Ce mémoire de maîtrise analyse trois projets développés au courant de mes trois années de maîtrise à l’Université de Montréal en composition instrumentale et vocale, de même que certain outils utilisés pour assurer à chacune de mes créations une continuité et une unité. En plus de l’analyse de trois œuvres orchestrales et chorales, ce mémoire aborde en premier lieu les notions de caractère et son rôle dans un discours uniforme et continu. Il présente ensuite l’usage du motif à des fins d’unités dans chacune de mes œuvres. Il offre enfin des alternatives à la tonalité classique pour assurer un pôle tonal aux œuvres telles le pandiatonisme, les enchainements harmoniques par note commune, l’enrichissement d’enchainements tonaux par la coloration d’accords et la cohabitation de ces différents outils. / This master's thesis analyses three different works, composed during my studies in vocal and instrumental composition at Université de Montréal, and discusses a few of the techniques I have used to assure unity and continuity in my music. In addition to analyzing three orchestral and choral pieces, this thesis first addresses the notion of character, and its role in my music. It also discusses the way I use motives in my composition for purposes of unity. It then offers a few alternatives to classical tonality, which assure tonal attraction in my pieces, such as pandiatonicism, chords progressions by common notes, enrichment of tonal progressions by addition of color notes to chords, and the combined use of these different techniques.

Are the threshold experiences encountered between waking and sleeping similar to the liminal space between life and death? The sights, sounds, and bodily sensations experienced in the unconscious void blur the lines between the unknown and our conscious existence. Using the figure, I portray how the body might exist in these transitional moments. Through my investigations into sleep paralysis, dream states, and notions of an afterlife and the soul, I explore how we perceive the self in these altered states of consciousness.

Ce mémoire fait état de ma démarche de compositeur à l'intérieur d'un cadre plus large qui inclue une démarche de direction. Croyant que ces disciplines vont de pair, j'ai consacré ma maîtrise à composer du matériel pour orchestre et pour chœur, deux ensembles qui exigent la présence d'un chef. Je pouvais ainsi approfondir ma connaissance de ces « instruments » à l'intérieur du cadre rigoureux offert par la Faculté de Musique de l'Université de Montréal. Parallèlement, mes activités de chef ont aussi eu une influence sur ma compréhension de ces ensembles et donc sur mon écriture. Ce travail récapitule donc le matériel que j'ai écrit pour ces ensembles, prenant soin de souligner à la fois où mon expérience d'écriture grandie, et où mon expérience de chef impacte mes choix de composition. / This work is about the composition part of a larger ambition that also includes conducting. Believing that those two disciplines are closely related, I took most of my time as a master's student composing for orchestra and for choir, two ensembles that require a conductor. This way I could deepen my understanding of those "instruments" with the help of rigorous teachers at Université de Montréal's music faculty. At the same time, my conducting activities also had an influence on my understanding of those ensembles therefore on my composition. This work goes through the material I wrote for those ensembles, pinpointing where I felt my experience as a composer was growing, and where my experience as a conductor influenced my composition choices.

The Diploma thesis is divided into two big separate structures. The first one deals with a complete summary of history of music with focus on the representation of boy and male choir singing in different eras of musical evolution. It also gives an overview of the most important authors (and their works), who worked in time of male choirs' greatest expansion in our country - period of national renaissance. Also, it offers an overview of the choir ensembles of this type, which work in Czech Republic and abroad nowadays. The second structure is focused on professional work with boy's voice in time before mutation and during mutation and on the way which choirs function and the way of boys' motivation. Because there is not much Czech literature dealing with boys' voice during mutation, this part of diploma thesis is composed mainly from practical point of view. In purpose of practical assessment of this subject, a method of written questionnaire was used, given to choirmasters of the choirs in Czech Republic of such type. Choir directors also summarize their opinions from perspective of cooperation and concurrence between each boy choirs in Czech Republic.

The diploma thesis "The musical fairytale as a motivating and integrating mean working with the children's choir" deals with a musical fairytale and its influence during the lessons of the children's choir Kvítek by Václav Havel Elementary School. The theoretical part of the diploma thesis introduces with the history of a fairytale as a literary genre and with its types. The fairytale has been known since the period of antiquity. At that time, the first stories based on the mystical creatures were developed. Later, they were distributed all around the world. Next part focuses on the musical fairytale which belongs to a literary fairytale. It is enriched with a musical element that contributes to the development of children's musical skills while performing the fairytale. The last chapters of the thesis deal with voice training and the didactic process of songs training. The aim of this thesis is to practice a fairytale called Hrníčkové kouzlo with the children's choir Kvítek via an experiment and to find out how the fairytale influences either the children's choir or the audience immediately after watching it. Key words: Musical fairytale, interdisciplinary relations, children's choir, voice training, fairytale training

The diploma thesis "František Bakule- one of the czech school reformer" deals with František Bakule's personality and activity. This thesis shows an initial state of austrian a czech education, benefits of czech reform teachers, experimental schools and František Bakule's ideological bases. This thesis deals with František Bakule's life and his working in educational institutions. This dissertation describes educational methods and their uses in practise at schools, in the Jedlička Institute and in his choir. The purpose of this work is presentation of reform efforts of František Bakule and their overlap until today.

