Made available in DSpace on 2016-12-08T17:06:49Z (GMT). No. of bitstreams: 1 RobertoRossbach.pdf: 3579379 bytes, checksum: e5cda1ba92c0ddbcc926af8f2f1aa8db (MD5) Previous issue date: 2009-12-09 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / At the beginning of the German colonization in the region of Blumenau (SC), one of the main cultural manifestations of the immigrants were the singing societies, consisting of male choirs which sang secular repertoires. The activity of these societies was intense since the first years of the foundation of the Blumenau Colony until the prohibition of the cultural manifestations of the Germans in Brazil, with the Campaign of Nationalization instituted by the Brazilian Federal Government in 1937. Based on textual documents, both manuscripts and printed, such as statutes, proceedings, correspondences, reports, periodicals, as well as photographs and songbooks, the purpose of this work is to clarify the role of these groups in the diffusion of the local cultural movement and its contributions to the perpetuity of this tradition, which still exists today. Despite the process of acculturation and assimilation of new cultural values which emerged from the contact of German immigrants with the Brazilian culture, some elements were maintained, such as the associative spirit of the immigrants and the preservation of the German language in the songs. This contributed to a current tendency of the descendants of German immigrants in the region to preserve the culture of the first colonists, reflected in the associative, cultural activities and in the promotion of several events connected to the German culture / No início da colonização alemã na região de Blumenau (SC), uma das principais manifestações culturais dos imigrantes foram as sociedades de canto, que eram coros masculinos que cantavam repertório secular. A atividade destas sociedades foi intensa desde os primeiros anos da fundação da Colônia Blumenau até a proibição das manifestações culturais dos alemães no Brasil, com a Campanha de Nacionalização, instituída pelo Governo Federal Brasileiro, a partir de 1937. Baseado em documentos textuais manuscritos e impressos como estatutos, atas, correspondências, relatórios, jornais, além de fotografias e livros de canções, buscou-se neste trabalho esclarecer o papel desses grupos na difusão do movimento cultural local e suas contribuições para a continuação desta tradição que se mantém viva até os dias de hoje. Apesar do processo de aculturação e assimilação de novos valores culturais ocorrido com o contato dos imigrantes alemães com a cultura brasileira, alguns elementos mantiveram-se intactos, como o espírito associativo do imigrante e a preservação do idioma alemão nas canções. Isso contribuiu para uma tendência atual dos descendentes de imigrantes alemães na região de preservar a cultura dos primeiros colonizadores, refletida nas atividades associativas, culturais e nas diversas promoções ligadas à cultura alemã

