Orientador: Carlos Fernando Fiorini / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-27T13:48:30Z (GMT). No. of bitstreams: 1 Garbuio_RafaelLuis_D.pdf: 7178539 bytes, checksum: e08ba43fe42a54111f067ee359bcaf79 (MD5) Previous issue date: 2015 / Resumo: Os seis livros de madrigais italianos compostos por Carlo Gesualdo apresentam uma estreita relação entre a música e o texto. A manipulação efetuada pelo compositor nos poemas que seriam base para suas peças evidencia sua busca por um determinado formato de texto. Através da observação destas alterações, foi possível caracterizar seu ideal poético e relacioná-lo diretamente com a sua concepção musical, objetivando um entendimento mais abrangente da expressividade deste conjunto de obras. Para che-gar a este resultado, foram realizados estudos da contextualização histórica, concen-trados na cidade de Ferrara e na sua importância dentro da obra deste compositor; do Maneirismo artístico e sua relação com o madrigal italiano tardio, e dos vários aspectos da sua escrita musical. Como forma de confrontar estas informações, realizou-se uma análise da relação texto/música sobre dois termos poéticos ¿ amor e morte ¿ através da qual foi possível concluir como se deu o amadurecimento da escrita do compositor e a relevância de seu ideal poético como ferramenta interpretativa / Abstract: The six Italian madrigals books of Carlo Gesualdo present a close connection between music and text. The manipulation made by the composer in the poems that would serve as basis for his music evidences his search for a certain text format. Through the anal-ysis of these changes it was possible to characterize his poetic ideal and relate it direct-ly to his musical conception, aiming a more comprehensive understanding of the ex-pression of this group of works. To reach this result, the historical context was studied, especially the one of the city of Ferrara and its importance in the work of this composer. Also, the various aspects of his musical writing, the Mannerism and its relation to the late Italian madrigal were approached. In order to confront this information, it was done an analysis of the relation text / music on two poetic terms - love and death - through which we concluded how was the maturing process of the composer¿s writing, and the relevance of his poetic ideal as an interpretive tool / Doutorado / Praticas Interpretativas / Doutor em Música

According to the American League of Orchestras' most recent report, Michael Daugherty is one of the ten most performed American composers of concert music in modern times. He has received six GRAMMY awards, including awards for Best Contemporary Classical Composition in 2011 and 2017. Characteristics of Daugherty's music are diverse: colliding tonalities and blocks of sound, driving polyrhythmic counterpoint, and jazz and pop elements. His music can be minimalistic at times and at others, stirringly melodic. Amongst this eclecticism, a fascination with American iconography remains a consistent hallmark of his music, exemplified by titles such as American Gothic, Jackie O, or Lost Vegas. Daugherty has stated that his goal is to create sophisticated, abstract music that is also catchy or memorable, with melodies and cultural allusions that audiences can "hang their hat on." Despite widespread success, relatively little scholarly work has been done on Daugherty's music, providing an opportunity for further research. The primary goal of this study is to add to the literature on Michael Daugherty by providing an analysis and conductor's guide of his first choral-orchestral work, Mount Rushmore. It is a genuine show piece, galvanizing and colorful, modestly demanding of the listener, and appreciated by individuals of diverse musical backgrounds. The work also contains multitudes, offering layers of musical complexity and extensive historical symbolism for those who wish to engage further. Daugherty's Mount Rushmore offers immediate appeal and an excellent return on investment. Using interviews with the composer as well as detailed formal, harmonic, and historical-textual analysis, this paper provides in-depth information and guidance to future conductors who wish to present an appealing choral-orchestral work by a prominent, living American composer. Conductors who program Daugherty's Mount Rushmore will find it valuable for their ensemble and community for years to come.

