Diss.--Philosophische Fakultät--Universität Zürich, 2000. / Bibliogr. p. 532-567. Résumé en anglais.

The quantity of classical guitar literature reached a new peak late in the twentieth century with many famous guitarists publishing their own works for solo classical guitar. This increase in the published guitar literature resulted in a decline of the relative analytical discussions of contemporary guitar works. Sérgio Assad is a perfect example of an active guitarist/composer whose works are frequently performed in guitar recitals and yet very little discussion has been provided attempting to gain a deeper understanding of his compositional language. The purpose of this study is to two-fold: first, to show that Fantasia Carioca (1994) is a very carefully organized work and includes an intricate network of thematic material developed through a spectrum of intervallic gestures, of which all derive from the main theme of the piece; second, to provide a deeper insight into the compositional language of Sérgio Assad through a demonstration of different compositional procedures to which the composer resorts. This one-movement piece reveals a high level of organization present in Sérgio Assad's style. The entire thematic material is carefully derived from the main theme. Each thematic unit shows a set of predetermined characteristics that allow these units to react to particular textures and situations. The thematic organization is interwoven with important intervallic gestures and relationships, which lead the development of the thematic material. The insight into the applied techniques and structural elements provides a highly beneficial pool of information for anybody who decides to perform this piece. The offered arguments also serve as a good starting point for further analytical approaches and examinations of the growing oeuvre of Assad's classical guitar music.

Thesis (M.S. in National Security Affairs) Naval Postgraduate School, June 1990. / Thesis Advisor(s): Magnus, Ralph H. Second Reader: Amos, John W. "June 1990." Description based on title screen viewed on October 16, 2009. DTIC Descriptor(s): Syria, stability, political revolution, vulnerability, power, president (United States), foreign policy, leadership DTIC Indicator(s): Theses, Syria, Assad h, foreign policy, Nusairis, Ba'ath party, history, military forces(foreign), Islam, political science, socialism, nationalism. Includes bibliographical references (p. 312-316). Also available in print.

Classical guitarists Roland Dyens (b.1955) and Sérgio Assad (b.1952) are widely recognized for their productivity as arrangers, improvisers, composers and performers, and for their experience in jazz and Latin American popular styles. Dyens and Assad, professors at the Paris Conservatory and at the San Francisco Conservatory, respectively, are also important pedagogues of the instrument. A significant part of their creative output consists of arrangements of popular music, jazz and jazz-influenced works for the solo guitar. This study examines Dyens' arrangements of "Misty" and "All The Things You Are," and Assad's arrangements of "Verano" and "Invierno" from Las Estaciones Porteñas by Ástor Piazzolla, and compares them with arrangements by other guitarists (Agustín Carlevaro, Baltazar Benítez and Joe Pass), pointing out innovations in texture and polyphonic writing for the solo guitar. The author employs theories of hybridism and bi-musicality to frame his analysis and situates the works in terms of historical practice, including examples from arrangements by Luís de Narváez, Mauro Giuliani, Miguel Llobet and Léo Brouwer.

The case of Syria presents an example of a regime performing authoritarian norms of peacebuilding that is indicative of new forms of geographical power implementing alternative models of post-conflict order. Bashar al-Assad utilises authoritarian conflict management to intensify its strategy of binary othering on which to exercise sectarian- infused practices of discrimination and violence to consolidate its power and subsequent legitimacy. The process of authoritarian upgrading left the Assad regime with vulnerabilities that were exploited during the uprising in 2011. Unable to control the protests, Assad intensified authoritarian and illiberal practices as a means to manage the civil war that emerged. Through discursive, spatial and economic practices, Assad was able to retain his seat of power. For example, drawing upon sectarianism as a tool of control, Assad put into place a process of binary othering that classifies citizens as loyal or disloyal. Citizens deemed disloyal are punished through a variety of measures. The authoritarian practices have led to dire conditions for the Syrian people, and are becoming entrenched into very structure of society through the process of reconstruction. However, liberal forms of peacebuilding lack the leverage to counter these practices. Keywords Syria;...