Submitted by Franciele Moreira (francielemoreyra@gmail.com) on 2018-08-14T15:14:45Z No. of bitstreams: 2 Dissertação - Germano Henrique Pereira Lopes - 2018.pdf: 4935798 bytes, checksum: 63fe5daf8b50f4043e5409bf1c1af4ef (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2018-08-16T11:33:46Z (GMT) No. of bitstreams: 2 Dissertação - Germano Henrique Pereira Lopes - 2018.pdf: 4935798 bytes, checksum: 63fe5daf8b50f4043e5409bf1c1af4ef (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2018-08-16T11:33:46Z (GMT). No. of bitstreams: 2 Dissertação - Germano Henrique Pereira Lopes - 2018.pdf: 4935798 bytes, checksum: 63fe5daf8b50f4043e5409bf1c1af4ef (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2018-04-07 / Fundação de Amparo à Pesquisa do Estado de Goiás - FAPEG / Aiming to draw a path of choral practice, under the interdisciplinary view between performance and musicology, in the historical Santa Clara School in the city of Goiânia, Goiás, this work is one of the fruits of the studies carried out by the research group Choral Singing in Goiânia, trajectories and perspectives, linked to the Laboratory of Musicology Brás Wilson Pompeu de Pina Filho, of the School of Music and Performing Arts at the Federal University of Goiás. This research, focused on the musical collection of the Santa Clara School. It begins with a historical context of the Congregation of Franciscan Sisters of Pastoral Action, responsible for this institution, which arrived in Campinas (now a suburb of Goiânia) in 1921 to meet the educational needs of the region. The school became a reference not only in the pedagogical field, but also in the artistic and cultural areas. Then, this paper deepens into aspects of Catholic music in the study time-frame, starting with Ultramontanism, followed by a transition period that ends after the Second Vatican Council. Representative works of these three mentioned periods were analyzed, having as one of the selection criteria that the scores had clear signs of handling, featuring their use in performance. Moreover, some of these works and others of the collection were performed in concert generated by this research, in order to realize through the musical practice all the necessary elements for a broader understanding of the choral activity of the institution. After crossing the results with documentary data of the collection, it is shown that the choir practice in the school had been very intense and always aligned with all the current changes in sacred music (liturgical or not) determined by the clergy. This all become a significant component of the historical-musical development of the city of Goiania during the period span covered by this research. / Visando traçar uma trajetória da prática coral, sob o viés interdisciplinar, entre performance e musicologia, no histórico Colégio Santa Clara, na cidade de Goiânia, Goiás, este trabalho é um dos frutos dos estudos efetuados pelo grupo de pesquisa O Canto Coral em Goiânia, trajetórias e perspectivas, vinculado ao Laboratório de Musicologia Brás Wilson Pompeu de Pina Filho, da Escola de Música e Artes Cênicas da Universidade Federal de Goiás. Esta pesquisa, centrada no acervo musical do colégio, que se encontra nesse laboratório, inicia-se com uma contextualização histórica da Congregação das Irmãs Franciscanas da Ação Pastoral, responsável pela referida instituição, que chegou a Campinas (hoje um bairro de Goiânia) em 1921, para atender às necessidades educacionais da região. O colégio tornou-se uma referência não só no campo pedagógico, mas também nas áreas artística e cultural. Em seguida, este trabalho mergulha em aspectos da música católica no recorte temporal triplo da pesquisa: iniciando pelo Ultramontanismo, seguido de um período de transição que desemboca no momento posterior ao Concílio Vaticano II. Foram analisadas obras representativas desses três períodos, tendo como um dos critérios de seleção que as partituras tivessem sinais claros de manuseio, caracterizando o seu uso em performance. Em acréscimo, algumas dessas obras enfocadas e outras do acervo foram executadas em concerto ao longo desta pesquisa, a fim de perceber na prática elementos necessários para uma compreensão mais ampla da atividade coral da instituição. Após o cruzamento dos resultados com os dados documentais do acervo, ficou demonstrado que a prática coral do colégio foi muito intensa e sempre esteve sintonizada com todas as mudanças na música sacra (litúrgica ou não) determinadas pelo clero, constituindo-se num importante componente do desenvolvimento histórico-musical da cidade de Goiânia no período abrangido pela pesquisa.

O presente trabalho considera o conceito percepção vocal, incluindo suas funções e recursos, como uma capacidade de ouvir, conscientizar e fazer, através dos seguintes tipos de recepção sensorial: controle auditivo, sensação muscular, sensibilidade vibracional e visão. Este trabalho tem por objetivos a divulgação do referido conceito e a apresentação de métodos para o seu desenvolvimento para o cantor e regente coral, nas áreas disciplinares de canto, percepção e regência coral. A discussão é alicerçada na pesquisa da literatura russa e ucraniana sobre o assunto e tem o foco central baseado no trabalho de Vladimir Morozov. Ainda em comparação com as literaturas estadunidense e brasileira, busca refletir sobre os conteúdos relativos às áreas supracitadas e explora os meios de aprimoramento dessa habilidade na prática, com foco específico no ensino da regência coral e canto coral. Propõe assim um método de ensino que oferece uma série de exercícios de desenvolvimento da percepção vocal, que abrangem o trabalho do aluno, tanto dentro da sala de aula, quanto na sua prática com o coro, podendo tais exercícios ser aproveitados no trabalho individual. Para o trabalho de pesquisa e formulação da proposta de ensino, a metodologia escolhida foi de busca, comparação, reflexão e análise da literatura, paralelamente ao desenvolvimento de exercícios específicos. / The concept of vocal perception (including its functions and resources) is, in this dissertation, considered to be the ability of hearing, understanding and performing through the following kinds of sensorial reception: auditory control, muscular and vibrational sensitivity, as well as vision. The aims of this work are: A) divulgating the formerly mentioned concept; B) introducing methods that allow both singers and choral conductors to improve their acting. The discussion is based on the Russian and Ukrainian literature on this matter and focuses mainly on the work of Vladimir Morozov. In comparing these to the Brazilian and American literature, the dissertation also ponders over the contents that relate to the areas mentioned above, and explores the possible ways of improving this ability in practical situations, with an specific focus on choral conducting and choral singing, thus proposing a method of teaching that offers a series of exercises that will encourage the development of a vocal perception for the student, which can be applied in conducting classes, individual studying and general choral practice. When researching and creating the teaching method, the methodology of choice was to search, compare, ponder and analyze literature, while developing specific exercises.