The Choral Music of Elaine Hagenberg explores the oeuvre of composer Elaine Hagenberg through a musicological, qualitative, and performance-based analysis of her compositional style that has led to her increasing acclaim. This study serves as the first primary source of scholarly output on her. Through an examination of her musical background as a pianist and choral educator, one can identify her principal sources of musical inspiration: text, nature, and her faith. Shaped by these experiences, her compositional philosophy encapsulates five elements of text, form, rhythm, melody, and harmony as she strives to produce singer-centric, authentic, and socially relevant compositions that unite people together. What begins as a consideration of her background and compositional process culminates in practical musical analysis and conducting and vocal considerations to aid future conductors in creating compelling performances of her works. The compositions discussed are As The Rain Hides The Stars (2015), O Love (2016), Song of Miriam (2019), My Companion (2019), and Alleluia (2020).

Studiens syfte var att undersöka och utvärdera hur dirigenten på effektivast möjliga sätt kommunicerar information till koristerna genom sitt gestiska språk utifrån hur koristerna fördelar sin uppmärksamhet och tolkar positioneringen av dirigentens händer. Studien utredde även om och i så fall hur uppmärksamhetsfördelningen och tolkningen av en dirigents gestik skiljer sig mellan korister med varierande körerfarenhet och musikalisk utbildning. Dirigering är ett uråldrigt icke-verbalt kommunikationssätt och tidigare forskning visar att vi människor speglar varandras kroppsspråk, den så kallade kameleonteffekten. Tillsammans med vetskap om hur sångarens röstapparat fungerar ges en övergripande bild av vilken information koristen behöver från dirigenten för att sången ska nå önskat resultat. Studien genomfördes genom experiment på fyra körgrupper med skilda erfarenheter av körsång samt utbildningsnivå i musik, där ett antal övningar konstruerades för att kunna analysera hur sångarna fördelade sin uppmärksamhet mellan dirigentens händer, ansikte och det egna lyssnandet. Som komplement till experimentet genomfördes även en intervju med en erfaren professionell kördirigent. Resultatet visade att det fanns både likheter och skillnader i försöksgruppernas tolkning av gestiken. Enklare gester som tydligt ger psykologiska associationer till kända känslor eller beteenden, såsom att lyfta något tungt, tolkades intuitivt på likvärdigt sätt av samtliga sångare, medan mer köridiomatiska gester såsom att placera en konsonant på ett synkoperat slag skiljde sig mellan grupperna. Detta innebär inte att mindre erfarna sångare med nödvändighet inte kan avläsa eller förstå vissa gester. Skillnaderna mellan gruppernas tolkning av gestiken berodde sannolikt i hög utsträckning på andra faktorer, såsom att det i repetitionssammanhang kan ta längre tid för den oerfarne koristen att lära sig läsa noterna, hitta rätt i röst och andning och intonera rent. Detta gör att denne inte har lika mycket utrymme att koncentrera sig på dirigentens gestik jämfört med en korist som tränat upp körsjungandets elementa till automatik. / The purpose of the study was to examine and evaluate how the conductor most efficiently communicates information to the choristers through gestural language based on how the choristers distribute their attention and interpret the position of the conductor’s hands. The study also investigated if and how the distribution of attention and interpretation of a conductor’s gesticulation differs between choristers with different levels of experience in choral singing and musical education. Conducting is an ancient non-verbal mode of communication, and previous research shows that people mirror each other’s body language, the so-called chameleon effect. Coupled with knowledge of the function of the singers’ vocal apparatus, an overall picture of what information the choristers need from the conductor in order for the music to achieve the desired result is provided. The study was conducted through experiments on four choir groups with different levels of experience in choral singing and musical education, where a number of exercises were constructed to analyze how the singers distributed their attention between the conductor's hands, face and their own listening. To complement the experiment, an interview with an experienced professional choir conductor was made. The results showed both similarities and differences in the experimental groups' interpretation of gestures. Simpler gestures that clearly gives psychological associations of known emotions or behaviors, such