This dissertation is an analytical comparison of the works for solo clarinet by Paul Hindemith and his student Arnold Cooke. A total of seven compositions are studied and analyzed for style, covering aspects of melody, harmony, rhythm, form, and texture. From this data, conclusions concerning the accessibility of Cooke's music for solo clarinet to the player and listener are made. Although Hindemith's music for solo clarinet is more often played, it is this author's conclusion that Cooke's works are more satisfactory in their accessibility and ease of performance.

Members of the second generation of the English Musical Renaissance have long been associated with a break from the Teutonic influence of their predecessors to create a musical idiom that is quintessentially English. Scholarship has long looked at these composers, who include those born between Vaughan Williams and Moeran, in isolation from the artistic movements and political and social issues of Europe, when in fact they were part of them. This thesis places these composers within these currents by discussing them as part of England’s Lost Generation and within the historical contexts of Europe in the early twentieth century. Though the Lost Generation is often associated with the post-war period, I propose that the phenomenon existed prior to World War I by focussing on England’s aesthetic lostness in the late Victorian and Edwardian eras. The Lost Generation of composers inherited a musical culture that had been aesthetically lost for two hundred years and rebelled against it to define a musical idiom that was quintessentially English. After placing the second generation of the English Musical Renaissance within its historical contexts, I call into question previous discussions on English music that define it according to single definitions largely associated with the Pastoral School or the Folk School. Instead, I propose that the music of this generation was stylistically diverse while simultaneously a manifestation of common cultural influences, ultimately rooted in the goal of creating a sense of community. To support this claim, I discuss the various stylistic techniques of individual composers within their collective cultural influences, including the music of England’s past, the landscape, and English literature. Furthermore, I explore the role of musical community, both as a central goal in the creation of a national idiom and as a source of compositional inspiration. By examining the influences and compositional styles of these composers, I conclude that the music of this generation broke from Continental influences by developing a national idiom that was both stylistically unique to the individual composer and tied to common cultural influences that were rooted in the goal of creating a musical community within England. . / Graduate

A presente dissertação se ocupa em analisar a relevância da melhor técnica legislativa, para a formulação e efetivação de políticas públicas, dentro de nossa contemporaneidade democrática. Nesse aspecto, um instrumento recente aparece no cenário político e jurídico: a Legística. Em linhas gerais, a Legística sintetiza o estudo dos aspectos formal e material do texto legal, além de perquirir, à luz da ciência jurídica, se seria possível que a lei, com todas as suas características e com as garantias que visa promover, fosse instrumento apto à determinada dinâmica que permitisse adaptações de conteúdo, em face de sua aplicação no curso do tempo. E, ainda, antes mesmo da vigência do texto normativo, qual o trâmite que viabilizasse participação e técnica. Ao discorrer sobre o tema, pareceu-me mais adequado definir um foco e cercá-lo das informações relevantes, visando consolidá-lo como síntese de inúmeros processos. A lei é esse foco. O mandamento legal, na Ordem Constitucional, que fundamenta o poder estatal, e todas as influências que correm como pano de fundo, inclusive as históricas, porém, sem longas digressões. O tempo presente parece-me sintetizar, em si próprio, toda experiência acumulada e variantes decorrentes do local, da política e das ambições econômicas e, com igual relevância, dos anseios por um mundo melhor, de homens e mulheres. Penso que a presente dissertação terá cumprido seu papel, se permanecer coerente com as fontes de pesquisa, seus próprios termos, e se instigar ao leitor chegar ao seu final. / The present essay is concerned with analyzing the relevance of the best legislative technique for the enforcement and execution of public policies within our contemporary democracy. According to this, a recent instrument appears in the political and legal scene:Legistics. In general Legistica summarizes the study of both formal and material aspects of the legal text besides questioning with scientism - whether it was possible to the law, with all its features and with the assurances that promotes would be a capable instrument to a specific dynamic that would allow content to be adapted due to the concreteness of time. And yet, even before its term, which could be the procedure which would enable participation and technique? Discussing the topic, it seemed more appropriate to define a focus and surround it with relevant information in order to consolidate it as a synthesis of many processes. The law is this focus. The legal command in Constitutional order that underlies state power. And all the influences that run in the background, including the historical, but without long digressions. It seems to me that the present time summarizes the whole experience and variants arising from local, politics, and economic ambitions and, with equal relevance, the yearnings for a better world of men and women. I think that the present work will have fulfilled its role, if it remains consistent with its research sources, its own terms that urges the reader to get to its end.