O presente trabalho se propõe a traçar um retrato da linguagem estética e instrumental do compositor e violonista Sérgio Assad (1952). Tal investigação será feita através da contextualização de sua produção através de um relato bibliográfico, da análise de umas de suas obras mais representativas, Aquarelle, escrita para violão solo com um comentário sobre o restante da sua produção. Visto que o compositor pesquisado ainda se encontra em atividade e possui uma vasta produção de música de câmara e como arranjador, este trabalho se propõe a delimitar o escopo à suas composições originais para violão solo. / This work has the objective of researching the instrumental and aesthetic language of guitarist composer Sérgio Assad (1952). Such investigation will be conducted through a biographical portrait of the composer, an analysis of one of his most important works, Aquarelle, for solo guitar and a commentary about his works for the instrument. Knowing that the composer is still active and has a large body of chamber music and arrangements, this work will focus on his production of original compositions for solo guitar.

O presente trabalho se propõe a traçar um retrato da linguagem estética e instrumental do compositor e violonista Sérgio Assad (1952). Tal investigação será feita através da contextualização de sua produção através de um relato bibliográfico, da análise de umas de suas obras mais representativas, Aquarelle, escrita para violão solo com um comentário sobre o restante da sua produção. Visto que o compositor pesquisado ainda se encontra em atividade e possui uma vasta produção de música de câmara e como arranjador, este trabalho se propõe a delimitar o escopo à suas composições originais para violão solo. / This work has the objective of researching the instrumental and aesthetic language of guitarist composer Sérgio Assad (1952). Such investigation will be conducted through a biographical portrait of the composer, an analysis of one of his most important works, Aquarelle, for solo guitar and a commentary about his works for the instrument. Knowing that the composer is still active and has a large body of chamber music and arrangements, this work will focus on his production of original compositions for solo guitar.

Le présent travail vise, par une documentation renouvelée, à comprendre la relation entre une puissance moyenne mondiale, puissance agissante au Moyen-Orient, et une puissance moyenne arabe. L’arrivée au pouvoir de Jacques Chirac en 1995 correspond à la mise en oeuvre d’une nouvelle politique envers Damas. Hafez Al-Assad perçoit l’opportunité de cette ouverture. Les rapports entre les deux pays permettent de nombreuses réalisations : imposition d’une vision commune sur la scène régionale face à la volonté américaine, modération de la politique de nuisance syrienne, ou encore mise en place d’une coopération pour une réforme administrative en Syrie. Mais ils sont également confrontés à plusieurs défis : le changement de président en Syrie, les tensions libanaises ou encore la guerre en Irak. Ainsi, à partir de la fin de l’année 2003, les relations franco-syriennes glissent sur un terrain nouveau. Faisant le constat de résultats insuffisants, notamment sur le terrain libanais, et de l’incapacité syrienne à prendre en compte la nouvelle configuration née de l’intervention américaine en Irak, la France utilise le cadre multilatéral onusien pour faire pression sur Damas. Un bilatéral minimal et conflictuel se cristallise alors autour de l’intérêt qu’ont les deux pays pour le Liban. Après l’assassinat de Rafic Hariri en 2015, ce bilatéral se judiciarise. Ces fluctuations des relations franco-syriennes nous ont conduits à réinterroger la notion de bilatéral. Nous avons proposé le concept de « bilatéralisme de levier » : il s’agit de l’instrumentalisation de la relation entre deux pays pour des objectifs indirects. En nourrissant des relations bilatérales et en mettant en place une habitude de traiter avec l’autre, la France et la Syrie cherchent en réalité à obtenir des gains et une position sur la scène régionale ou internationale. Ce détournement de la relation bilatérale explique qu’elle n’ait pas pu s’inscrire dans le temps long. / The objective of the present thesis is, through the use of renewed documentation, to understand the relationship between a medium-sized, global power, active in the Middle-East, and a medium-sized Arab power. The beginning of Jacques Chirac’s presidency in 1995 corresponded to the implementation of a new policy towards Damascus. Hafez Al-Asad understood the opportunity which this opening-up afforded. Relations between the two countries thus allowed for many realizations : the imposition of a common vision on the regional scene in the face of American will, a moderation of Syrian trouble-making policies, or the implementation of cooperation in the area of Syrian administrative reform. France and Syria were however also confronted with several challenges, such as the changing of presidents in Syria, Lebanese tensions or war in Iraq. As a result, by the end of 2003, Franco-Syrian relations entered a new phase. Taking stock of insufficient results, in particular concerning Lebanon as well as Syria’s incapacity to take into account the new configuration born out of American intervention in Iraq, France used the multilateral framework of the United Nations to put pressure on Damascus. A minimal and fraught bilateral relationship crystallized around the interest which both countries had in Lebanon. In the wake of the assassination of Rafiq Hariri in 2015, this bilateral relationship acquired a judicial dimension. These fluctuations in Franco-Syrian relations have led me to reconsider the notion of bilateralism. I thus propose the concept of “leveraged bilateralism”, which refers to the using of the relationship between two countries for indirect objectives. By nourishing bilateral relations and by establishing a habit of interaction with one another, France and Syria sought in reality to obtain gains and a position on the regional or international scene. This hijacking of the bilateral relationship is the reason why the latter was not able to establish itself over the long run.

