Made available in DSpace on 2014-07-29T16:25:13Z (GMT). No. of bitstreams: 1 silmara.pdf: 101194 bytes, checksum: d5f81a62d62bc6b4572adfeb96105296 (MD5) Previous issue date: 2008-09-18 / The perspective adopted in this research, tells about the most general interartistics relations, and specially, the relations between music and image, sound and visual through movie productions. First, the fictionalized historical biography, permits the following of cliché of correlations between sound and image. Second, the cinematography offers other potentialities, as the film as creation of world, in a strong rupture with the traditional audiovisual articulation. In this biography, investigates the art conception that is in Wagner s Work, and especially we ll see a bibliographic theme of a full art [Gesamtkunstwerk]. In this domain, has an approach comprehension of romantic roots as well a reintegration of thinking around classics the heritage ideas of Greece in XIX. We search, demonstrate an importance and representativeness of Richard Wagner in German Romancism and the present interartistic relation between sound and image in Wagner s Work. / A perspectiva adotada nesta pesquisa diz respeito ao campo mais geral das relações interartísticas e, mais especialmente, das relações entre música e imagem (na formação do audiovisual), sonoridade e visualidade, audível e visível através de produções fílmicas. No primeiro deles, a biografia histórica ficcionalizada (a biografia em filme) permite o acompanhamento de certos clichês de correlações entre som e imagem. No segundo, a cinematografia oferece outras potencialidades, no pensamento do filme como criação de um mundo, numa ruptura decisiva com a articulação tradicional música-imagem, traçados agora como alvo de uma conjugação-intervalo denominável de audiovisual. A partir desta biografia, investiga-se a concepção de arte que circula na obra de Wagner e, mais especialmente, trataremos de uma revisão bibliográfica do tema da obra de arte total [Gesamtkunstwerk]. Neste domínio cabe, portanto, uma aproximação-compreensão das raízes românticas bem como da reintegração do pensamento acerca do clássico a idéia de heranças da Grécia no XIX. Busca-se assim demonstrar a importância e representatividade de Richard Wagner no Romantismo Alemão e a presente relação interartística entre o som e a imagem na obra wagneriana.

A presente tese enfoca os processos composicionais de Edmundo Villani-Côrtes na sua Sinfonia nº 1 para Orquestra de Sopros. O estudo investiga as fronteiras da brasilidade popular e erudita da escrita do compositor, assim como o tipo de ferramentas que ele utiliza para escrever para banda sinfônica através da análise da obra escolhida. Defendemos a ideia de que sua literatura musical para banda sinfônica é inovadora por ter um tratamento orquestral diferenciado para essa formação, numa escrita erudita com conteúdos temáticos vindos da música popular. Do estudo, concluímos que o compositor tem uma assinatura ímpar na sua linguagem musical e apresenta-se como um autor representante da autenticidade brasileira. / This present thesis focuses on the composing procedures of Edmundo Villani-Cortes in his Symphony nº1 for the Wind Orchestra. This study investigates the borders of the popular and erudite brazilianity of the composer´s writing, as well as the type of tools he uses to write for the Symphonic Band going through the analysis of a selected piece. We defend that the idea of his musical literature for the Symphonic Band is innovating by having a different orchestral treatment for its formation, in a scholar writing which includes thematic compounds coming from the pop music. By this study, we conclude that the composer has an unique signature in his musical language and he presents himself as a representative author of the Brazilian authenticity

American composer Christopher Theofanidis’s choral-orchestral work The Here and Now (2005) is a setting of Jalal ad-Din Rumi’s thirteenth-century poetry as translated by Coleman Barks. Theofanidis employs a cappella sonic contrasts, silence, rhythmic text setting, and a libretto based on fragments of Rumi’s poems to tell a story about the search for love, longing, joy, and gratitude. While rooted in traditional Western composition methods, this twenty-first-century work uses musical elements like color chords (bichords), cluster chords, changing meters, and modality, as well as imitative polyphony and unifying motifs within a new, tonal American aesthetic espoused by the Atlanta School of Composers, of which Theofanidis is a founding member. This DMA project presents warmups, rehearsal strategies, and teaching methods to guide the choir and conductor through the challenges of rhythmic text setting and dense harmonic language so that learning and performing The Here and Now is a rewarding endeavor.

