentury Toledo has been brought to light10, a detailed discussion of this important question lies outside the scope of the present work as, indeed, does a style-critical study of the music itself.

Master of Arts / The study of the life and edition of the music of the Spanish chapelmaster and polyphonist Andres de Torrentes (1510-1580) provide the student of Renaissance music with an ideal starting-point both for the study of the thirty-four polyphonic choirbooks held in the archive of Toledo Cathedral and, in turn, for an investigation into the musical life of sixteenth-century Toledo. Torrentes is a logical starting-point because, like his contemporaries Cristobal de Morales (ca.. 1500- 1553), Francisco Guerrero (1528-1599), Sebastian de Vivanco (ca. 1550-1622), Juan Navarro (ca. 1530-1580) and Tomas Luis de Victoria (ca. 1548-1611), he was a prolific composer and one whose musical output, according to Stevenson, "entitles him to the rank of a major composer" Over fifty of Torrentes works are preserved, in manuscript, in Toledo and they include examples of all the important sacred musical genres of the sixteenth century. The manuscript sources of Torrentes1 polyphony have, moreover, survived the accidents of history which have claimed the works of so many of his Spanish contemporaries. Torrentes' career as the longest serving chapelmaster of the Spanish primatial Cathedral in Toledo in the sixteenth century was spread over three separate terms and a study of his career,based upon primary sources, provides us with valuable insights into a period which spans forty-two years (from Torrentes1 first appearance in 1538 until his death in 1580) in the life of one of the most active musical centres of Renaissance Spain. Previous research into the music of the siglo de oro falls into two clearly distinguishable 'waves', the first of which was carried out in the late nineteenth and early twentieth centuries by Spanish scholars such as Pedrell, Angles, Eslava, Elustiza and Rubio Piqueras. With the exception of two studies by Rubio Piqueras, the scholarly literature produced by this group of pioneers mentions next to nothing of either Torrentes or his music. To Rubio Piqueras fell the honour of publishing the first catalogue of the polyphonic choirbooks of Toledo Cathedral2 and the first study devoted to the music and musicians of Toledo Cathedral.3 To date, however, only three of Torrentes pieces have been published and none of the Toledan manuscript choirbooks have received the study they undoubtedly deserve. Although the second, more recent 'wave' of research was the first to employ the thorough methods of modern musicology, it has been preoccupied with a handful of major composers whose works were published during their own lifetimes, namely, Morales, Vivanco, Guerrero, Navarro, and Victoria. It was headed by Stevenson, whose authoritative monograph Spanish Cathedral Music in the Golden Age remains the most thorough and accurate account of the field. Even here, though, Torrentes is relegated to a two-sentence footnote. His name is mentioned, in passing, in Reese's Music in the Renaissance as one of a number of "Spanish composers who flourished about the middle of the sixteenth century, but who are not known to have pursued careers in Italy"4. A similar mention appears in The New Oxford History of Music5. In Die Musik in Geschichte und Gegenwart6, Torrentes is afforded two sentences and a very incomplete and inaccurate list of works. Similar brief references together with inaccurate and/or incomplete lists of works appear in Eitnerrs Biographisch-bibliographisches Quellen- Lexikon7 and Riemann's Musik-Lexikon8. The most accurate account of Torrentes' life and works is Stevenson's entry in The New Grove Dictionary of Music and Musicians9. The present thesis is limited to a study of Torrentes' biography based upon primary sources, a detailed examination of the major manuscript sources of his music and an edition of all of the composer's music which is known to survive- Although some new information concerning performance practices in sixteenthcentury Toledo has been brought to light10, a detailed discussion of this important question lies outside the scope of the present work as, indeed, does a style-critical study of the music itself.

Trabajo final de los alumnos de la Carrera Diseño Profesional de Interiores de la Universidad Peruana de Ciencias Aplicadas (UPC). Curso Taller 7, ciclo 2015-2, alumnos: Vargas Acuña, Candy Claudia y Larrea León, Alejandra Karina. / El curso de especialidad Patrimonio Histórico de la carrera Diseño Profesional de Interiores, de carácter teórico, está dirigido a los alumnos de séptimo ciclo y busca desarrollar la competencia general de Ciudadanía y la competencia específica de Diseño Multidisciplinario. El curso está orientado al desarrollo de un proyecto de intervención en un espacio patrimonial, el estudiante experimenta con patologías de deterioro en edificaciones antiguas y aprende técnicas de conservación a fin de que pueda utilizarlas en su desempeño profesional recuperando el valor de un inmueble. Como competencia de ciudadanía el alumno adquiere su compromiso con la historia y el patrimonio de su ciudad. El Perú tiene un importante Patrimonio cultural edificado y requiere profesionales con formación en temas de puesta en valor y adecuación a un nuevo uso.