as lifting something heavy, were intuitively interpreted in a similar way by all singers, while more choreographic gestures such as placing a consonant on a syncopated beat differed between the groups. This does not necessarily mean that less experienced singers are unable to read or understand certain gestures. The differences between the groups' interpretation of gestures were probably largely due to other factors, such as the fact that in a rehearsal context it may take longer for the inexperienced chorister to decipher the notes, find the right voice and breathing and intonate just. This means that they have less opportunity to concentrate on the conductor's gestures, in comparison with a chorister who has trained the basic elements of choral singing to automaticity. / <p>Information om examenskonserten</p><p>Repertoar:</p><p>Lux Aeterna (Rebecka Ryd)</p><p>I detta vita, outsagda (text Cecilia Lindemalm, musik Rebecka Ryd)</p><p>Hör på mig, ni fjärran länder (text Jesaja 49:1-2, musik Rebecka Ryd)</p><p>Visa vid vindens ängar (text och musik Mats Paulson, arr Rebecka Ryd)</p><p>Den blida vår är inne (text J O Wallin, A Frostenson, arr Rebecka Ryd)</p><p></p><p>Medverkande:</p><p>Rebecka Ryds Diskantensemble</p><p>Dante Fritzell, flöjt</p><p>Lisa Herlitz, oboe</p><p>Patricia Träff, klarinett</p><p>Zacharias Frato, horn</p><p>Fritz Fembro, fagott</p><p>Rebecka Ryd, dirigent och kompositör</p>

O objetivo principal deste trabalho é estudar os processos de desenvolvimento da escuta melódica de adultos, sem formação musical, integrados a coros vocacionais, com o intuito de poder melhorar a performance vocal do grupo. Tendo como objeto o processo de formação do Coral Oficina Comunicantus, grupo integrado ao Comunicantus: Laboratório Coral do Departamento de Música da Escola de Comunicações e Artes da Universidade de São Paulo. Nosso método de coleta de dados foi baseado nas observações dos ensaios e nas análises das avaliações (relatórios) feitas pelos monitores integrados ao Comunicantus: Laboratório Coral, através dos quais procuramos vislumbrar as necessidades de aprendizagem dos coralistas do coro supracitado. Por se tratar de uma pesquisa ora de observação ora interativa, atuamos combinando tais ações e orientando o desenvolvimento das habilidades inerentes à escuta melódica em aspectos pré-definidos. Durante o processo investigativo, utilizamos como método referencial de análise, dos conteúdos musicais, os trabalhos do Prof. Dr. Marco Antonio da Silva Ramos e do Prof. Paulo Rubens Morais Costa e, por outro lado, a produção bibliográfica de educadores como César Coll e Teresa Mauri, que atuaram na reforma escolar espanhola, de forma a subsidiar nossas escolhas pedagógicas e didáticas para atuar junto aos coralistas. Como resultado desse processo, pudemos desenvolver algumas atividades que contribuíram para a resolução de certas necessidades de aprendizagem momentâneas deste grupo e também suscitaram a criação de outras que foram utilizadas oportunamente, após o término do prazo definido de observação e interação a que este trabalho se refere. / This dissertation aims mainly at studying the processes of development of melodic hearing by adults who do not have any musical formation and yet join vocational choirs in order to improve the vocal performance of the group. Its object is the process of formation of the Educational Lab-Choir Comunicantus, which belongs to the Comunicantus Choral Office of the Department of Music of the School of Communication and Arts of the University of São Paulo. The method of data collection was based on rehearsal observations and on the analysis of evaluations (reports) made by student trainees integrated in the Comunicantus Choir Office, through which we trie to identify the gaps in learning of the choir singers. As the research is partly made up of observations and partly interactive, action was taken so as to combine these actions and give advice on the development of skills innate to melodic hearing in predefined aspects. Along the process of investigation, the Referencial de Análises of the musical contents by Professor D. Marco Antonio da Silva Ramos and Professor Paulo Rubens Morais Costa were used as a method. On the other hand, the works by educators as César Coll and Teresa Mauri, who worked in the Spanish school reform, were used to provide pedagogical and didactic choices for us to act with the choral singers. As a result of this process, some activities were developed that contributed to offer solution to some specific learning needs of this group and also made possible the creation of others that were used, whenever suitable, after the period of observation and interaction.

