Thesis (M.Mus.) -- University of Adelaide, Elder Conservatorium, 2000.

No description available.

Dans l’histoire de la musique occidentale, de nombreuses formes orchestrales se sont imposées de l’orchestre symphonique aux ensembles de musique de chambre. L’intérêt pour ces formes s’est rarement porté sur les ensembles d’instruments à vent particulièrement adaptés à la musique de plein air. Le choix de la longue durée historique laisse entendre tous les possibles d’une histoire politique, culturelle et sociale de 1700 à 1914. Les conditions dans lesquelles sont nés et se sont développés ces ensembles en France, permet d’en voir leur usage, leur répertoire, leur sociabilité et leur impact sur la vie musicale.L’histoire de l’ensemble à vent est complexe. Musique ostentatoire ou militaire il est pendant longtemps l’objet sonore du pouvoir. L’étude des conditions de la création musicale spécifique pour ces ensembles fait apparaître des usages musicaux particuliers et permet d’établir un premier recensement d’oeuvres originales et de compositeurs, tout en montrant les relations entre création musicale savante et usage utilitaire ou populaire.La pratique instrumentale évolue avec les innovations de la facture tout comme l’art de l’orchestration. Le statut des musiciens évolue du professionnalisme à l’amateurisme orphéonique. La modélisation de la musique d’harmonie ou de fanfare et son instrumentalisation par le pouvoir lui confère une fonction représentative officielle. Le modèle « français » se répand sur tous les continents. Parallèlement, d’un usage ostentatoire et privé, l’ensemble à vent devient musique du peuple et sa pratique se diffuse sur l’ensemble du territoire national imposant un mode original de transmission musicale en marge des enseignements officiels et en quête de reconnaissance.Entre unité et diversité cette étude invite à redécouvrir la part patrimoniale des ensembles d’instruments à vent dans les champs historiques, sociologiques et musicologiques, à l’heure où, pour de multiples raisons, ces ensembles sont menacés. / In the history of western music, a lot of different shapes of bands grew on, from the symphony orchestra to the chamber music ensembles. But among these bands, the wind bands hardly attracted interest to perform outdoor music. With the choice of a historically long time period we are able to imagine all that their political, cultural and social history could be, from 1700 to 1914. The conditions of birth and development of these ensembles allow us to observe what their uses, repertoire and sociability were and what was their impact on musical life.The history of the wind band is complicated. For a long time period, being either conspicuous music or military music, it was used by the political power as an object of expression. Studying the conditions of musical creation of these ensembles reveals specific musical uses. It enables to establish a first inventory of original works and composers, while linking scholar musical creation and practical or popular use.The instrumental practice changes according to the innovations in the making process, as the orchestration art. The musicians' status evolves from professionalism to band amateurism. The establishment of a model of concert band music or brass band music and its exploitation by the political power leads to an official representative function. France becomes all over the world a country to look up to in this matter. At the same time the wind ensemble, for a conspicuous and private use, happens to become the music of the people. Its practice spreads throughout France, setting a specific way to pass music on, detached from the official teachings and in search for recognition.Between unity and diversity, this study is an invitation to discover again the cultural heritage of the wind bands in the history, sociology and musicology fields, when today these bands are threatened.

Made available in DSpace on 2016-04-27T19:31:17Z (GMT). No. of bitstreams: 1 Elizeu de Miranda Correa.pdf: 9916752 bytes, checksum: e10d8c79486f784821162bdecf51f893 (MD5) Previous issue date: 2016-02-26 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This thesis aims to analyze the disputes, transformations, innovations, permanencies and ruptures, the resistances and negotiations, outlining the approach of this study to front lines (LF) that permeated the Martial Band of Grand São Paulo in the twentieth century, between years 1957 and 2000. However, reflecting on the events and the impacts occurred in the structure and choreographic conceptions of front lines. Their forms of representations, their meanings and discourses produced on these sets over the years chosen for this study. In the moment it was noticed the front lines Martial bands were protagonists of a series of clashes and tensions to stay ahead of the Musical Group and that this cultural practice is not limited only to its subject, it is necessary to think and understand this cultural practice in the academic scenario , justifying thus historicizing it. It is assumed that one of the inherent LF features along this historic route, it is your limitation and insecurity when facing obstacles, and the indulgence of the instructors "choreographers" in not promote the boldness, even if this costs you loss of titles in competitions. Thus, it is quite possible that it has a huge difficulty to reinvent itself, making it stable and exhausting in its materiality. It was used as a methodological theoretical resource use of the Press (Newspapers and Magazines), Images (Pictures and Movies), Regulations and fanfare and bands, laws and Decrees, and the use of oral history techniques (interviews). Overall, it was realized that the LF constitute a cultural practice and aesthetics defined by specific rules (dance, body movement, gestures and expression) certainly include or socially excluded individuals who aim to integrate it. On the other hand, they are for excellence the space of leisure and sociability, the space of dialogue between the body, movement and music. It is assumed, therefore, that it holds meanings and multiple versions: influence, love, reinvents itself and discipline its members, that according to its proponents. In short, it is to know, and maybe so cannot be defined / Essa tese tem como objetivo analisar as disputas, as transformações, as inovações, as permanências e rupturas, as resistências e as negociações, delimitando o recorte deste estudos às Linhas de Frente (LF) que permearam as Bandas Marciais da Grande São Paulo no limiar do século XX, entre os anos de 1957 e 2000. Não obstante, refletir sobre as vicissitudes e os impactos ocorridos na estrutura e nas concepções coreográficas das Linhas de Frente. Bem como perceber as suas formas de representações, os seus significados e os discursos produzidos acerca desses conjuntos ao longo dos anos eleitos para esse estudo. No instante em que se verificou as Linhas de Frente das Bandas Marciais foram protagonistas de uma série de embates e de tensões para permanecerem à frente do Corpo Musical e que essa prática cultural, não se esgota apenas aos seus sujeitos, faz necessário pensar e compreender essa prática cultural no universo acadêmico, justificando, portanto, historicizá-la. Pressupõe-se que, uma das características inerentes das LF ao longo desse percurso histórico, é a sua limitação e insegurança ao enfrentar obstáculos, bem como o comodismo dos instrutores coreógrafos , em não promover a ousadia, ainda que para isso lhe custe a perda de títulos em concursos. Deste modo, é bem possível que, há nela uma dificuldade imensa em se reinventar, tornando-a estável e esgotando-se em sua materialidade. Foi utilizada como recurso teórico metodológico a Imprensa (Jornais e Revistas), Imagens (Fotografias e Filmes), Regulamentos e Planilhas de Notas de Concursos de Fanfarras e Bandas, Leis e Decretos, além do uso das técnicas de História Oral (entrevistas). De modo geral, percebeu-se que as LF constituem uma prática cultural e estética, definida por regras específicas (dança, movimento do corpo, gestos e expressão) certamente incluem ou excluem socialmente os indivíduos que almejam integrá-la. Por outro lado, elas são por excelência o espaço do lazer e da sociabilidade, o espaço do diálogo entre o corpo, o movimento e a música. Pressupõe-se, assim, que ela é detentora de significados e de versões múltiplas que: influência, apaixona, se reinventa e disciplina os seus integrantes, isso de acordo com seus intérpretes. Em síntese, ela é saber, e, talvez por isso não possa ser definida

