The thesis discusses the following three works composed by Bartok between 1922 and 1938 : Sonata no. 2 for Violin and Piano, Rhapsody no. 1 for Violin and Piano and "Contrasts" for Violin, Clarinet and Piano. Details relating to Bartok's compositional style in the three chamber works are investigated, with particular reference to the role of the piano. The piano writing is not innovative, but the traditional boundaries are extended by means of the melodic idiom, harmonies and rhythms. The thesis considers traceable musical influences viz. folk music and the influence of other composers; form and the tonal-contrapuntal fabric, rhythm and meter, and performance considerations. The value of Bartok's own recordings is addressed with regard to a critical evaluation of Bartok's own interpretation, the importance of the precisely notated scores, the controversial Bartok tempi, the application of rubato and broken chord figurations and Bartok's views on pedalling, articulation and ornamentation. Examples of all the above-mentioned aspects are traced in the three works concerned, and the pianistic style and dynamics and the interaction between the piano and the other instruments are discussed. The three works are compared and Bartok's development as composer of chamber music is traced through this comparison. The existence of Bartok's own interpretation of the Sonata, Rhapsody and "Contrasts", is of particular value to the study and serves as a main point of reference regarding the performance aspect. Using these recordings as a basis, the thesis considers the works from a pianist's point of view and insights are offered into possible problematic areas in performance, in relation to the piano part as well as the ensemble. The knowledge acquired through the preceding analysis of the works assists in a better understanding of the works and ensures an ultimately more successful performance. / Thesis (M.Mus.)-University of Natal, Durban, 1990.

In the field of twentieth-century musicology, studies have emphasized the music of Bela Bartok from a strictly hannonic standpoint. While these studies have provided insight into harmonic manipulation and tonal language there has been little emphasis placed on the role of rhythm and how it relates to the development of Bartok’s music. This study provides an analysis and discussion of rhythmic manipulation, structure and contour of rhythmic motives in String Quartets Nos. I and 4. This analysis was influenced by the methods and philosophies created and discussed by Edward Cone, Emo Lendvai, and John Roeder, among others. I adapted Lendvai's harmonic diagrams to illustrate the rhythmic conflict in Bartok's music. In addition to expanding established analytical models and concepts, I have created original analytical concepts such as rhythmic environments, rhythmic· oppression, and confrontation to identify and discuss important musical events. This is a novel rhythmic rather than harmonic study which provides an original method of analysis that is inspired by the rhythmic life of Bartok's String Quartets and may be used to interpret other music of the twentieth century.

Esta pesquisa se propõe analisar a relação entre patrimônio cultural urbano, participação democrática e planejamento urbano tomando como objeto o Concurso Nacional de Ideias para a Renovação e Preservação do Bexiga realizado durante a gestão de Luiza Erundina na cidade de São Paulo (1989-1992). A ideia da realização de um concurso no bairro foi inicialmente proposta em 1987, durante a prefeitura de Jânio Quadros (1986-1988), porém, não foi implementada. A retomada do Concurso transformou sua concepção original e a tornou mais ampla, a partir da concepção política de participação democrática defendida pela gestão petista. O Concurso de Ideias do Bexiga realizado apresentou-se como uma proposta inovadora dentro das políticas urbanas, possuindo como singularidade a participação direta da população afetada, desde a formulação dos requisitos que entrariam no edital de convocação das propostas até a eleição final. O presente trabalho focará a análise em três elementos do Concurso: 1) A comparação entre suas duas versões (administração Jânio Quadros e Luiza Erundina), como um meio para demostrar continuidades e distanciamentos presentes entre duas administrações com concepções políticas díspares; 2) A apresentação das discussões ocorridas durante o processo do Concurso, com foco nas questões indentitárias e de memória; e 3) O processo de tombamento do bairro da Bela Vista, iniciado durante o Concurso, que culminou em tensões envolvendo diversos setores da administração municipal e que evidenciou os limites da gestão democrática e da participação popular praticados durante o processo. / This research proposes to analyze the relation between urban cultural heritage, democratic participation and urban planning, taking as object the National Contest of Ideas for the Urban Renovation and Preservation of Bexiga Neighborhood, that took place during the municipal administration of Luiza Erundina in the city of São Paulo (1989-1992). The idea of conducting a contest in the neighborhood was initially proposed in 1987, during the municipality of Jânio Quadros (1986-1988), but it was not implemented. The resumption of the Contest transformed its original conception and made it broader, aligned with the political conception of democratic participation defended by the Partido Trabalhadores (Workers Party). The Bexiga Contest was considered innovative among the urban policies, being its biggest singularity the direct participation of the affected population, from the formulation of the requirements that would be applied to the proposal\'s call, to its final election. The present work will focus the analyses on three elements of the Contest: 1) The comparison between it\'s two versions (Jânio Quadros and Luiza Erundina\'s), as a mean to demonstrate continuities and distances present in two administrations with different political conceptions; 2) The presentation of the discussions that took place during the Contest\'s process, with a focus on the issues of identity and memory; and 3) The decision of declaring the neighborhood of Bela Vista (which includes Bexiga) as an official urban cultural heritage, decision made during the Contest, which culminated in tensions involving sectors of municipal administration and which evidenced the limits of the democratic processes and popular participation practiced during the Contest.