Orientadores: Angelo José Fernandes, Adriana do Nascimento Araújo Mendes / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-26T01:26:11Z (GMT). No. of bitstreams: 1 Rheinboldt_JulianaMelleiro_M.pdf: 59530188 bytes, checksum: 397231451c0292e604327e4d1e95519d (MD5) Previous issue date: 2014 / Resumo: No Brasil, poucos materiais têm sido produzidos a respeito do preparo vocal para coros, especialmente, infantis. Visando suprir tal carência, a presente pesquisa aborda de forma ampla a proposta do maestro americano Henry Leck e relata sua aplicabilidade na realidade brasileira do "Coral da Gente" do Instituto Baccarelli, grupo regido pela autora. No primeiro capítulo, detalhamos os pressupostos pedagógicos e de preparo vocal do maestro Henry Leck, segundo o manual "Vocal techniques for the young singer: an approach to teaching vocal technique utilizing visualization, movement, and aural modeling", o livro "Creating artistry through choral excellence" ¿ ambos de autoria do maestro ¿ e bibliografias vigentes sobre voz infantil, preparo vocal e pedagogia coral. No segundo capítulo, analisamos e descrevemos os aspectos musicais e técnico-vocais dos exercícios que compõem o manual e também relatamos como os vocalizes foram aplicados no decorrer da pesquisa com o "Coral da Gente" e na prática docente da pesquisadora. Os processos de aprendizagem, estratégias didáticas e adaptações da proposta feitas na pesquisa de campo, encontram-se em um DVD anexo. Por fim, refletimos sobre a relevância da proposta de Leck e como ela pode ser mais bem aproveitada em nosso país, respeitando as especificidades de nossa realidade e priorizando um preparo vocal para coro infantil que seja efetivo, consistente e artístico. Este trabalho destina-se a regentes, preparadores vocais, educadores musicais e demais interessados nos assuntos abordados / Abstract: In Brazil, few materials specifically geared towards developing vocal techniques for children¿s choirs are being produced. Aiming to fill this need, this research conducts a wide-ranging analysis of the North American director Henry Leck¿s vocal pedagogy and how it was applied within a Brazilian reality with the "Coral da Gente" of the Baccarelli Institute, where the researcher is choral director. In the first chapter, we detail the pedagogical and vocal basis of Leck¿s methodology, based on the materials "Vocal techniques for the young singer: an approach to teaching vocal technique utilizing visualization, movement, and aural modeling", the book "Creating artistry through choral excellence", and other current literature about children¿s voices, vocal techniques and choral pedagogy. In the second chapter, we describe and analyze the vocal exercise techniques from Leck¿s materials musically, vocally and pedagogically and we also describe how this methodology was used with the "Coral da Gente" of the Baccarelli Institute and in the teaching practices of the researcher, highlighting the learning processes, successes and adaptations necessary. The finding results are available in the accompanying DVD. Finally, we reflect on the relevance of this proposal and how it might best be taken advantage of in Brazil, respecting the particular characteristics of local reality and practicing effective, consistent and artistic vocal techniques for children¿s choir. This research is addressed to choral directors, singing teachers and musical educators / Mestrado / Fundamentos Teoricos / Mestra em Música