Le travail présente dans cette thèse est un travail algorithmique portant sur deux sujets: solutions formelles des systèmes d'équations différentielles linéaires ordinaires dépendant (ou pas) d'un paramètre et opérations fondamentales pour les opérateurs différentiels. Dans la première partie: nous avons démontre la convergence d'un algorithme et développe un programme en macsyma pour le calcul de la forme de Frobenius et Jordan de matrices holomorphes. Nous avons aussi développé un algorithme et un programme en macsyma pour le calcul de formes de Arnold-Wasow de matrices et systèmes différentiels dépendant d'un paramètre. Grâce a ces algorithmes, l'algorithme de Turrittin-Wasow est adapte au calcul formel pour trouver les solutions formelles de systemes differentiels dépendant d'un paramétré. Nous avons developpe un programme en macsyma pour le calcul de solutions formelles de systèmes différentiels dans un voisinage du point singulier régulier. Dans la deuxième partie: nous avons développe des algorithmes pour des opérations fondamentales sur deux opérateurs différentiels: le plus grand commun diviseur, le plus petit commun multiples, l'algorithme de Bezout, le pseudo-résultant. Nous avons aussi étudie une généralisation directe de la notion de base de Grobner dans l'anneau des opérateurs différentiels a coefficients polynomiaux, i.e. L'algèbre de Weyl

No description available.

This study presents pertinent information for singers and teachers of singers about selected vocal works written by three significant composers who were active during the first half of the twentieth century: Arnold Schoenberg, Anton Webern, and Alban Berg, also referred to as The Second Viennese School. The vocal works of these composers are often neglected due to the assumption that the works will be atonal and, therefore, musically unachievable for performers and unsatisfying for audiences. For each composer, information about his educational background and compositional style is provided, in addition to commentary on representative vocal works supported by musical examples. A significant part of this research includes interviews with renowned singers who supply advice for practice and performance-related suggestions. In order for singers and teachers to obtain essential information regarding these solo vocal works, a complete catalog is provided. / Introduction -- Arnold Schoenberg -- Anton Webern -- Alban Berg -- Vocal and rehearsal techniques -- Conclusions and suggested further research. / School of Music

Theodor Adorno’s view of Arnold Schoenberg can be seen in light of his criticism of Immanuel Kant. Critiquing Kant’s concept of Enlightenment and his dualist philosophy, Adorno also critiques common misconceptions about Kant's work in bourgeois society. Similarly, in Schoenberg's oeuvre Adorno finds radical musical creation but also a reversion to formulaic composition in its reception by Richard Hill among others. In both Kant and Schoenberg, Adorno identifies a tripartite movement: (1) A radical work (philosophical or musical) is created by a member of bourgeois society. (2) The work adopts the function of a societal critique. (3) However, bourgeois society is incapable of understanding the work as critique and erases its radical nature. Seen in light of Adorno's thought, the thesis explores the transactional nature of idea production and reception in society.

Zugl.: Freiburg (Breisgau), Univ., Habil.-Schr., 2006/2007

My thesis examines the concept of sweetness as an aesthetic category in nineteenth-century British culture. My contention is that a link exists between the idea of sweetness as it appears in literary works and sugar as an everyday commodity with a complex history attached. Sugar had changed from being considered as a luxury in 1750 to a mass-market staple by the 1850s, a major cultural transition which altered the concept of sweetness as a taste. In the thesis I map the consequences of this shift as they are manifest in a range of texts from the period, alongside parallel changes in the aesthetic category of sweetness. I also assess the relationship between the material history of sweetness and the separate but related concept of aesthetic sweetness. In focussing on the relationship between sugar and sweetness in the Victorian period this thesis examines an area of nineteenth-century life that has previously never been subject to detailed study. Although several critics have explored the connection between sugar and concepts of sweetness as they relate to abolitionist debates in the eighteenth and nineteenth centuries, my focus differs in that I assert that other material histories of sugar played as significant a role in developing discourses of sweetness. Throughout this study, which spans the period 1780-1870, I draw on a range of sources across a variety of genres, including abolitionist pamphlets, medical textbooks, the novels of Charlotte Brontë and Wilkie Collins, the cultural criticism of Matthew Arnold and Walter Pater, and the poetry of Christina Rossetti and Algernon Charles Swinburne. I conclude that literary cultures in the nineteenth century increasingly use discourses of sugar to relate to the mass market and explore the commercialisation of literature, at a time when a growing commodity culture was seen as a threat to literary integrity.