Made available in DSpace on 2016-08-10T11:21:25Z (GMT). No. of bitstreams: 1 NEIDE DE SOUZA ALMEIDA RODRIGUES.pdf: 41521326 bytes, checksum: 3b917afba7e32dd087814126915b09c6 (MD5) Previous issue date: 2013-03-13 / In this dissertation, our goal was to use the photographs of Antonio Faria (1914-2009) to analyze the contribution of men and women in the construction and development of the town of Bela Vista de Goias, in the period in which the photographer worked actively and publicly, between the years 1930 to 1996. We assume that society functioned as belavistense a complex network of social genre producer / breeder of results related to male / female, effected in bodies, behaviors and socio-cultural relations. For this, we support the theorists who have authority, in discussions about the concept of photography, genre, city, and memory representation. The study was developed primarily through analysis of photographs, documents, bibliographical material and interviews with people who were involved directly or indirectly in many aspects surveyed. Thus, one can understand the contribution of photography as fundamental support for the study and understanding of active participation of men and women in Bela Vista, in the period proposed, and how the images are meant to preserve the memory and reveal the representations in these a time and place. / Na presente dissertação, nosso objetivo foi o de utilizar as fotografias de Antônio Faria (1914-2009) para analisar a contribuição de homens e mulheres na construção e desenvolvimento da cidade de Bela Vista de Goiás, no período em que o fotógrafo trabalhou, ativa e publicamente, entre os anos de 1930 a 1996. Partimos do pressuposto de que a sociedade belavistense funcionou como uma complexa rede social de gênero produtora/reprodutora de resultados relacionados ao masculino/feminino, efetivados em corpos, comportamentos e relações socioculturais. Para isso, buscamos suporte nos teóricos que têm autoridade, nas discussões acerca do conceito de fotografia, gênero, cidade, memória e representação. O estudo desenvolveu-se, principalmente, através da análise das fotografias, documentos, material bibliográfico e entrevistas com pessoas que estiveram envolvidas de forma direta ou indireta, nos diversos aspectos pesquisados. Sendo assim, compreende-se a contribuição da fotografia como suporte fundamental para o estudo e entendimento da participação ativa de homens e mulheres em Bela Vista, no período proposto, e como as imagens têm a função de preservar a memória e revelar as representações destes em um tempo e lugar.