Este trabalho busca apresentar uma análise focada na interpretação de cinco obras sacras para coro à cappella do compositor Ernani Aguiar. As obras são: Três Motetinos n° 1 (1975-1978), Três Motetinos n° 2 (1982), Três Motetinos n° 3 (1980-1986), Três Motetinos n° 4 e Três Motetinos n° 5 (1992). A metodologia de análise musical está sustentada a partir do Referencial Silva Ramos de Análise de Obras Corais, respondendo as questões pertinentes e depois transformando-as em texto corrido. Apresentamos um pequeno texto sobre sua trajetória de vida, mostrando sucintamente a atividade de Ernani Aguiar como compositor, regente e professor. Em seguida elencamos o conjunto de sua obra coral sacra para coro à cappella, apresentando informações como data de composição, texto utilizado, estreias e gravações das mesmas. Ainda, apresentamos a fundo outros detalhes sobre as composições das cinco obras estudadas. Na continuidade, apresentamos as análises de cada uma das cinco obras e discutimos pontos que ocorreram durante nosso processo de chegada a uma concepção para performance das mesmas. E é na esteira desse trabalho que abordamos as constâncias composicionais de Aguiar, seu modo de escrita e algumas de suas escolhas estéticas, concluindo assim esta dissertação. / This study aims to present an analysis focused on the interpretation of five sacred works for choir a cappella from the composer Ernani Aguiar. The works are: Três Motetinos No. 1 (1975-1978), Três Motetinos No. 2 (1982), Três Motetinos No. 3 (1980-1986), Três Motetinos No. 4 and Três Motetinos No. 5 (1992). The methodology of the musical analysis is sustained from the Silva Ramos Reference of Coral Work Analysis, answering the relevant questions and then turning them into plain text. We present a small text about his life story, succinctly showing Ernani Aguiar\'s activity as a composer, conductor and teacher. Then we list his sacred choral work\'s ensemble to the a cappella choir, presenting information, such as composition date, text used, premieres and its recordings. We also thoroughly present other details about the compositions of the five studied works. Continuing, we present the analysis of each of the five works and we discuss points which occurred during our process of arriving at a guideline for its performance. And it is in the wake of this work that we approach the compositional constancies of Aguiar, his writing mode and some of its aesthetic choices, thus concluding this dissertation.

Este trabalho busca apresentar uma análise focada na interpretação de cinco obras sacras para coro à cappella do compositor Ernani Aguiar. As obras são: Três Motetinos n° 1 (1975-1978), Três Motetinos n° 2 (1982), Três Motetinos n° 3 (1980-1986), Três Motetinos n° 4 e Três Motetinos n° 5 (1992). A metodologia de análise musical está sustentada a partir do Referencial Silva Ramos de Análise de Obras Corais, respondendo as questões pertinentes e depois transformando-as em texto corrido. Apresentamos um pequeno texto sobre sua trajetória de vida, mostrando sucintamente a atividade de Ernani Aguiar como compositor, regente e professor. Em seguida elencamos o conjunto de sua obra coral sacra para coro à cappella, apresentando informações como data de composição, texto utilizado, estreias e gravações das mesmas. Ainda, apresentamos a fundo outros detalhes sobre as composições das cinco obras estudadas. Na continuidade, apresentamos as análises de cada uma das cinco obras e discutimos pontos que ocorreram durante nosso processo de chegada a uma concepção para performance das mesmas. E é na esteira desse trabalho que abordamos as constâncias composicionais de Aguiar, seu modo de escrita e algumas de suas escolhas estéticas, concluindo assim esta dissertação. / This study aims to present an analysis focused on the interpretation of five sacred works for choir a cappella from the composer Ernani Aguiar. The works are: Três Motetinos No. 1 (1975-1978), Três Motetinos No. 2 (1982), Três Motetinos No. 3 (1980-1986), Três Motetinos No. 4 and Três Motetinos No. 5 (1992). The methodology of the musical analysis is sustained from the Silva Ramos Reference of Coral Work Analysis, answering the relevant questions and then turning them into plain text. We present a small text about his life story, succinctly showing Ernani Aguiar\'s activity as a composer, conductor and teacher. Then we list his sacred choral work\'s ensemble to the a cappella choir, presenting information, such as composition date, text used, premieres and its recordings. We also thoroughly present other details about the compositions of the five studied works. Continuing, we present the analysis of each of the five works and we discuss points which occurred during our process of arriving at a guideline for its performance. And it is in the wake of this work that we approach the compositional constancies of Aguiar, his writing mode and some of its aesthetic choices, thus concluding this dissertation.