Orientador: Mauricy Matos Martin / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-15T11:49:49Z (GMT). No. of bitstreams: 1 Zaghi_Rogerio_M.pdf: 13471941 bytes, checksum: 6f974ec4d4cf242d69629df92d65383f (MD5) Previous issue date: 2005 / Resumo: Esta dissertação, apresentada ao Programa de Pós-Graduação em Artes da Universidade Estadual de Campinas/UNICAMP, destina-se a cumprir parte dos requisitos para a obtenção do título de Mestre em Artes, na área de concentração em Música. Com o título Perspectivas Analíticas e Interpretativas na Obra para Piano de Arnold Schönberg e constituída de volume único, traz cinco capítulos dedicados à obra de Schönberg, com destaque especial para o conjunto de peças escritas para piano solo. Em Arnold Schönberg: legado de contribuições para uma nova estética musical (Cap. 1), a obra de Schönberg, como um todo, é brevemente apresentada. Ainda nesse capítulo, um item destinado especificamente ao piano traz informações sobre o pequeno, porém fundamental conjunto de peças que configuram sua obra completa para piano. Nos capítulos centrais (Cap. 2, 3 e 4), aspectos ligados aos elementos que estruturam a linguagem do compositor foram explorados de diversas maneiras: em O motivo como elemento gerador e unificador do discurso musical da Peça para Piano, Op. 11, no 1 (Cap. 2), o tratamento motívico é investigado, trazendo à tona aspectos inovadores da linguagem atonal-livre em comunhão com procedimentos encontrados na tradição tonal;em O Método Dodecafônico, sua descoberta e a aplicação na primeira obra inteiramente dodecafônica: a Suíte para Piano, Op. 25 (Cap. 3), o Método de Composição com Doze Sons é investigado pelo estudo de suas origens, de aspectos técnicos específicos até a localização do conjunto serial no Präludium da Suíte, Op. 25. Forma e tradição na estruturação do discurso musical das Cinco Peças, Op. 23 e da Suíte, Op. 25 (Cap. 4) abre com uma breve análise das Cinco Peças, Op. 23, abordando o princípio estrutural em que cada uma está sedimentada, além de apresentar um esquema sintético de sua estrutura formal. Na Suíte, Op. 25, procede-se a uma comparação com a forma suíte do período barroco. Investigam-se os movimentos de dança e descortinam-se suas ligações profundas com essa forma tradicional. Em Aspectos relevantes na interpretação e execução da obra para piano de Arnold Schönberg (Cap. 5) suscita-se o paradoxo referente à imensa quantidade de estudos e investigações a respeito de sua obra em oposição à pequena freqüência da sua execução. Com base tanto nos escritos do compositor, quanto nas análises feitas nos capítulos anteriores, revelam-se elementos que podem auxiliar o intérprete-pianista da obra de Schönberg. Dois anexos com partitura integral complementam o trabalho: o primeiro com o Drei Klavierstücke, Op. 11, no 1, e o segundo com o Klavierstücke, Op. 11, no 2, este último a Konzertmässige Interpretation von Ferrucio Busoni. Mediante as Considerações Finais, apresento questionamentos decorrentes de toda a investigação realizada. Segue-se a Bibliografia, que fundamenta essa pesquisa / Abstract: This thesis, presented to the Fine Arts Post Graduate Program of the University of Campinas / UNICAMP, intended to fulfill part of the requirements for obtaining the Master in Fine Arts, in the field of Music. With the title Analytic and Interpretive Perspectives in Arnold Schönberg Piano Oeuvre and composed of a single volume, brings five chapters dedicated to Schönberg's work, with particular attention to the pieces written for piano solo. In Arnold Schönberg: legacy of contributions to a new musical aesthetics (chapter 1), Schönberg's body of work,as a whole, is briefly presented. Still in this chapter, an item specifically destined to piano brings information about the small, but fundamental group of pieces that configure his complete work for piano. In the central chapters (chapter 2, 3 and 4), aspects related to the composer's language structure were approached in different manners: In The motif as a generator and unifying element to the musical speech of the Piano Piece, Opus 11 nº 1 (Chapter 2), the motivic treatment is investigated, bringing to surface the innovating aspects of the atonal-free language in communion with procedures found in tonal tradition; in The dodecaphonic Method, its discovery and application in the first completely dodecaphonic piece: the Piano Suite, Opus 25 (Chapter 3), the Twelve-Tone Technique is investigated through the study of its origins, from specific technical aspects to the localization of the serial assemblage in the Präludium of the Suite, Opus 25. Shape and tradition in the structuring of the musical speech of the Five Pieces, Opus 23 and The Suite Opus 25 (Chapter 4) begining with a brief analisis of the Five Pieces, Opus 23, approaching the structural principle in which each one is built, in addition to present a sinthetic scheme of its formal structure. In the Suite, Opus 25, incurring in a comparison to the suite's form in the Baroque Period. The dance movements are investigated and its deep connections to this traditional form unfold. In Relevant aspects in interpretation and execution of the piano piece of Arnold Schönberg (Chapter 5) allures the paradox concerning the immense quantity of studies ans investigations regarding his work and the small frequency of its execution. Supported by the composer's writings, as well as analysis done in the previous chapters, elements that may help the pianist-interpreter of Schönberg's work are revealed. Two annex with full scores complement the thesis: the first one with Drei Klavierstücke, Opus 11, no 1, and the second with Klavierstücke, Opus 11, no. 2, the later with Konzertmässige Interpretation von Ferrucio Busoni. By the Final Considerations, I present questions deriving of the whole analysis. Followed By the Bibliography, which support this essay / Mestrado / Mestre em Artes