Mitt arbete handlar om körsång och att stärka sitt jag genom att sjunga. Men det handlar inte om körsång generellt utan en speciell kör som jag arbetat med under många år, den samiska kören Vaajmoe –sjung för livet. Det här projektet har två ingångar, dels att kören finns för ungdomar med samma samiska tillhörighet och dels för att skapa ett sätt för dessa ungdomar att träffas och må bra genom att sjunga. Den andra ingången har att göra med körens syfte. Den startades för att det är så många samiska ungdomar som mår dåligt och för att det är många som tagit sitt liv. Vaajmoe vill lyfta denna tunga fråga och synliggöra de problem som finns, men göra det på ett glädjefyllt sätt. Jag vill med denna uppsats undersöka vilka psykosociala effekter som projektet Vaajmoe haft på såväl deltagare som publik och även politiskt. / My work is about choral singing and to reinforce his ego by singing. But it's not about choral singing in general but a special project that I worked with for many years, Sami choir Vaajmoe-sing for life. This project has two inputs, and the choir is for young people with the same Sami belonging and to create a way for these young people to come together and feel great by singing. The second input has to do with the choir's purpose. It was started because there are so many Sámi youth who feel bad and that there are many who have taken their lives. Vaajmoe want to lift this heavy question and visualize the problems that exist, but do it in a joyful way. I want this essay examine the psychosocial effects of the project Vaajmoe had on both participants and audience and also politically.

Please read the abstract in the section 00front of this document / Thesis (DMus)--University of Pretoria, 2005. / Music / unrestricted

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>

Information received during interviews with fifteen prominent choral directors, ministers and laymen of different communities end questionnaire responses from thirty of fifty churches of the San Joaquin Presbytery of tho Presbyterian Church, U.S.A., indicates almost unanimously that there is a growing need. and also a growing awakening among the youth of the church for participation in church musical activities. For many years churches, large and small, have been struggling with the difficult problems of providing satisfactory musical experiences for both the adults and the youth in the churches of various denominations. For the large churches, with large budgets at their command, the matter is simplified by the hiring of paid singers and competent directors at good salaries. In the case of the smaller churches, the duties of furnishing music for various services and special programs usually fall to a local music instructor, and interested layman, the wife of the minister, or perhaps the minister himself. In some cases there is a small monthly remuneration, but in many cases the work done is a matter of donated time and labor on the part of the director. Much has been discussed as to the reasons for the lack of interest shown by the young people of various denominations in the musical life of the churches, but little practical information can be found to remedy the situation. In a conference with Dr. Clair Morrow, moderators of the Synod of California and Minister of the First Church of Fresno, and Leonard Ballmer, Moderators of the San Joaquin Presbytery, it was felt that such a study should take place in order to evaluate and compare the Youth Music Program at the First Church in Fresno with the other churches in the Presbytery.

Portant sur les modalités d’appropriation de la pratique chorale occidentale en milieu catholique chez les Sérères noon de Saint Pierre Julien Eymard de Koudiadiène, au Sénégal, ce mémoire tente de voir pourquoi, et surtout comment les différents syncrétismes agissent sur divers symbolismes sénégalais. Il vise plus particulièrement à comprendre toute l’importance de l’action de la collectivité dans la mise en acte du répertoire choral, et à comprendre comment l’improvisation spontanée en ensemble se construit en situation de performance dans ce qui est appelé ici la plurivocalité linéaire. Ce mémoire vise dans cette foulée à décrypter le sens autour de cette pratique spécifique du chant choral et à cerner comment le processus d’acculturation agit sur l’identité culturelle des Sérères noon. Finalement, il vise à dégager les affects en situation de performance de la chorale qui semble détenir un rôle central pour les membres de la paroisse Saint Pierre Julien Eymard de Koudiadiène, et à comprendre et mettre en valeur une pratique musicale et son contexte d’insertion social jusqu’alors peu étudiés de façon systématique. / On the modalities of appropriation of Western choral practice among Catholic Sérères noon of Saint Pierre Julien Eymard of Koudiadiène, Senegal, this dissertation tries to demonstrate why and how different syncretisms act on various Senegalese symbolisms. It aims to understand more particularly the importance of the community in the mise en acte of the choral repertoire, and how spontaneous improvisation is built in performance situation in what is called here the plurivocalité linéaire. This dissertation is in this vein to decipher the meaning of that specific practice of choral singing and to point how the acculturation process acts on the cultural identity of Sérères noon. Finally, it aims to identify affects in performance situation of the choral that seems to have a central role for members of the parish of Saint Pierre Julien Eymard, and understand and enhance a musical practice and its social context of integration hitherto little studied systematically.