Submitted by Paola Baron (bpaola254@yahoo.com) on 2018-04-23T21:56:18Z No. of bitstreams: 1 tese Paola Baron.doc: 54991872 bytes, checksum: 80a567cf87560a77a2c83bf058d42048 (MD5) / Rejected by Laura Mariane de Andrade null (laura.andrade@ia.unesp.br), reason: Solicitamos que realize uma nova submissão seguindo as orientações abaixo: - Submeter o arquivo da dissertação em formato .pdf - Padronizar título em todas as aparições (capa, folha de rosto, folha de aprovação e preenchimento de formulário na submissão). Algumas estão com aspas, outras não. Nossa orientação é que deixe sem aspas e coloque dois pontos entre título e subtítulo - Apresentar o item "resumo" em um parágrafo só. As mesmas regras servem para o item "abstract". Caso seja necessário, consulte o modelo em: http://www.ia.unesp.br/Home/Biblioteca/orientacoes-para-a-normalizacao-de-trabalhos-academicos_iaunesp_26_03.pdf Caso haja dúvidas, consulte a biblioteca. Agradecemos a compreensão. on 2018-04-24T18:35:30Z (GMT) / Submitted by Paola Baron (bpaola254@yahoo.com) on 2018-04-24T22:40:17Z No. of bitstreams: 1 tese Paola Baron.pdf: 9254388 bytes, checksum: a51aa8b2a8ced03416bb95c566dbe415 (MD5) / Approved for entry into archive by Laura Mariane de Andrade null (laura.andrade@ia.unesp.br) on 2018-04-25T20:08:47Z (GMT) No. of bitstreams: 1 baron_p_dr_ia.pdf: 9254388 bytes, checksum: a51aa8b2a8ced03416bb95c566dbe415 (MD5) / Made available in DSpace on 2018-04-25T20:08:47Z (GMT). No. of bitstreams: 1 baron_p_dr_ia.pdf: 9254388 bytes, checksum: a51aa8b2a8ced03416bb95c566dbe415 (MD5) Previous issue date: 2018-02-26 / Nesta tese são analisadas as técnicas compositivas utilizadas por Luciano Berio e Flo Menezes e são comparadas suas respectivas concepções musicais, tentando demonstrar um comum embasamento dessas ideias no pensamento estruturalista. Para tanto, a primeira parte deste trabalho é dedicada a analisar as diversas proposições teóricas do estruturalismo com os argumentos de Claude Lévi-Strauss, Umberto Eco e Vladimir Propp. Seguimos com algumas ponderações de Ferdinand de Saussure, Roman Jakobson e Roland Barthes sobre questões de linguística e, por fim, com conceitos da estética musical, presentes nas reflexões de Enrico Fubini, considerando também algumas das especulações elaboradas por Theodor Adorno, Robert Jauss, Edmund Husserl e Maurice Merleau-Ponty. Na segunda parte, as formulações apresentadas são declinadas no universo conceitual de Berio e Menezes, evidenciando as perspectivas teóricas individuais dos dois compositores. Em seguida, são analisadas exaustivamente as duas obras para harpa solo escritas pelos dois autores: Sequenza II, de Berio, e …donde solo las plantas suenan…, de Menezes, com especial atenção ao processo genético e compositivo. Nessa etapa de análise e confronto, procuramos validar a hipótese de que a reelaboração peculiar e a aplicação subjacente de princípios filosóficos e musicais de matriz estruturalista resultam na presença do Belo nas obras dos dois compositores. / This research analyses the compositional techniques used by Luciano Berio and Flo Menezes, and compares their musical conceptions trying to demonstrate a common origin of these ideas in Structuralism. In order to reach this aim, the first part of this essay is dedicated to analyse the different theoretical propositions of the Structuralism based on the arguments of Claude Lévi-Strauss, Umberto Eco and Vladimir Propp. We then proceed with some considerations about Linguistics issues by Ferdinand de Saussure, Roman Jakobson and Roland Barthes. Lastly, there is an elaboration of musical esthetics concepts, following Enrico Fubini’s perspective, and considering some of the contributions in this field by Theodor Adorno, Robert Jauss, Edmund Husserl and Maurice Merleau-Ponty. In the second part, these philosophical views are applied to Berio’s and Menezes’ conceptual universe, underlining the individual theoretical perspectives of the two composers. Then, we analyse the two compositions for harp solo written by the two authors: Sequenza II by Berio and …donde solo las plantas suenan…by Menezes, giving special attention to the genetic and compositional process. In this stage, we support the hypothesis that the implicit use of philosophical and musical structuralistic principles resulted in the presence of Beauty in the two composers’ pieces.