Submitted by admin tede (tede@pucgoias.edu.br) on 2016-08-18T14:08:36Z No. of bitstreams: 1 NEIDE DE SOUZA ALMEIDA RODRIGUES.pdf: 41521326 bytes, checksum: 3b917afba7e32dd087814126915b09c6 (MD5) / Made available in DSpace on 2016-08-18T14:08:36Z (GMT). No. of bitstreams: 1 NEIDE DE SOUZA ALMEIDA RODRIGUES.pdf: 41521326 bytes, checksum: 3b917afba7e32dd087814126915b09c6 (MD5) Previous issue date: 2013-03-13 / In this dissertation, our goal was to use the photographs of Antonio Faria (1914-2009) to analyze the contribution of men and women in the construction and development of the town of Bela Vista de Goias, in the period in which the photographer worked actively and publicly, between the years 1930 to 1996. We assume that society functioned as belavistense a complex network of social genre producer / breeder of results related to male / female, effected in bodies, behaviors and socio-cultural relations. For this, we support the theorists who have authority, in discussions about the concept of photography, genre, city, and memory representation. The study was developed primarily through analysis of photographs, documents, bibliographical material and interviews with people who were involved directly or indirectly in many aspects surveyed. Thus, one can understand the contribution of photography as fundamental support for the study and understanding of active participation of men and women in Bela Vista, in the period proposed, and how the images are meant to preserve the memory and reveal the representations in these a time and place. / Na presente dissertação, nosso objetivo foi o de utilizar as fotografias de Antônio Faria (1914-2009) para analisar a contribuição de homens e mulheres na construção e desenvolvimento da cidade de Bela Vista de Goiás, no período em que o fotógrafo trabalhou, ativa e publicamente, entre os anos de 1930 a 1996. Partimos do pressuposto de que a sociedade belavistense funcionou como uma complexa rede social de gênero produtora/reprodutora de resultados relacionados ao masculino/feminino, efetivados em corpos, comportamentos e relações socioculturais. Para isso, buscamos suporte nos teóricos que têm autoridade, nas discussões acerca do conceito de fotografia, gênero, cidade, memória e representação. O estudo desenvolveu-se, principalmente, através da análise das fotografias, documentos, material bibliográfico e entrevistas com pessoas que estiveram envolvidas de forma direta ou indireta, nos diversos aspectos pesquisados. Sendo assim, compreende-se a contribuição da fotografia como suporte fundamental para o estudo e entendimento da participação ativa de homens e mulheres em Bela Vista, no período proposto, e como as imagens têm a função de preservar a memória e revelar as representações destes em um tempo e lugar.

[pt] Este trabalho é um Estudo de Caso da Marca de Governo Fortaleza Bela desde sua construção até sua permanência durante duas Administrações Municipais da Cidade de Fortaleza, entre 2005 e 2012. O estudo dessas logomarcas, símbolos que pretendem expressar e representar uma determinada forma de exercício do Poder Executivo, muitas vezes se restringem a um debate puramente no campo dos publicitários ou dos profissionais de marketing. Para realizar este Estudo, a pesquisadora (que também foi a Prefeita de Fortaleza nesse período) utilizou a narrativa auto-reflexiva, os Programas de Governo, os Programas de TV e rádio do horário eleitoral gratuito das campanhas, a cobertura dos dois principais jornais locais do Ceará e alguns documentários, publicações e propagandas oficiais da Prefeitura Municipal de Fortaleza. Observa-se que a expressão Fortaleza Bela despertou os mais diversos sentimentos e as mais diversas reações, advindas de moradores da Cidade e diversos outros sujeitos. A pesquisadora também observa que a Marca torna-se uma fonte de inspiração para a criação dos mais diversos materiais como poesias, cordéis, músicas, críticas, charges, pichações, sátiras e outras marcas pejorativas em relação à Marca original. Ela conclui que o fato da expressão Fortaleza Bela e suas derivações terem sido intensamente expostas desde a Campanha Eleitoral de 2004 e durante oito anos da Administração Municipal fez com que seu Governo tivesse uma profunda identificação com essa Marca, fazendo com que esta seja lembrada até os dias de hoje. / [en] This work is a case study of the Fortaleza Bela government brand from its creation and its permanent use throughout two Municipal Administrations of the City of Fortaleza between 2005 and 2012. The study of these logos, symbols that intend to express and represent a certain form of executive power, are often restricted to a debate purely in the fields of advertising or marketing professionals. In order to carry out this study, the researcher (who was also the Mayor of Fortaleza in that period) uses self-reflexive narrative, government programs, the TV and radio broadcasts of the free political advertising time, the coverage of Ceará s two main local newspapers and some official documentaries, publications and advertisements of the City Hall of Fortaleza. It is observed that the expression Fortaleza Bela aroused the most diverse feelings and reactions among residents of the City and several other subjects. The researcher also notes that the brand became a source of inspiration for the creation of the most varied materials such as poetry, traditional cordel verse, music, critiques, cartoons, graffiti, satire and also pejorative actions in relation to the original brand. She concludes that the fact that the expression Fortaleza Bela and its derivations were intensely exposed in the 2004 Electoral Campaign and during the eight years of the Municipal Administration, led to the Government having a deep identification with this brand, so that it is still remembered in the present day.