O objetivo deste trabalho é oferecer uma leitura interpretativa para performance de quatro obras corais religiosas à capela do compositor brasileiro Osvaldo Lacerda: Pai Nosso (1978), Ave Maria (1979), Poema de Natal (1982) e Dai-nos Forças, Senhor (2000). O primeiro capítulo apresenta análises das quatro obras a partir de sua submissão ao Referencial de Análise de Obras Corais (RAMOS, 2003). O procedimento para utilização do referencial foi responder aos seus itens, escolher as respostas de interesse e redigir o texto dissertativo a partir delas, com o auxílio de textos escritos por Osvaldo Lacerda quando membro da Comissão de Música Sacra do Concílio Vaticano II. Partindo da realização musical desse repertório como regente assistente frente ao Coral da ECA-USP, o autor aborda no segundo capítulo as questões interpretativas de cada peça e as relaciona sob o ponto de vista de sua performance, por meio de um relato de campo que aponta aspectos relevantes do seu processo de preparação e execução. Este trabalho, portanto, fornece uma dentre as várias possibilidades de interpretação e performance desse repertório. / The purpose of this work is to provide an interpretative reading for the performance of four religious choral pieces a cappella written by the Brazilian composer Osvaldo Lacerda: Pai Nosso (1978), Ave Maria (1979), Poema de Natal (1982) and Dai-nos Forças, Senhor (2000). The first chapter presents the analysis of the four pieces after submitting them through the Analysis Referential for Choral Works (RAMOS, 2003). The procedure was to select significant answers and start writing the argumentative text from them, having as the main support texts written by Osvaldo Lacerda when he was a member of the National Comission of Sacred Music of the Vatican Council II. Admitting as the starting point the musical execution of this repertoire as assistant conductor of Coral da ECA-USP, the author addresses in the second chapter the interpretative questions of each piece and relates them under the matter of performance, through a field report comprising relevant aspects of their preparation and execution process. This paper, therefore, provides one among many possibilities of interpretation and performance of this repertoire.