La presente tesis doctoral tiene por objeto el estudio del «motivo del viaje» en la novela ¡Que viva la música!, obra central del escritor colombiano Andrés Caicedo. A partir de los desarrollos de la narratología y la semiótica clásica y post-clásica de las últimas décadas, se aborda la organización poético-narrativa de la novela en relación con su dimensión axiológica, aspecto que se expresa en la función estructurante que cumple en la obra el motivo del viaje. Mediante su periplo por la ciudad de Cali en busca de la música, la protagonista descubre aspectos de su propia realidad existencial individual, en el contexto de su sociedad y cultura, que la transforman y la conducen a su propio desclasamiento. A través del relato de su búsqueda existencial, la joven de ¡Que viva la música! da cuenta de gran parte de las búsquedas de la juventud de la nueva ciudad colombiana que se consolida hacia la década de los 70. La gran consonancia entre las temáticas exploradas y la forma poético-narrativa, funda el carácter innovador y de ruptura de esta novela, situándose en el origen de la narrativa literaria urbana en Colombia. La obra de Andrés Caicedo representa así un aporte sustancial a la narrativa colombiana del siglo XX. A través del análisis de la función estructurante que cumple en esta novela el motivo del viaje, esta tesis estudia un problema de central interés para el conocimiento y valoración de la obra de arte literaria, el de la relación poética del texto con los valores que convoca, y que la semiótica aborda en el análisis de los procesos de figurativización y tematización de los discursos y su relación con la dimensión axiológica. Sobre las propuestas teóricas de modelos provenientes de la narratología y la semiótica clásica y post-clásica (Genette, Greimas, Courtés, Serrano Orejuela, Fontanille, Hamon, Jouve, Bertrand, entre otros), se propone una metodología de análisis para la lectura e interpretación del texto narrativo literario en el marco de la sociedad y la cultura. / This doctoral thesis studies the “motive for the trip”, in ¡Que viva la música! (¡Let Music Live!), the main novel of Colombian writer, Andrés Caicedo (1951-1977). Based on the development of classic and post- classical narratology and semiotics from recent decades, this study addresses the poetic narrative organization of the novel in terms of its axiological dimensions, expressed through the structuring function of the reason for the trip, in the novel. During her journey through the city of Cali looking for the music, the protagonist unveils traits about her own individual existential reality, within the context of her society and culture that will transform and lead her to her own loss of social status. Through the recount of her own existential quest, the young protagonist of ¡Que viva la música!, captures most of the young people’s quests of the renovated concept of the Colombian city, forged towards the decade of the 70s. The great harmony among the explored subjects and the poetic narrative form is the basis for the character of innovation and rupture of this novel, located in the origin of the urban literary narrative of Colombia. Andrés Caicedo’s work represents an important contribution to the Colombian literature of the 20th century. Through the analysis of the structuring function of the motive for the trip in this novel, this thesis studies a problem of main concern for the knowledge and valuation of a literary work of art, that is, the poetic relationship of the text with the recalled values, which in semiotics are addressed in the analysis of the processes of figurativization and thematization of discourse and their relationship with the axiological dimension. Based on theoretical proposals of models from classic and post-classical narratology and semiotics (Genette, Greimas, Courtés, Serrano Orejuela, Fontanille, Hamon, Jouve, Bertrand, among others), this study proposes a methodology of analysis to read and interpret the narrative literary text within the frame of society and culture.

Memoria (licenciado en ciencias jurídicas y sociales) / De la investigación pasada y actual relativa a la formación filosófica de Bello, en especial de las influencias que recibe de diversos pensadores que juegan un papel preponderante en la constitución de su material ideológico a partir del cual elaborará su proyecto filosófico más importante, su Filosofía del Entendimiento, esta tesis pretende justificar que en dicho planteamiento filosófico ocupa un lugar relevante la influencia empirista. Dicha posición – la empírica - se caracteriza por su afán de establecer verdades basadas en consideraciones fácticas y sostener que todos los contenidos de conciencia proceden de la experiencia sensible, principios que pensamos, están explícitamente presentes, con algunas variaciones originadas según el sello particular de Bello, a lo largo de las diversas y abundantes expresiones de su legado intelectual, que tanta importancia han tenido en el desarrollo histórico de nuestro país, transformándose en sólido vínculo filosófico que subyace en las diversas materias a la que nuestro pensador se dedico, y que de diversas maneras está presente en los fundamentos de su concepción acerca del Derecho.