Sequenza III was written in the mid -1960s and is widely available for study and performance, but how can this work be defined? Is it a series of sounds, or phonemes, or the anxious mutterings of a woman? Is it performance art or an operatic mad scene? Sequenza III could be all of these or something else entirely. Writing about my method of preparation will work to allay some of my own and other performer's fears about attempting this unusual repertory. Very little in this piece is actually performed on pitch, and even then the pitches are not definite. The intervals on the five-line staff are to be observed but the singer may choose to sing within her own vocal range. The notation that Berio has used is new and specific, but the emotional markings and dynamics drawn from these markings permit a variety of interpretive decisions by the performer. There is a very brief text and no actual melody, so where does one begin? As a composer, Berio was often responsive to external stimuli. Quotation of his earlier works and the works of others was a common tool of his technique. By comparing Sequenza III with other works by the same composer, I will delineate some borrowed features and techniques from his earlier music and from the areas of literature and visual art. Sequenza III, although available on several recordings, is still not performed very often outside the academic community. There is only a small body of scholarly literature about Luciano Berio. I hope to add to the knowledge about this recently deceased composer and his music, to create a comfort zone for singers in approaching this work, to understand the composer's intentions, and to provide a fair representation of his ideas in public performance.

Ho Kar Man. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2000. / Includes bibliographical references (leaves 123-127). / Abstracts in English and Chinese. / Chapter Chapter 1 --- Introduction --- p.1 / Chapter Chapter 2 --- The First Movement: the Mythologiques --- p.11 / Chapter Chapter 3 --- The Second Movement: “O King´ح --- p.27 / Chapter Chapter 4 --- The Third Movement: the Scherzo --- p.54 / Chapter Chapter 5 --- The Fourth Movement: “Rose de sang´ح --- p.84 / Chapter Chapter 6 --- The Fifth Movement: a Synthesis --- p.96 / Chapter Chapter 7 --- Conclusion --- p.110 / Appendix I Luciano Berio's Compositions from 1958 to1968 --- p.116 / "Appendix II The Poem ""Des Antonius von Padua Fischpredigt"" and its English Translation" --- p.118 / Appendix III Integral Texts Applied in the Fifth Movement --- p.120 / Bibliography --- p.123

The musical performer’s embodied experience is an aspect of the performing process that has yet to be adequately considered in music scholarship. The embodied experience is relegated to the realm of the inaccessible and subjective, rather than being considered a valuable source of information for both the music analyst and performer. This thesis contends that the performing body can provide deep insights into musical meaning and can act as a resource for developing musical understanding. The sensations and experiences of the performer’s body during the process of creating music can lead to the recognition of important moments and fundamental meanings within a musical work. Engaging with scholarly literature from a variety of disciplines, this thesis will explore the classical singer’s embodied experience from the three primary perspectives of phenomenology, ecological perceptual theory and body communication theory. Each perspective is explored in and through a comparative listening analysis of Luciano Berio’s work for solo voice Sequenza III per voce femminile (1966) in order to illuminate specific aspects of the singer’s embodied experience. This embodied approach to musical analysis considers the singer’s body as a contributor to not only the production of sound but also to the creation of musical meaning, and can thus offer rich insights into that which is discovered through traditional analysis.

Diss.--Hamburg, 2001. / Bibliogr. p. 299-310.

Thesis (D.M.A.)--University of California, San Diego, 2001. / Vita. Includes reproduction of Ferneyhough's score of Cassandra's dream song as Appendix C. Includes bibliographical references (leaves 84-85).

The musical performer’s embodied experience is an aspect of the performing process that has yet to be adequately considered in music scholarship. The embodied experience is relegated to the realm of the inaccessible and subjective, rather than being considered a valuable source of information for both the music analyst and performer. This thesis contends that the performing body can provide deep insights into musical meaning and can act as a resource for developing musical understanding. The sensations and experiences of the performer’s body during the process of creating music can lead to the recognition of important moments and fundamental meanings within a musical work. Engaging with scholarly literature from a variety of disciplines, this thesis will explore the classical singer’s embodied experience from the three primary perspectives of phenomenology, ecological perceptual theory and body communication theory. Each perspective is explored in and through a comparative listening analysis of Luciano Berio’s work for solo voice Sequenza III per voce femminile (1966) in order to illuminate specific aspects of the singer’s embodied experience. This embodied approach to musical analysis considers the singer’s body as a contributor to not only the production of sound but also to the creation of musical meaning, and can thus offer rich insights into that which is discovered through traditional analysis.

Thesis (D.M.A.)--University of North Texas, 2004. / Accompanied by 4 recitals, recorded Nov. 8, 1999, June 19, 2000, June 2, 2003, and Feb. 2, 2004. Includes bibliographical references (p. 78-80).

Thesis (M.A.)--University of California, Santa Cruz, 1997. / Typescript. Includes bibliographical references (leaf [24]).

The musical performer’s embodied experience is an aspect of the performing process that has yet to be adequately considered in music scholarship. The embodied experience is relegated to the realm of the inaccessible and subjective, rather than being considered a valuable source of information for both the music analyst and performer. This thesis contends that the performing body can provide deep insights into musical meaning and can act as a resource for developing musical understanding. The sensations and experiences of the performer’s body during the process of creating music can lead to the recognition of important moments and fundamental meanings within a musical work. Engaging with scholarly literature from a variety of disciplines, this thesis will explore the classical singer’s embodied experience from the three primary perspectives of phenomenology, ecological perceptual theory and body communication theory. Each perspective is explored in and through a comparative listening analysis of Luciano Berio’s work for solo voice Sequenza III per voce femminile (1966) in order to illuminate specific aspects of the singer’s embodied experience. This embodied approach to musical analysis considers the singer’s body as a contributor to not only the production of sound but also to the creation of musical meaning, and can thus offer rich insights into that which is discovered through traditional analysis.