The degree work is bent on story and present singing church choir VÁCLAV and its influence over cultural life citiies Brandýs nad Labem-Stará Boleslav. Maps his turn and incidence, namely how contemporary Church choir VÁCLAV, so and his predecessor from year 1861. Deal with diffusion spiritual musical traditions in Stará Boleslav from pasts to the today's time.

Kladno miners' choir is a mixed choir, which operates in Kladno since 1958. Budding singing group initially featured only occasionally, but with the advent of conductor Roman Makarius given new impetus to the expansion of the repertoire and the tenth season of performing a concert with a separate program. HPS Kladno repertoire is divided into blocks and presented concerts of traditional and occasional performances. The College cooperates with solo artists and symphony orchestra, presents annually abroad. Active musical work is rich and HPS Kladno belongs to the cultural life of the city whose name it bears in its name. The membership of the choir is made up almost a third of teachers. The questionnaire survey demonstrated reflection of the choir membership in their teaching practice. Use of the choral repertoire for singing, listening and educational activities. Educators also use suggestions from the style of management staff. A significant contribution to the development of the musicality of each member of the targeted work with voice, music skills and expanding awareness of the musical heritage of other nations.

Este trabalho propõe-se a investigar, identificar e analisar as práticas do regente-arranjador desde a concepção do arranjo até sua performance, passando pela escolha do repertório, procedimentos e técnicas de escrita, ensaios. Objetiva ainda averiguar o quanto o regente-arranjador participa ou influencia na circulação do repertório coral brasileiro. Para isso, adotamos uma metodologia mista e pesquisa empírica. Divide-se em dois capítulos, no primeiro, pesquisando sobre a circulação do repertório, traçou-se um panorama cultural dos séculos XX e XXI, fez-se uma revisão bibliográfica de dez trabalhos que abordam em suas temáticas a produção de arranjos, entre eles Fernandes (2003), Souza (2003), Pereira (2006) e Moura (2012), discutiu-se o termo \"popular\" e o conceito de \"arranjo coral\" neste contexto e ainda analisou-se programas de concerto de encontros corais (1984-1994). No segundo capítulo, buscou-se definir o perfil do regente-arranjador, utilizando o método prosopográfico (STONE, 2011; e PAZ, 2014). Foram ainda realizadas entrevistas semiestruturadas e abertas com os regentes-arranjadores Eduardo Fernandes, Marcelo Recski e Roberto Rodrigues a fim de obter informações mais detalhadas e completas, tais entrevistas foram a única forma de chegar a esclarecimentos sobre as questões práticas sobre composição e interpretação de arranjos, além de questões específicas de determinados arranjos, que as outras metodologias não eram capazes de abarcar. Ao tratar diretamente das práticas do regente-arranjador, analisou-se: o repertório como fator de identidade de grupo; os processos de hibridação nos arranjos (CANCLINI, 2003; e BURKE, 2003); adaptações de arranjos; e regras e estratégias de escrita, leitura e interpretação de arranjos corais com base no conceito de comunidade interpretativa (OLIVEIRA, 2002). Como resultado, constatou-se que há um predomínio de arranjos em relação às composições nos programas analisados e que o regente-arranjador é o principal produtor destes arranjos. Baseado na noção de comunidade interpretativa, conclui-se que as partituras de arranjos corais são geralmente partituras abertas, sujeitas a alguns acréscimos, supressões ou transformações. A partir das entrevistas, foi possível identificar práticas de leitura e de uso compartilhadas pelos regentes corais brasileiros responsáveis pela circulação de arranjos, referentes a dinâmicas, andamentos, respirações, cifras, ritmos, entre outras. / This research is intended to investigate, identify and analyze the various practices of conductor-arranger - from the arrangement\'s conception up to its performance, throughout repertoire\'s choice, writing procedures and techniques, and rehearsals. It also aims to verify how much the conductor-arranger participates or even influences Brazilian choral repertoire\'s circulation. For that, we have adopted a mixed methodology and empirical research. The research is divided into two chapters. The first looks at repertoire circulation, where we have traced an overview of the 20th and 21st centuries: there is a literature review of ten works that approach arrangement\'s production, among them Fernandes (2003), Souza (2003), Pereira (2006) and Moura (2012). The term \'popular\' and the concept of \'choral arrangement\' are discussed and the concert programs of Choral encounters are analyzed (1984-1994). In the second chapter, the purpose was to define the conductor-arranger\'s profile, by using the prosopographical method (STONE, 2011; and PAZ, 2014). Three conductor-arrangers contributed in semi-structured and open interviews, among them are Eduardo Fernandes, Marcelo Recski and Roberto Rodrigues, in order to obtain more detailed and complete information. Such interviews were the only way of coming to understand practical issues on composition and interpretation of arrangements, besides specific issues of some of the arrangements, that other methodologies were not able to approach. Regarding the practices of the conductor-arranger, the following subjects were analyzed: the repertoire as a group identity factor, the hybridization processes in arrangements (CANCLINI, 2003; e BURKE, 2003); arrangement\'s adaptations, writing rules and strategies, reading and interpretation of choral arrangements based on the concept of interpretative community (OLIVEIRA, 2002). As a result, it was verified that the number of arrangements prevail compositions in the analyzed programs, and that the conductor-arranger is the main producer of those arrangements. Based on the concept of interpretative community, we can conclude that choral arrangement scores are generally open scores, prone to additions, cuts and other changes. The interviews made possible to identify reading practices and shared use by Brazilian choral conductors who are responsible for the arrangements circulation, referring to dynamics, tempo, breathings, chord symbols, rhythms, among others.