This thesis takes as its broad area of study the solo instrumental music produced since 1960 by the virtuoso performer-composer, and focuses on the works of Australian clarinettist and composer Brigid Burke. The 1960's in music was a decade like no other; the effects of serialism and indeterminacy, the rise of electronic music, and the general climate of experimentation resulted in an explosion of new musical ideas and compositional approaches. One development of this period was the growth of a musician type new to the twentieth century: the virtuoso performer-composer. Brigid Burke (1960- ) is a clarinet soloist, visual artist and a composer of over one hundred works. The majority of Burke's compositional output comprises works for clarinet. In writing almost exclusively for the clarinet, the instrument of which she is a national and international performer, Burke can be viewed as continuing the virtuoso performer-composer trend emanating from the 1960's. The aim of this thesis is to investigate the extent to which Burke's clarinet works represent a unique voice in the international and Australian contemporary clarinet repertoire. Four of Burke's works were chosen for study: Three Sounds on Buildings 2 (2005),

Muscial theatre for children – the function of the music in theatrical storytelling for children in Regionteatern Blekinge-Kronoberg. Sweden, Växjö, 2006. The aim of this essay is to examine music in theatre for children. There is not much recent research about the subject so this essay is a way to discern this part of the theatre and to get more people interested in the matter. The survey will focus on how music is used in an institutional theatre (Regionteatern Blekinge-Kronoberg) that works with plays for children. The research consists of interviews with a composer, a director and analyzes of three plays for children played in Regionteatern Blekinge-Kronoberg. The music in the plays will be compared to recent theories about music in storytelling. The music in the plays is used in different ways but often to explain things that are not told with words, for example feelings and description of characters. The way music is used is closely linked to how the director and composer think about music. An example is their central idea of music as a power that reaches directly to the audience. It is also important to keep in mind that it is adults that create theatre for children which means that the music and stories are always filtered by adult’s eyes and ears.

O trabalho investiga o processo de construção das performances das obras para piano solo da compositora carioca Marisa Rezende (1944), considerando a interação entre intérprete e compositora. Até o momento, a obra pianística de Marisa Rezende é constituída pelas obras Ressonâncias (1983), Contrastes (2001) e Miragem (2011). Através da documentação de seu processo de construção da performance das obras, das mensagens eletrônicas trocadas com Marisa Rezende, e do material documentado em áudio e vídeo proveniente do trabalho presencial realizado com a compositora, o autor avalia o impacto que essa interação ocasionou em suas decisões interpretativas. / This work investigates the process of creating an interpretation of the works for solo piano by Brazilian composer Marisa Rezende (Rio de Janeiro, 1944). At the present time, Rezende’s works for solo piano comprise Ressonâncias (1983), Contrastes (2001), and Miragem (2011). This investigation considers the contributions of the interaction between the performer and the composer. By documenting the process of creating an interpretation for these works prior to working jointly with the composer, and the interactions with Rezende through electronic messages and an audio/video recording of a working session with the composer, the author assesses the impact of those interactions on his interpretative decisions.

abstract: The purpose of this study was to: (1) record and describe a brief history of the life and career of Bolivian composer Dr. Nicolás Suárez Eyzaguirre, and (2) write an analysis from a vocal performer's perspective of Suárez's song cycle for soprano and piano, Monólogos del Desierto, with texts by Dr. Guillermo Mariaca Iturri. In August of 2013, I traveled to La Paz, Cochabamba, and Coroico, Bolivia, with translator Dr. Marie Cooper Hoffman for thirteen days in order to conduct interviews with Suárez, his family, his colleagues, his composition professors, and other professional musicians. In addition to both in-person and e-mail interviews, I reviewed television productions, videos, and newspaper/magazine articles that featured interviews with Suárez and/or reviews of his works. Also, I familiarized myself with Suárez's compositional style by performing a leading role in the 2011 world premiere of his opera El Compadre; collecting and listening to as many recordings of his works as I could find; and reading the transcript of Suárez's Doctor of Musical Arts Lecture Recital. For this study, I focused specifically on the compositional style of his three-song cycle Monólogos del Desierto. A performance of the work will be part of my defense of this paper. / Dissertation/Thesis / Doctoral Dissertation Music 2015