More accurate and authentic performances of Sérgio Assad's (b. 1952) Aquarelle and his Fantasia Carioca can be obtained through insights provided by formal analysis of those pieces, study of the performing traditions of Brazilian traditional music, and the composer's reflections and comments. This document guides readers in recognizing the subtleties that characterize Assad's style and its Brazilian traditional music influences. A select group of styles has been chosen based on their relevance in Assad's work. Characterized by unique accent patterns and melodic/harmonic "clichés," the influences of each Brazilian music genre can be identified in specific measures of the two Assad's pieces included in this study. The correlation between measures and genres provides specific stylistic features that the performer can apply toward an authentic execution.

99 f.:il / Submitted by JURANDI DE SOUZA SILVA (jssufba@hotmail.com) on 2013-03-15T12:57:57Z No. of bitstreams: 1 Dissertacao Cristiano Sousa Santos.pdf: 1627738 bytes, checksum: e492500671392125dcc07bb74e56c513 (MD5) / Approved for entry into archive by Rodrigo Meirelles(rodrigomei@ufba.br) on 2013-03-22T14:18:54Z (GMT) No. of bitstreams: 1 Dissertacao Cristiano Sousa Santos.pdf: 1627738 bytes, checksum: e492500671392125dcc07bb74e56c513 (MD5) / Made available in DSpace on 2013-03-22T14:18:54Z (GMT). No. of bitstreams: 1 Dissertacao Cristiano Sousa Santos.pdf: 1627738 bytes, checksum: e492500671392125dcc07bb74e56c513 (MD5) Previous issue date: 2009 / Este trabalho apresenta um estudo sobre a relação entre procedimentos de dedilhados e interpretação musical de violonistas. A partir da idéia de que o instrumentista é um criador que maneja ferramentas para a sua produção – tais como timbre, dinâmica, articulação, tempo e técnica instrumental – demonstramos que as escolhas dos procedimentos de digitação atuam como um fator expressivo da individualidade de cada violonista. Nossa pesquisa foi direcionada à análise e elaboração de dedilhados na Aquarelle para violão solo, composta por Sérgio Assad (1988). Analisamos e comparamos as digitações de mão esquerda elaboradas pelo próprio compositor da peça com nossas propostas de dedilhados; devido à falta de dedilhados de mão direita na edição da peça, foi impossível comparar nossas propostas com as digitações de mão direita do compositor. Entretanto, utilizamos as gravações de Eduardo Isaac e Aliéksey Vianna como parâmetros para a comparação de mudança de timbres nos dedilhados de mão direita. Como resultado de nossa pesquisa, encontramos inter-relações entre procedimentos técnicos de performance violonística, já estabelecidos na bibliografia, e a elaboração e análise de digitações; criamos novos termos operacionais de dedilhados; indicamos diretrizes para a elaboração de dedilhados; relacionamos técnicas de dedilhados com seu resultado sonoro; e relacionamos as digitações de mão esquerda às digitações de mão direita. Nossa investigação revelou que é possível encontrar, mesmo em peças de execução complexa, dedilhados diversos para ambas as mãos. Observamos também que o processo de dedilhados descrito nesta dissertação pode ser útil na performance de outras peças do repertório violonístico. / Salvador