Between Two Worlds, with its implied dualities, alludes both to my Italian and Australian backgrounds and to my popular and art music experiences. The dissertation comprises of analyses of and critical commentary on a selection of compositions from instrumental through electroacoustic to musico-dramatic works. Further, Part I presents a précis of relevant background in order to locate the compositions within both Australian contemporary classical music and international settings, and Part I includes sections on analytical methodology and compositional technique. Compositions examined in Part II illustrate the salient features of compositional technique, specific influences and aesthetic concerns. Both instrumental works, Fra l’urlo e il tacere and Ridendo vado sul fiume, were written during the earlier period of the doctoral candidature. The discussion presents not only the seminal influences including the use of interval-class (ic) construction and music technologies but is also intended to guide the reader from solo and chamber instrumental writing through sound design and electronic soundscape composition towards the larger-scale, musico-dramatic works. Part III discusses the major contribution. It is concerned with three mixed-media musictheatre compositions that were created in the period 2000–08 and which explore crossdisciplinary relationships. Whilst maintaining a continuous development of style, the works are on a larger scale in all respects: involve national (The Last Child and Touch Wood) and international (Lontano Blu) production teams and a greater number of performers; are interdisciplinary, conceptually more complex and multilayered, and longer in duration; include extensive use of music technologies, multimedia and multichannel surround sound in performance; and use graphic/text/prose scores. By their very nature, these compositions involved significant collaborative endeavour not only with the key members of the creative teams, such as artistic directors, writers and set designers, but also the performers in general and musicians in particular. The collaborations included development of the conceptual structures of the works with the creative teams and ‘hands on’ interaction with the musicians in shaping the sound in real time through group-devised processes where appropriate.

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Made available in DSpace on 2014-06-11T19:32:56Z (GMT). No. of bitstreams: 0 Previous issue date: 2005-06-28Bitstream added on 2014-06-13T20:44:22Z : No. of bitstreams: 1 ulbanere_a_me_ia.pdf: 2169241 bytes, checksum: 6831d68b53ef115571d0696868229fd2 (MD5) / Universidade Estadual Paulista (UNESP) / Este trabalho busca compreender o pensamento sobre a Linguagem Musical do compositor Willy Corrêa de Oliveira a partir de transcrições das aulas do curso Linguagem e Estruturação Musicais, ministrado por ele no Departamento de Música da Escola de Comunicações e Artes (ECA) da Universidade de São Paulo (USP). O autor desta dissertação parte de trechos de aulas para encontrar relações desse pensamento com a Filosofia Marxista e com diversas teorias e metodologias que resultam em uma maneira de entender a idéia por trás das notas, característica de suas análises. O materialismo-dialético é compreendido no pensamento de Willy a partir da prática e de uma consciência histórica marxista. Esses também seriam os pontos de ligação entre a teoria marxista e outras, como a fenomenologia, a hermenêutica e a semiótica, no caso. As transcrições encontram-se integrais nos Anexos. Assim, o pensamento musical de um compositor brasileiro contemporâneo torna-se disponível e acessível para os que buscam trilhar os mesmos caminhos. / This work aims to understand the musical thought of composer Willy Corrêa de Oliveira from transcriptions of a course named Musical Language and Structure taught by him at Music Department of Arts and Communication School of University of São Paulo. Author works from takes of registered classes to relate this thought to Marxist Philosophy and other theories and methodologies resulting in a way of understanding the idea behind the notes, which is one of its characterizes. Dialectic-materialism is understood in Willy's thought from practice and a Marxistconscience of History. These would be the basis to join Marxist theory to others, like Phenomenology, Hermeneutics and Semiotics, in this case. All transcriptions are part of this work. Thus, musical thought of a Brazilian contemporary composer is accessible for those who go by the same track.

A presente dissertação corresponde a uma etnografia da Orquestra de Câmara Theatro São Pedro, grupo sediado em Porto Alegre, no Brasil. Trata-se de uma pesquisa sobre como ocorre a atuação profissional dos músicos que compõem a orquestra, tanto no âmbito deste conjunto quanto em outros contextos de trabalho dos quais eles também participam. Buscou-se compreender, por meio do conceito de identidade profissional, como estes indivíduos formulam para si e para os outros uma concepção de seu próprio trabalho. Nesse sentido, foram considerados tanto os aspectos materiais de sua atividade laboral (econômicos e práticos, por exemplo) quanto os componentes imateriais (simbólicos, artísticos e estéticos). O trabalho musical, no contexto investigado, é caracterizado por uma grande flexibilidade, no qual predominam as atuações por projetos. As múltiplas formas de emprego, a incerteza econômica e a falta de garantias profissionais marcam esse setor, sendo fatores que influenciam diretamente no modo como esses músicos de orquestra percebem e encaram a sua profissão. / This dissertation corresponds to an ethnography of the Orquestra de Câmara Theatro São Pedro, a group based in Porto Alegre, Brazil. It is a research about how the professional performance of the musicians that integrate the orchestra takes place, both within this group and in other work contexts in which they also participate. It was sought to understand, through the concept of professional identity, how these individuals formulate for themselves and for others a conception of their own work. In this sense, both the material aspects of their work activity (economic and practical, for example) and the immaterial components (symbolic, artistic and aesthetic) were considered. The musical work, in the context investigated, is characterized by a great flexibility, in which the performances by projects predominate. The multiple forms of employment, economic uncertainty and lack of professional guarantees mark this sector, being factors that directly influence the way these orchestra musicians perceive and face their profession.