Submitted by Fabiano Vassallo (fabianovassallo2127@gmail.com) on 2017-05-02T17:26:07Z No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Poéticas Errantes Final.pdf: 1440028 bytes, checksum: 7ef1b21f5c0dc539564b4b50a75b3cb3 (MD5) / Approved for entry into archive by Josimara Dias Brumatti (bcgdigital@ndc.uff.br) on 2017-05-08T17:10:02Z (GMT) No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Poéticas Errantes Final.pdf: 1440028 bytes, checksum: 7ef1b21f5c0dc539564b4b50a75b3cb3 (MD5) / Made available in DSpace on 2017-05-08T17:10:02Z (GMT). No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Poéticas Errantes Final.pdf: 1440028 bytes, checksum: 7ef1b21f5c0dc539564b4b50a75b3cb3 (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Este trabalho propõe uma análise comparativa das produções de dois autores de notória relevância na década de 1970 na Colômbia e no Brasil, Andrés Caicedo e Torquato Neto. Para tanto, dentre os inúmeros aspectos que poderiam ser postos em paralelo entre ambos, optou-se por um recorte que contemplasse uma leitura do modo como a experiência urbana interfere na complexidade de seus escritos. As relações que estabelecem com as cidades por onde transitaram ecoam e reverberam em seus textos. Sabendo que Caicedo e Torquato foram artistas plurais e se arriscaram em diversos campos da arte, nossas considerações nos levam a afirmar que o ambiente citadino, em suas escrituras, propulsiona o entrecruzamento das formas, criando um campo de contiguidade entre o sonoro, o visual e o verbal. Além disso, a cidade, ao se configurar como o espaço da tentativa e da impossibilidade do encontro, instaura formas de vida monstruosas, o que diz respeito à situação de conflito entre sujeito e território / Esta investigación propone un análisis comparativo de las producciones de dos autores de notoria relevancia en la década de 1970 en Colombia y Brasil, Andrés Caicedo y Torquato Neto. Con este fin, dentre los numerosos aspectos que se podrían poner en paralelo entre ambos, se optó por un corte que contemplase una lectura de cómo la experiencia urbana interfiere en la complejidad de sus escritos. Las relaciones que establecen con las ciudades por donde transitaron repercuten en sus textos. Sabiendo que Caicedo y Torquato eran artistas plurales y que se aventuraron en diversos campos del arte, nuestras consideraciones nos llevan a afirmar que la ciudad, en sus escrituras, impulsiona la intersección de las formas, creando un campo contiguo entre el sonoro, el verbal y el visual. Además, la ciudad, que se configura como el espacio del intento y de la imposibilidad del encuentro, establece formas de vida monstruosas, lo que se refiere a la situación de conflicto entre el sujeto y el território

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abstract: Tres Tangos para Duo de Contrabajos (Three Tangos for Double Bass Duet) is a three-movement set written by Andrés Martín and commissioned by Darren Cueva specifically for this document and accompanying performance project. This piece blends tango with Western art music in a style often referred to as “nuevo tango” (new tango) which was popularized by Astor Piazzolla. This research paper will serve as a performance aid for those wishing to present tango idioms on the double bass in addition to a more detailed guide to performing Tres Tangos by Martín. To give context to performers, this survey begins with a brief history of the tango and the life and stylistic developments of Astor Piazzolla. Various music and dance styles that contributed to early tango include, milonga, habanera, and tango andalúz. The resulting tango was popularized as a music and dance style in the early twentieth century. Astor Piazzolla brought the tango to the concert hall after studying composition with acclaimed professor Nadia Boulanger. His new tango style merged traditional tango, classical composition, and jazz music, which he was exposed to after his family moved from Argentina to New York. Tres Tangos was modeled after the style of Piazzolla. Characteristic articulation and improvised techniques are a fundamental aspect of the tango sound; a successful performance will depend on the musician’s ability to create these sounds. A detailed description of the most common elements is provided as well as suggestions for creating them on the double bass. Finally, I have compiled a specific performance guide for Tres Tangos. This guide includes rhythmic, articulation, fingering, and notational considerations, to assist in the performance of this piece. / Dissertation/Thesis / Doctoral Dissertation Music 2018

No description available.