Submitted by Jordan (jordanbiblio@gmail.com) on 2016-10-08T14:06:28Z No. of bitstreams: 1 DISS_2015_Bruna Mendes de Fava.pdf: 1223752 bytes, checksum: a3e8dfa9a597389c9fe4fb95a5bc48e6 (MD5) / Approved for entry into archive by Jordan (jordanbiblio@gmail.com) on 2016-10-08T14:10:33Z (GMT) No. of bitstreams: 1 DISS_2015_Bruna Mendes de Fava.pdf: 1223752 bytes, checksum: a3e8dfa9a597389c9fe4fb95a5bc48e6 (MD5) / Made available in DSpace on 2016-10-08T14:10:33Z (GMT). No. of bitstreams: 1 DISS_2015_Bruna Mendes de Fava.pdf: 1223752 bytes, checksum: a3e8dfa9a597389c9fe4fb95a5bc48e6 (MD5) Previous issue date: 2015-05-11 / FAPEMAT / O objetivo deste trabalho é compreender como a culinária e os hábitos alimentares revelam os valores sociais na comunidade de Vila Bela da Santíssima Trindade, Mato Grosso. Com essa finalidade, foram realizados estudos bibliográficos e visitas de campo ao município durante as festas de santos, no mês de julho, para observar a comida festiva, e em dezembro, para verificar a comida cotidiana. Foram entrevistadas oito mulheres que cozinham em suas casas no dia a dia e nove mulheres que são cozinheiras da festa. Vila Bela da Santíssima Trindade foi escolhida por ser composta, em sua maioria, por descendentes de negros escravizados, com história única em termos de ocupação e desenvolvimento. Os principais autores utilizados nos estudos teóricos foram Câmara Cascudo, sobre a história da alimentação brasileira, Machado Pais, com a sociologia do cotidiano, e McCracken, Linares e Trindade, Miller, Barbosa, Douglas e Isherwood, com a sociologia do consumo. O estudo do consumo alimentar dos vilabelenses foi estudado a partir das compras cotidianas e festivas e nas escolhas individuais e coletivas, reflexos identitários da comunidade. Também foi examinado como a comida da comunidade expressa os valores sociais e relações de poder, verificando o que a alimentação diz de seu povo. As entrevistas e as observações realizadas permitiram compreender a relação existente entre a comida e a cultura da população, na qual subsiste elementos históricos que justificam a utilização de determinados ingredientes, receitas e pratos típicos da comunidade. A culinária e os hábitos alimentares revelam valores sociais e ao mesmo tempo exprimem suas relações de poder e hierarquias marcadas nos modos de servir da festa. / How the cooking and eating habits reveal social values in the community of Vila Bela da Santíssima Trindade, Mato Grosso is the question that guides this work. On this research bibliographical studies were done and visits during the saints parties in July to watch the festive food, and in December to observe the everyday food. Eight women were interviewed cooking in their homes on a daily basis and also eight women who are party cooks. Vila Bela in Mato Grosso was chosen because it is in the majority composed by descendants of African slaves, with unique history in terms of occupation and development. The main authors of the theoretical studies were Cascudo on the history of Brazilian food, Machado Pais with the sociology of everyday life and McCracken, Linares e Trindade, Miller, Barbosa, Douglas and Isherwood with the sociology of consumption. The study of vilabelenses food consumption was also studied, from the everyday and festive shopping and individual and collective choices, identity reflections of the community. It is also observed how the food of the community expressed the social values and power relations, checking that the power says of his people. Interviews and observations allowed us to understand the relationship between food and culture of the population, existing historical elements that justify the use of certain ingredients, dishes and community income. The cooking and eating habits reveal social values and at the same time express their power relations and hierarchies that can be look in the ways of serving the party.

