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Text in Afrikaans / Sekere bevindings oor die positiewe en negatiewe invloed van musiek en die funksies wat dit met betrekking tot menswees vervul, is as 'n verwysingsraamwerk gebruik om historiese gegewens oar die konstruktiewe en destruktiewe aanwending van musiek in hoofsaaklik Duitsland en die V.S.A. te analiseer. Dit het aan die lig gekom dat musiek konstruktief aangewend is met betrekking tot: Intellektuele vorming: Intellektuele vaardighede en kennisverwerwing is deur musiek bevorder. Die leergebeure is veraangenaam en meer effektief gemaak. Estetiese vorming: Deur musiek is 'n estetiese waardesisteem en 'n goeie kunssmaak ontwikkel en die wording van volwaardige, gebalanseerde individue bevorder. Religieuse vorming: Musiek is aangewend om religieuse denke en gewaarwordinge uit te druk en om kennisoordrag, evangelisasie, sending en die belewing van 'n innige geloofsgemeenskap te bevorder. Etiese vorming: Etiese waarhede is met behulp van musiek herhaal en ingeoefen. 'n "Morele atmosfeer" en die vaslegging van 'n waardesisteem is daardeur bevorder. Politieke vorming: Politieke gevoelens en menings is deur musiek uitgedruk om mense te be1nvloed om bepaalde standpunte, partye, regerings of politieke stelsels te ondersteun. Nasionale vorming: Musiek is gebruik om patriotisme te verwoord, die kulture van volkere te weerspieel, volksfeeste op te luister en nasionale eenheid te bevorder. Sosiale vorming: Musiek is aangewend as 'n bran van vermaak en ontspanning en as 'n kommunikasiemiddel. Dit het gehelp om 'n groepsidentiteit te vestig, 'n gemeenskapsgevoel en sosialisering te bevorder en mense se gedragspatrone te be1nvloed. Affektiewe vorming: Deur middel van musiek is gepoog om die gevoelslewe te orden en te veredel en om positiewe veranderinge ten opsigte van affektiewe toestande teweeg te bring. Fisieke vorming: Verskeie liggaamsaktiwiteite en fisieke vaardighede, ontspanning en verfrissing is deur musiek bevorder en dit is as 'n terapie aangewend. Musiek is oak destruktief aangewend deurdat die Christelike kerk ondermyn, religieuse aanbidding benadeel, die jeug se emosionele beheer, selfstandigwording en etiese waardestelsels negatief be!nvloed, aggressiewe en opstandige gedrag, militarisme, politieke venyn en rassehaat bevorder, beswyming ge!nduseer, gehoorsintuie beskadig en regerings omvergewerp is. 'n Aantal aanbevelings en waarskuwings met betrekking tot die aanwending van musiek in formele, nieformele en informele onderwys- en opvoedingsituasies het uit die analise voortgevloei. / Certain findings concerning the positive and negative influences of music and the functions fulfilled by it in the life-world of man were used as a reference framework in order to analyse historical data on the constructive and destructive applications of music in mainly Germany and the U.S.A. It came to light that music was constructively applied with regard to: Intellectual shaping: Music was employed to enhance various intellectual skills, to improve the acquisition of knowledge and to render the learning process more pleasant and effective. Aesthetic shaping: An aesthetic value system and a good artistic taste were developed and the shaping of complete, balanced individuals was promoted through music. Religious shaping: Music was employed to express religious thoughts and perceptions and to promote close community of faith, knowledge transfer, evangelization and missionary effort. Ethical shaping: Ethical truths were reiterated and "practised" and a "moral atmosphere" and a value system established through music. Political shaping: Political feelings and opinions were expressed through music and people were influenced to support specific viewpoints, parties, governments or political systems. National shaping: Music was employed to express patriotism, to reflect the cultures of nations, to add lustre to national gatherings and to promote national unity. Social shaping: Music was a source of entertainment and recreation and a means of communication. Through music the establishment of a group identity, socialization and a communal sense were promoted and behavioural patterns affected. Affective shaping: Music was a means of ordering and ennobling inner life and of facilitating positive changes in affective conditions. Physical shaping: Relaxation, recreation, physical skills and activities were promoted through music which was utilized as a therapy. Music was also destructively employed by undermining the Christian church and harming religious worship, by negatively influencing youth's emotional selfcontrol, ethical value systems and the actualization of independence, by furthering aggressive and rebellious behaviour, inducing trances, causing physical damage to hearing organs and promoting militarism, political viciousness, racial hatred and the overthrow of governments. A number of recommendations and warnings concerning the employment of music in formal, non-formal and informal educational situations resulted from the analysis. / Art History, Visual Arts & Musicology / D. Ed. (Historiese Opvoedkunde)