Made available in DSpace on 2015-05-14T12:36:52Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 2982046 bytes, checksum: d47162b1f64db9ed8714393abd8d8534 (MD5) Previous issue date: 2014-07-24 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / NCL application requirements such as the need for dynamic content processing, makes their development challenge. These applications are defined with a declarative part and additionally a portion imperative that relates the media objects to a operation processing complex (for example, a programmed logic described in a script language Lua). Within the development of NCL applications, an option taken by the authors of the document is to use the structural view of the NCL Composer to relate visually the media objects with media objects imperatives. Currently, despite the NCL Composer support the relationship with the media objects imperatives, it is possible to identify an inefficiency associated to integrate fast and simple imperative code in an application NCL. The objective of this work is to propose an extension to the structural view that better integrate media objects and imperative code, in order to decrease the time to use the content in this media imperative. The paper presents an evaluation of the impact on productivity of application development compatible with the specification Ginga-NCL. / Os requisitos das aplicações NCL, como a necessidade de conteúdo dinâmico resultado de processamento, tornam o seu desenvolvimento um desafio. Essas aplicações são definidas com uma parte declarativa e, adicionalmente, uma parte imperativa que relaciona os objetos de mídia com algum processamento de operações complexas (por exemplo, uma lógica descrita num script programado na linguagem Lua). Dentro do desenvolvimento de aplicações NCL, uma opção adotada pelos autores de documento é utilizar a visão estrutural do NCL Composer para relacionar de forma visual os objetos de mídia com os objetos de mídia imperativos. Atualmente, apesar do NCL Composer suportar o relacionamento com os objetos de mídia imperativos, é possível identificar uma ineficiência no tocante à integração de forma rápida e simples do código imperativo em uma aplicação NCL. O objetivo deste trabalho é propor uma extensão para a visão estrutural que permita melhor integrar objetos de mídia e código imperativo, de forma a diminuir o tempo de uso do conteúdo presente nas mídias imperativas. O trabalho traz também uma avaliação do impacto na produtividade do desenvolvimento de aplicações compatíveis com a especificação Ginga-NCL.

O trabalho investiga o processo de construção das performances das obras para piano solo da compositora carioca Marisa Rezende (1944), considerando a interação entre intérprete e compositora. Até o momento, a obra pianística de Marisa Rezende é constituída pelas obras Ressonâncias (1983), Contrastes (2001) e Miragem (2011). Através da documentação de seu processo de construção da performance das obras, das mensagens eletrônicas trocadas com Marisa Rezende, e do material documentado em áudio e vídeo proveniente do trabalho presencial realizado com a compositora, o autor avalia o impacto que essa interação ocasionou em suas decisões interpretativas. / This work investigates the process of creating an interpretation of the works for solo piano by Brazilian composer Marisa Rezende (Rio de Janeiro, 1944). At the present time, Rezende’s works for solo piano comprise Ressonâncias (1983), Contrastes (2001), and Miragem (2011). This investigation considers the contributions of the interaction between the performer and the composer. By documenting the process of creating an interpretation for these works prior to working jointly with the composer, and the interactions with Rezende through electronic messages and an audio/video recording of a working session with the composer, the author assesses the impact of those interactions on his interpretative decisions.

O trabalho investiga o processo de construção das performances das obras para piano solo da compositora carioca Marisa Rezende (1944), considerando a interação entre intérprete e compositora. Até o momento, a obra pianística de Marisa Rezende é constituída pelas obras Ressonâncias (1983), Contrastes (2001) e Miragem (2011). Através da documentação de seu processo de construção da performance das obras, das mensagens eletrônicas trocadas com Marisa Rezende, e do material documentado em áudio e vídeo proveniente do trabalho presencial realizado com a compositora, o autor avalia o impacto que essa interação ocasionou em suas decisões interpretativas. / This work investigates the process of creating an interpretation of the works for solo piano by Brazilian composer Marisa Rezende (Rio de Janeiro, 1944). At the present time, Rezende’s works for solo piano comprise Ressonâncias (1983), Contrastes (2001), and Miragem (2011). This investigation considers the contributions of the interaction between the performer and the composer. By documenting the process of creating an interpretation for these works prior to working jointly with the composer, and the interactions with Rezende through electronic messages and an audio/video recording of a working session with the composer, the author assesses the impact of those interactions on his interpretative decisions.