INTIMIDATION AS A FACTOR IN THE LIBERATION STRUGGLE OF SOUTH AFRICA WITH SPECIAL REFERENCE TO BELA BELA (WARMBATHS): AN ANTHROPOLOGICAL PERSPECTIVE The cultural revitalisation or adjustment model of Anthony Wallace provides a basis for interpreting religious, political and other revitalisation movements. This study focuses on political revitalisation movements. Participation in the activities of revitalisation movements does not always occur voluntarily. Leaders of such movements apply techniques and methods of intimidation enforcing change and participation. In South Africa, political revitalisation was inter alia brought about by the ANC as political liberation movement who used methods of violent and non-violent intimidation to force people, regardless of their ethnic affiliation, to support the movement and enforce political change. The ANC inter alia used charactersitic cultural phenomena and components of Bantu-speakers as resources for intimidation to ensure unanimity, participation and ultimately to achieve political liberation. Cultural components that were exploited included communality, group solidarity, administration of justice, songs and dances. / INTIMIDASIE AS 'N FAKTOR IN DIE VRYHEIDSTRYD IN SUID-AFRIKA MET SPESIALE VERWYSING NA BELA BELA (WARMBAD): 'N ANTROPOLOGIESE PERSPEK.TIEF Kulturele vernuwmg ts 'n universele verskynsel. Anthony Wallace se model van kulturele vernuwing of -aanpassing bied 'n raamwerk vir die verduideliking en interpretasie van die fases waardeur kulturele vernuwingsbewegings van 'n godsdienstige, politieke of ander aard ontwikkel. In hierdie studie word daar uitsluitlik gefokus op vernuwingsbewegings van 'n politieke aard. Aangesien deelname aan die aktiwiteite van kulturele vernuwings- en aanpassingsbewegings nie noodwendig vrywillig geskied nie, het leiers van hierdie bewegings gebruik gemaak van tegnieke en metodes van intimidasie om deelname en vernuwing op die massas af te dwing. In SuidAfrika is politieke vernuwing onder andere teweeggebring deur die ANC as politieke bevrydingsbeweging. Die ANC het gebruik gemaak van gewelddadige (harde of direkte) sowel as nie-geweldadige (sagte of indirekte) intimidasie om mense, ongeag hulle etniese aanhorigheid, te dwing om die beweging se oogmerke aktief te ondersteun om politieke verandering te weeg te bring. As dee! van die strategie om deur intimidasie mense tot deelname aan massa-aksies soos optogte, betogings en massa-vergaderings te dwing, het die ANC gebruik gemaak van bepaalde kultuur verskynsels en -komponente wat eie is aan die lewensbeskouinge en lewenswyse van Bantoe-sprekendes. Kultuurkomponente wat suksesvol benut is deur die leiers en lede van bevrydingsbewegings omvat, onder andere verskynsels soos kommunaliteit, groep solidariteit, die regspraak, liedere en danse. Hierdie kultuurkomponente en verskynsels is verander en aangepas om ten eerste eenheid en deelname te bewerkstellig en te verseker en uiteindelik om die hoofdoelwit van politieke bevryding te bereik. / Anthropology and Archaeology / M.A. (Anthropology)

Made available in DSpace on 2014-07-29T16:27:48Z (GMT). No. of bitstreams: 1 Dissertacao Deborah Rodrigues Borges.pdf: 6077442 bytes, checksum: e98bb9859ead8df75f3f35151ba2cbf9 (MD5) Previous issue date: 2008-04-04 / The research Registros de memória em imagens: usos e funções da fotografia mortuária em contexto familiar na cidade de Bela Vista de Goiás (1920 – 1960) proposes analysis about the ways in which bereaved families used the portraits of the deceased during the mourning period. For this, we fixed the town of Bela Vista de Goiás as the space for research, trying to establish relations between the content expressed in the photographs collected in the town and the cultural context that was around the production and use of these images. The mortuary portrait appeared practically at the same time of the photographic technique, and enjoyed a great social acceptance in Brazil and in other western societies until the middle of the twentieth century. There are certain ideas expressed in these portraits of a Christian collective mentality about death, especially the imaginary about the good and the beautiful death. In Bela Vista de Goiás we found the interference of the Catholic faith in the building and in several uses that families of the town have did with the pictures of their dead, as a way of keeping alive his memory. This study, therefore, try to contribute with discussions about the collective attitudes towards death and death rituals, and reflect about a specific type of use of the photograph in a process of building family memories. / A pesquisa Registros de memória em imagens: usos e funções da fotografia mortuária em contexto familiar na cidade de Bela Vista de Goiás (1920- 1960) propõe análises sobre as maneiras pelas quais famílias enlutadas utilizaram os retratos de pessoas falecidas no período de luto. Para isto, fixamos a cidade de Bela Vista de Goiás como espaço para a investigação, tentando estabelecer relações entre o conteúdo expresso nas fotografias coletadas no município e o contexto cultural que cercava a produção e os usos destas imagens. A fotografia mortuária surgiu praticamente junto com a própria técnica fotográfica, e gozou de grande aceitação social no Brasil e em outras sociedades ocidentais até meados do século XX. Encontram-se expressas nestes retratos certas idéias de uma mentalidade coletiva cristã sobre a morte, em especial o imaginário acerca da boa morte e da bela morte. Em Bela Vista de Goiás constatamos a interferência da fé católica na construção e em diversos usos que as famílias da cidade fizeram das fotografias de seus mortos, como meio de manter viva sua lembrança. Esta pesquisa, portanto, busca contribuir com as discussões acerca das mentalidades coletivas sobre morte e rituais de morte, além de refletir sobre um tipo específico de uso da fotografia num processo de construção de memórias familiares.