Made available in DSpace on 2016-07-27T14:21:41Z (GMT). No. of bitstreams: 1 DANIELA DI MORAES JARDIM.pdf: 2951915 bytes, checksum: 8c644d3a94e2b22b48c85ac5dad6cc0a (MD5) Previous issue date: 2005-02-17 / This essay intended to study and comprehend the socialization process of children from popular classes. It is important to reach such universe for it s the first step to the effort of elaborating public policies towards this segment, as well as thinking of strategies to include them into society in a warm manner. Thus, a brief study on the history of childhood from its conception since Feudal Ages until Contemporary times was carried out, outlining whatsoever the aspects of childhood in Brazil and in the city of Goiânia. The methodology was based upon the social-historic approach as proposed by Vigotski, developing a documental research followed by an empirical research. The first utilized the scholar applications of 203 children from a nongovernmental institution (Sociadade Cidadão 2000). The empirical part consisted of the evaluation of 81 questionnaires and the interview of 12 children (of both genders), picked from the ones who answered the questionnaires. The questionnaires were intended to allow a better comprehension of the routine and lifestyle of the surveyed children, while the interviews provided in depth information based on the questionnaire answers, allowing for a new direction on the constitution of these children subjectivity - as it was noticed that childhood playing and household duties are central in their socializing process. The surveyed children presented diverse family patterns, where grandparents are present and important figures in their lives, whereas the mothers are the most referred to concerning child education. These children associate positive feelings concerning their family, cooperate on household duties and have child playing as part of their routine. Most of these children report suffering some kind of violence, but define being a child as being able to play and have fun. By child playing they socialize with their pairs, learn rules and deal with limits previously established by the society they belong to in a playful, and yet serious, manner. The household duties are also part of their socializing process, however gender issues play an early role in this matter. / Esta pesquisa trata do processo de socialização de crianças pertencentes às camadas populares, tendo em vista que alcançar esse universo faz-se importante, porque é o primeiro passo para que haja esforços no sentido de elaborar políticas públicas direcionadas a esse segmento, assim como planejar estratégias para sua inclusão na sociedade de uma maneira acolhedora. Para tanto, fez-se um breve estudo sobre a infância, desde a Idade Média até a contemporaneidade, focando-se aspectos ligados à infância no Brasil, e posteriormente, no município de Goiânia. A metodologia fundamentou-se na abordagem sócio-histórica proposta por Vigotski, mediante uma pesquisa documental, seguida de pesquisa empírica. Com a pesquisa documental realizou-se um estudo histórico do município de Goiânia, bem como coletaram-se informações das fichas de cadastro de 203 crianças matriculadas em uma instituição não-governamental (Sociedade Cidadão 2000). A pesquisa empírica baseou-se na aplicação de 81 questionários e na entrevista com 12 crianças de ambos os sexos, escolhidas a partir da aplicação dos questionários, com o objetivo de compreender melhor o modo de vida e o cotidiano dessas crianças. Com as entrevistas, aprofundaram-se as informações obtidas a partir dos questionários, para um novo direcionamento para a constituição da subjetividade das crianças, diante da constatação de que, no seu processo de socialização, as brincadeiras e os serviços domésticos são centrais. A partir disso, apresentou-se um desenho familiar bastante diversificado, em que os avós são figuras presentes e importantes na vida das crianças e as mães são as mais citadas com referência à sua educação. Trata-se de crianças que associam sentimentos positivos em relação à família, colaboram nos serviços domésticos da casa e a brincadeira faz parte do seu cotidiano. Boa parte dessas crianças diz ter sofrido algum tipo de violência, e para elas, ser criança é poder brincar e ter diversão. Por meio das brincadeiras, as crianças pesquisadas socializam-se com seus pares, aprendem regras e lidam com limites que são previamente estabelecidos pela sociedade a que pertencem, de forma lúdica e ao mesmo tempo séria. O serviço doméstico também entra nesse processo de socialização, mediante realização das atividades da casa, tendo em vista que desde cedo questões de diferenças de gênero aparecem nessa distribuição.