Syftet med denna studie är att utforska hur musikprofilerade institutioner utanför skolans värld kan bidra till musikundervisningen om klassisk musik på grundskolan. För att uppnå syftet har fem kvalitativa intervjuer genomförts med personer som arbetar på musikprofilerade institutioner. De teoretiska utgångspunkterna för detta arbete är interpretativism, induktivt förhållningssätt och pragmatism. I resultatet framkommer två huvudteman: Upplevelser och Utbildningsmoment. Under det första huvudtemat redovisas hur musikprofilerade institutioner kan erbjuda upplevelser för att bidra till musikundervisningen. Under det andra huvudtema redovisas hur musikprofilerade institutioner kan vara delaktiga i, eller ansvariga för, vissa utbildningsmoment för att på så sätt bidra till musikundervisningen. I sista kapitlet diskuteras resultatet i relation till de teoretiska utgångspunkterna och tidigare forskning. / The purpose of this study is to explore how music profiled institutions can contribute to the musical education of classical music in elementary school. To achieve the purpose, five qualitative interviews were conducted with people who work on music profiled institutions. The theoretical starting points for this work is interpretativism, an inductive approach and pragmatism. The result shows two main themes: Experiencesand Training elements. The first main theme shows how music profiled institutions can offer experiences to contribute to the music during the display. The second main theme shows how music profiled institutions can be involved in, or responsible for, certain training elements in order to contribute to music education. The last chapter discusses the results in relation to the theoretical points and previous research.

A presente dissertação corresponde a uma etnografia da Orquestra de Câmara Theatro São Pedro, grupo sediado em Porto Alegre, no Brasil. Trata-se de uma pesquisa sobre como ocorre a atuação profissional dos músicos que compõem a orquestra, tanto no âmbito deste conjunto quanto em outros contextos de trabalho dos quais eles também participam. Buscou-se compreender, por meio do conceito de identidade profissional, como estes indivíduos formulam para si e para os outros uma concepção de seu próprio trabalho. Nesse sentido, foram considerados tanto os aspectos materiais de sua atividade laboral (econômicos e práticos, por exemplo) quanto os componentes imateriais (simbólicos, artísticos e estéticos). O trabalho musical, no contexto investigado, é caracterizado por uma grande flexibilidade, no qual predominam as atuações por projetos. As múltiplas formas de emprego, a incerteza econômica e a falta de garantias profissionais marcam esse setor, sendo fatores que influenciam diretamente no modo como esses músicos de orquestra percebem e encaram a sua profissão. / This dissertation corresponds to an ethnography of the Orquestra de Câmara Theatro São Pedro, a group based in Porto Alegre, Brazil. It is a research about how the professional performance of the musicians that integrate the orchestra takes place, both within this group and in other work contexts in which they also participate. It was sought to understand, through the concept of professional identity, how these individuals formulate for themselves and for others a conception of their own work. In this sense, both the material aspects of their work activity (economic and practical, for example) and the immaterial components (symbolic, artistic and aesthetic) were considered. The musical work, in the context investigated, is characterized by a great flexibility, in which the performances by projects predominate. The multiple forms of employment, economic uncertainty and lack of professional guarantees mark this sector, being factors that directly influence the way these orchestra musicians perceive and face their profession.

This thesis, Cultural life in Terezin ghetto through the eyes of witnesses, is focused on cultural activities of Terezin prisoners with emphasis on sports, theatre and music. In the initial phase of the thesis I focus on the town of Terezin, from its foundation through the transformation into the ghetto up until its liquidation in 1945. Then follows the core work - Terezin culture. Individual subchapters are gradually dedicated to sports, music, theater and children's artwork as well. The goal of the thesis is an effort to transfer all the acquired findings into the ghetto environment, which should also be the core work of the thesis. I have gathered the necessary information on this issue from the Malach visual history archive, which is a source contatining several tens of thousands eyewitness accounts given by the surviving victims. In my thesis I am trying to connect information gathered from professional literature with the information gathered from the Malach archive. The whole thesis should provide a complete view of the cultural activities in Terezin while taking experiences and memories of the survivors into account.

The goal of this thesis is to theoretically evaluate and practically prove that children in kindergarten are capable to listen to classical music carefully and to express it with motion, if they are properly guided and motivated. This thesis also provides the theme for kindergarten teachers how to work with classical music to teach children to perceive it as a gift and develop love for music in children. The thesis is divided into two main parts. The first part is theoretical and it summarizes the most important findings concerning music and movement. The second part is practical and it consists of a project closely related to the research. Results of the research clarified the fact to what extent parents perceive the importance of music, movement and dance and how they endorse these aspects. The main objective of this thesis was fulfilled by the implementation of the project "It was said once in nature."

The aim of this thesis is to analyse the motivation and preferences of classical music concert attendees on the basis of the authors own quantitative and qualitative research, and to formulate the results into strategic recommendations for the management of music organisations that are looking to address the problem of low or decreasing attendance. Four important Prague-based ensembles - the Czech Philharmonic, the Prague Philharmonic Orchestra, the Prague Radio Symphony Orchestra, and the FOK Prague Symphony Orchestra participated in the questionnaire survey, and a total of 1218 respondents across the four organizations served as the subject of analysis. The theme is interdisciplinary, and this works contribution to the field of music management is also summarized and connected to knowledge from other fields - marketing, dramaturgy, sociology, and particularly psychology, from which Csíkszentmihályis concept of a fully concentrated experience, called flow, is crucial. Statistical testing has confirmed the elementary premise of this work: The concert attendee who usually experiences flow during a classical music concert tends to attend concerts more often than others. The existence of a relationship between the audiences cultural capital (represented by musical education) and flow has also been confirmed. Furthermore, a relationship between genre preferences and flow has been found. In summary, a managerial strategic orientation on facilitating flow to concert attendants can significantly contribute to solving the problem of concert attendance.