INTIMIDATION AS A FACTOR IN THE LIBERATION STRUGGLE OF SOUTH AFRICA WITH SPECIAL REFERENCE TO BELA BELA (WARMBATHS): AN ANTHROPOLOGICAL PERSPECTIVE The cultural revitalisation or adjustment model of Anthony Wallace provides a basis for interpreting religious, political and other revitalisation movements. This study focuses on political revitalisation movements. Participation in the activities of revitalisation movements does not always occur voluntarily. Leaders of such movements apply techniques and methods of intimidation enforcing change and participation. In South Africa, political revitalisation was inter alia brought about by the ANC as political liberation movement who used methods of violent and non-violent intimidation to force people, regardless of their ethnic affiliation, to support the movement and enforce political change. The ANC inter alia used charactersitic cultural phenomena and components of Bantu-speakers as resources for intimidation to ensure unanimity, participation and ultimately to achieve political liberation. Cultural components that were exploited included communality, group solidarity, administration of justice, songs and dances. / INTIMIDASIE AS 'N FAKTOR IN DIE VRYHEIDSTRYD IN SUID-AFRIKA MET SPESIALE VERWYSING NA BELA BELA (WARMBAD): 'N ANTROPOLOGIESE PERSPEK.TIEF Kulturele vernuwmg ts 'n universele verskynsel. Anthony Wallace se model van kulturele vernuwing of -aanpassing bied 'n raamwerk vir die verduideliking en interpretasie van die fases waardeur kulturele vernuwingsbewegings van 'n godsdienstige, politieke of ander aard ontwikkel. In hierdie studie word daar uitsluitlik gefokus op vernuwingsbewegings van 'n politieke aard. Aangesien deelname aan die aktiwiteite van kulturele vernuwings- en aanpassingsbewegings nie noodwendig vrywillig geskied nie, het leiers van hierdie bewegings gebruik gemaak van tegnieke en metodes van intimidasie om deelname en vernuwing op die massas af te dwing. In SuidAfrika is politieke vernuwing onder andere teweeggebring deur die ANC as politieke bevrydingsbeweging. Die ANC het gebruik gemaak van gewelddadige (harde of direkte) sowel as nie-geweldadige (sagte of indirekte) intimidasie om mense, ongeag hulle etniese aanhorigheid, te dwing om die beweging se oogmerke aktief te ondersteun om politieke verandering te weeg te bring. As dee! van die strategie om deur intimidasie mense tot deelname aan massa-aksies soos optogte, betogings en massa-vergaderings te dwing, het die ANC gebruik gemaak van bepaalde kultuur verskynsels en -komponente wat eie is aan die lewensbeskouinge en lewenswyse van Bantoe-sprekendes. Kultuurkomponente wat suksesvol benut is deur die leiers en lede van bevrydingsbewegings omvat, onder andere verskynsels soos kommunaliteit, groep solidariteit, die regspraak, liedere en danse. Hierdie kultuurkomponente en verskynsels is verander en aangepas om ten eerste eenheid en deelname te bewerkstellig en te verseker en uiteindelik om die hoofdoelwit van politieke bevryding te bereik. / Anthropology and Archaeology / M.A. (Anthropology)