No description available.

Thesis (M. Phil.)--University of Queensland, 2006. / Compact disc comprises recorded performances of the compositions. Includes bibliographical references.

[no abstract included] / Arts, Faculty of / Music, School of / Graduate

Title page, table of contents and abstract; v.2: table of contents; v.3: table of contents only. The complete thesis in print form is available from the University of Adelaide Library. / This doctoral submission comprises three volumes and is entitled Twistonality: A Personal Exploration. Volume One consists of a portfolio of eleven original compositions, Volume Two is an exegesis and Volume Three contains live and/or computer-generated recordings of the music. The works are scored for a variety of instrumental and vocal combinations. The compositions explore the use of tonality as a basis for the creation of a uniquely personal style which incorporates musical gestures encountered in both traditional and contemporary performance practice. The term 'twistonality', devised for this submission, refers to a musical language in which a composer may express original ideas by twisting forms and tonal structures already resident in the conscious or subconscious memory in order to reflect his or her emotional reality as experienced through music. / http://proxy.library.adelaide.edu.au/login?url= http://library.adelaide.edu.au/cgi-bin/Pwebrecon.cgi?BBID=1283916 / Thesis (Ph.D.) -- University of Adelaide, Elder Conservatorium of Music, 2007

Title page, table of contents and abstract; v.2: table of contents; v.3: table of contents only. The complete thesis in print form is available from the University of Adelaide Library. / This doctoral submission comprises three volumes and is entitled Twistonality: A Personal Exploration. Volume One consists of a portfolio of eleven original compositions, Volume Two is an exegesis and Volume Three contains live and/or computer-generated recordings of the music. The works are scored for a variety of instrumental and vocal combinations. The compositions explore the use of tonality as a basis for the creation of a uniquely personal style which incorporates musical gestures encountered in both traditional and contemporary performance practice. The term 'twistonality', devised for this submission, refers to a musical language in which a composer may express original ideas by twisting forms and tonal structures already resident in the conscious or subconscious memory in order to reflect his or her emotional reality as experienced through music. / http://proxy.library.adelaide.edu.au/login?url= http://library.adelaide.edu.au/cgi-bin/Pwebrecon.cgi?BBID=1283916 / Thesis (Ph.D.) -- University of Adelaide, Elder Conservatorium of Music, 2007

Title page, table of contents and abstract; v.2: table of contents; v.3: table of contents only. The complete thesis in print form is available from the University of Adelaide Library. / This doctoral submission comprises three volumes and is entitled Twistonality: A Personal Exploration. Volume One consists of a portfolio of eleven original compositions, Volume Two is an exegesis and Volume Three contains live and/or computer-generated recordings of the music. The works are scored for a variety of instrumental and vocal combinations. The compositions explore the use of tonality as a basis for the creation of a uniquely personal style which incorporates musical gestures encountered in both traditional and contemporary performance practice. The term 'twistonality', devised for this submission, refers to a musical language in which a composer may express original ideas by twisting forms and tonal structures already resident in the conscious or subconscious memory in order to reflect his or her emotional reality as experienced through music. / http://proxy.library.adelaide.edu.au/login?url= http://library.adelaide.edu.au/cgi-bin/Pwebrecon.cgi?BBID=1283916 / Thesis (Ph.D.) -- University of Adelaide, Elder Conservatorium of Music, 2007