O objetivo principal deste trabalho é estudar os processos de desenvolvimento da escuta melódica de adultos, sem formação musical, integrados a coros vocacionais, com o intuito de poder melhorar a performance vocal do grupo. Tendo como objeto o processo de formação do Coral Oficina Comunicantus, grupo integrado ao Comunicantus: Laboratório Coral do Departamento de Música da Escola de Comunicações e Artes da Universidade de São Paulo. Nosso método de coleta de dados foi baseado nas observações dos ensaios e nas análises das avaliações (relatórios) feitas pelos monitores integrados ao Comunicantus: Laboratório Coral, através dos quais procuramos vislumbrar as necessidades de aprendizagem dos coralistas do coro supracitado. Por se tratar de uma pesquisa ora de observação ora interativa, atuamos combinando tais ações e orientando o desenvolvimento das habilidades inerentes à escuta melódica em aspectos pré-definidos. Durante o processo investigativo, utilizamos como método referencial de análise, dos conteúdos musicais, os trabalhos do Prof. Dr. Marco Antonio da Silva Ramos e do Prof. Paulo Rubens Morais Costa e, por outro lado, a produção bibliográfica de educadores como César Coll e Teresa Mauri, que atuaram na reforma escolar espanhola, de forma a subsidiar nossas escolhas pedagógicas e didáticas para atuar junto aos coralistas. Como resultado desse processo, pudemos desenvolver algumas atividades que contribuíram para a resolução de certas necessidades de aprendizagem momentâneas deste grupo e também suscitaram a criação de outras que foram utilizadas oportunamente, após o término do prazo definido de observação e interação a que este trabalho se refere. / This dissertation aims mainly at studying the processes of development of melodic hearing by adults who do not have any musical formation and yet join vocational choirs in order to improve the vocal performance of the group. Its object is the process of formation of the Educational Lab-Choir Comunicantus, which belongs to the Comunicantus Choral Office of the Department of Music of the School of Communication and Arts of the University of São Paulo. The method of data collection was based on rehearsal observations and on the analysis of evaluations (reports) made by student trainees integrated in the Comunicantus Choir Office, through which we trie to identify the gaps in learning of the choir singers. As the research is partly made up of observations and partly interactive, action was taken so as to combine these actions and give advice on the development of skills innate to melodic hearing in predefined aspects. Along the process of investigation, the Referencial de Análises of the musical contents by Professor D. Marco Antonio da Silva Ramos and Professor Paulo Rubens Morais Costa were used as a method. On the other hand, the works by educators as César Coll and Teresa Mauri, who worked in the Spanish school reform, were used to provide pedagogical and didactic choices for us to act with the choral singers. As a result of this process, some activities were developed that contributed to offer solution to some specific learning needs of this group and also made possible the creation of others that were used, whenever suitable, after the period of observation and interaction.

O objetivo deste trabalho é oferecer uma leitura interpretativa para performance de quatro obras corais religiosas à capela do compositor brasileiro Osvaldo Lacerda: Pai Nosso (1978), Ave Maria (1979), Poema de Natal (1982) e Dai-nos Forças, Senhor (2000). O primeiro capítulo apresenta análises das quatro obras a partir de sua submissão ao Referencial de Análise de Obras Corais (RAMOS, 2003). O procedimento para utilização do referencial foi responder aos seus itens, escolher as respostas de interesse e redigir o texto dissertativo a partir delas, com o auxílio de textos escritos por Osvaldo Lacerda quando membro da Comissão de Música Sacra do Concílio Vaticano II. Partindo da realização musical desse repertório como regente assistente frente ao Coral da ECA-USP, o autor aborda no segundo capítulo as questões interpretativas de cada peça e as relaciona sob o ponto de vista de sua performance, por meio de um relato de campo que aponta aspectos relevantes do seu processo de preparação e execução. Este trabalho, portanto, fornece uma dentre as várias possibilidades de interpretação e performance desse repertório. / The purpose of this work is to provide an interpretative reading for the performance of four religious choral pieces a cappella written by the Brazilian composer Osvaldo Lacerda: Pai Nosso (1978), Ave Maria (1979), Poema de Natal (1982) and Dai-nos Forças, Senhor (2000). The first chapter presents the analysis of the four pieces after submitting them through the Analysis Referential for Choral Works (RAMOS, 2003). The procedure was to select significant answers and start writing the argumentative text from them, having as the main support texts written by Osvaldo Lacerda when he was a member of the National Comission of Sacred Music of the Vatican Council II. Admitting as the starting point the musical execution of this repertoire as assistant conductor of Coral da ECA-USP, the author addresses in the second chapter the interpretative questions of each piece and relates them under the matter of performance, through a field report comprising relevant aspects of their preparation and execution process. This paper, therefore, provides one among many possibilities of interpretation and performance of this repertoire.