Text in Afrikaans / Sekere bevindings oor die positiewe en negatiewe invloed van musiek en die funksies wat dit met betrekking tot menswees vervul, is as 'n verwysingsraamwerk gebruik om historiese gegewens oar die konstruktiewe en destruktiewe aanwending van musiek in hoofsaaklik Duitsland en die V.S.A. te analiseer. Dit het aan die lig gekom dat musiek konstruktief aangewend is met betrekking tot: Intellektuele vorming: Intellektuele vaardighede en kennisverwerwing is deur musiek bevorder. Die leergebeure is veraangenaam en meer effektief gemaak. Estetiese vorming: Deur musiek is 'n estetiese waardesisteem en 'n goeie kunssmaak ontwikkel en die wording van volwaardige, gebalanseerde individue bevorder. Religieuse vorming: Musiek is aangewend om religieuse denke en gewaarwordinge uit te druk en om kennisoordrag, evangelisasie, sending en die belewing van 'n innige geloofsgemeenskap te bevorder. Etiese vorming: Etiese waarhede is met behulp van musiek herhaal en ingeoefen. 'n "Morele atmosfeer" en die vaslegging van 'n waardesisteem is daardeur bevorder. Politieke vorming: Politieke gevoelens en menings is deur musiek uitgedruk om mense te be1nvloed om bepaalde standpunte, partye, regerings of politieke stelsels te ondersteun. Nasionale vorming: Musiek is gebruik om patriotisme te verwoord, die kulture van volkere te weerspieel, volksfeeste op te luister en nasionale eenheid te bevorder. Sosiale vorming: Musiek is aangewend as 'n bran van vermaak en ontspanning en as 'n kommunikasiemiddel. Dit het gehelp om 'n groepsidentiteit te vestig, 'n gemeenskapsgevoel en sosialisering te bevorder en mense se gedragspatrone te be1nvloed. Affektiewe vorming: Deur middel van musiek is gepoog om die gevoelslewe te orden en te veredel en om positiewe veranderinge ten opsigte van affektiewe toestande teweeg te bring. Fisieke vorming: Verskeie liggaamsaktiwiteite en fisieke vaardighede, ontspanning en verfrissing is deur musiek bevorder en dit is as 'n terapie aangewend. Musiek is oak destruktief aangewend deurdat die Christelike kerk ondermyn, religieuse aanbidding benadeel, die jeug se emosionele beheer, selfstandigwording en etiese waardestelsels negatief be!nvloed, aggressiewe en opstandige gedrag, militarisme, politieke venyn en rassehaat bevorder, beswyming ge!nduseer, gehoorsintuie beskadig en regerings omvergewerp is. 'n Aantal aanbevelings en waarskuwings met betrekking tot die aanwending van musiek in formele, nieformele en informele onderwys- en opvoedingsituasies het uit die analise voortgevloei. / Certain findings concerning the positive and negative influences of music and the functions fulfilled by it in the life-world of man were used as a reference framework in order to analyse historical data on the constructive and destructive applications of music in mainly Germany and the U.S.A. It came to light that music was constructively applied with regard to: Intellectual shaping: Music was employed to enhance various intellectual skills, to improve the acquisition of knowledge and to render the learning process more pleasant and effective. Aesthetic shaping: An aesthetic value system and a good artistic taste were developed and the shaping of complete, balanced individuals was promoted through music. Religious shaping: Music was employed to express religious thoughts and perceptions and to promote close community of faith, knowledge transfer, evangelization and missionary effort. Ethical shaping: Ethical truths were reiterated and "practised" and a "moral atmosphere" and a value system established through music. Political shaping: Political feelings and opinions were expressed through music and people were influenced to support specific viewpoints, parties, governments or political systems. National shaping: Music was employed to express patriotism, to reflect the cultures of nations, to add lustre to national gatherings and to promote national unity. Social shaping: Music was a source of entertainment and recreation and a means of communication. Through music the establishment of a group identity, socialization and a communal sense were promoted and behavioural patterns affected. Affective shaping: Music was a means of ordering and ennobling inner life and of facilitating positive changes in affective conditions. Physical shaping: Relaxation, recreation, physical skills and activities were promoted through music which was utilized as a therapy. Music was also destructively employed by undermining the Christian church and harming religious worship, by negatively influencing youth's emotional selfcontrol, ethical value systems and the actualization of independence, by furthering aggressive and rebellious behaviour, inducing trances, causing physical damage to hearing organs and promoting militarism, political viciousness, racial hatred and the overthrow of governments. A number of recommendations and warnings concerning the employment of music in formal, non-formal and informal educational situations resulted from the analysis. / Art History, Visual Arts and Musicology / D. Ed. (Historiese Opvoedkunde)

Ugolino (c. 1380-1457) wrote one of the largest treatises on music theory in the first half of the fifteenth century. This work, the "Declaratio musicae disciplinae," is comprised of five books that cover everything a musician of the era would need to know, from plainchant to harmonic proportions, from musica practica to musica speculativa. However, the treatise has received contradictory interpretations by modern scholars, some viewing it as mainly practical, others as mainly theoretical. I argue that in Book 2, which deals with counterpoint, Ugolino crystallizes the relationship between theory and practice, while offering distinctive contrapuntal practices. Ugolino presents a unique view music's place in the structure of knowledge, one which is highly dependent on Aristotelian philosophy. He posits that music is a science and that it is a branch not of mathematics, as it had traditionally been categorized, but of natural philosophy. This viewpoint shapes the entire treatise and is evident in the book on counterpoint. There, he presents an Italian tradition of teaching counterpoint known as the "regola del grado." Ugolino is the first author to present this tradition entirely in Latin. In addition, he offers an unusual description of musica ficta. In it, he presents a diagram, the "duplex manus," that mixes together both musica recta and musica ficta. Ugolino's work suggests that theory and practice, although arranged hierarchically, need not be in conflict, and that a treatise such as his can be both eminently practical and highly theoretical.

Esta tese focaliza a trajetória do tema musical Folias de Espanha, que constitui um dos mais notáveis fenômenos na musicologia devido à sua permanente recorrência na História da Música. Nosso objetivo foi ampliar o escopo interdisciplinar de estudo e de reflexão musicológica através da compreensão da utilização do tema na História da Música e sua historiografia, a fim de enriquecer o horizonte de nossa prática acadêmica. A Folias de Espanha é uma melodia simples e de caráter enigmático que surgiu em Portugal no início do século XVI como uma dança selvagem popular das ruas que teve sua estrutura rítmica e harmônica modificadas ao passar pela Espanha. Da península ibérica, migrou para a Itália e foi levada por guitarristas italianos à corte francesa, transformando-se ali em uma dança majestosa. Sua história a partir desse itinerário é complexa e reflete sua grande popularidade, pois ela ainda constitui grande fonte de inspiração para diversos compositores, desde nomes consagrados como Bach, Beethoven e Liszt, até trilhas compostas para filmes comerciais. Outros temas musicais apresentam a mesma recorrência histórica, como por exemplo, o hino católico Dies Irae do século XIII ou o tema do Capricho N.24 de Paganini, mas a retomada da Folias de Espanha como tema musical é a mais recorrente na História da Música. / This thesis focuses on the trajectory of the theme Spanish Folias, which is one of the most remarkable phenomena in musicology due to its permanent recurrence in music history. Our goal was to broaden the scope of interdisciplinary study and musicological reflection through the understanding of the use of the theme in music history and its historiography, in order to enrich the horizon of our academic practice. The Spanish Folias is a simple melody with enigmatic character that first appeared in Portugal in the early sixteenth century as a wild popular street dance that had its rhythmic and harmonic structure modified by passing through Spain. From the Iberian Peninsula, it traveled to Italy and was taken by Italian guitarists to the French court, becoming into a majestic dance. Its history starting from this itinerary is complex and reflects its great popularity, since it still constitutes a great source of inspiration for several composers, since renowned names such as Bach, Beethoven and Liszt, until soundtracks composed for commercial movies. Other musical themes display the same historical recurrence, as for example, the XIII century catholic hymn Dies Irae or Paganinis Caprice N.24, but the resuming of Spanish Folias as musical subject is the most recurrent in the History of Music.

O delineamento desta pesquisa deu-se a partir da busca de informações históricas sobre as origens musicais da cidade de Tatuí - SP e da análise sócio-cultural da contribuição da música na sociedade local. Desta busca resultou o resgate das origens do Conservatório Dramático e Musical \"Dr. Carlos de Campos\" de Tatuí, enquanto organização e instituição estadual pública de educação musical formal. Como observador de uma organização que nasce da tradição musical de Tatuí e pelo envolvimento direto com esta escola - a problemática de pesquisa surge na reconstituição histórica da memória da instituição. / The design of this work starts at the search for historical data about the musical roots in Tatuí City -São Paulo - Brazil and from the social and cultural analysis on the contribution of music to the local society. Of this search resulted the rescue of the origins of the Dramatical and Musical Conservatory Dr. Carlos de Campos of Tatuí, while organization and public state institution of formal musical education. As a direct observer of an organization that was rised through the musical tradition of Tatuí, and for the direct evolvement with this school - the issue of this research appears from the institution\'s historical and memory rebuilding.

Esta tese apresenta um estudo da historiografia da música popular no Brasil, realizada nos programas de pós-graduação em História, nos estados de São Paulo e do Rio de Janeiro, no período delimitado entre o início da década de 1970 até o final da década de 1990. A pesquisa identifica e analisa temáticas, conteúdos, abordagens, conceitos, fontes e metodologias. Pretende também entender as agendas, dinâmicas e tendências de pesquisa, bem como seus influxos estéticos e ideológicos ao longo do tempo. Constitui-se num mapa analítico da historiografia da música popular no Brasil, a partir de uma perspectiva crítica. Apresenta uma reflexão histórica e teórico-metodológica, revisando o processo de formação e afirmação de um campo de estudos inscrito nas Ciências Humanas e, particularmente, na História. / This thesis presents a study on the historiography of popular music in Brazil which was developed in post-graduate education programs in History, in the states of São Paulo and Rio de Janeiro. delimited within the timeframe between the beginning of the 1970\'s and the end of the 1990\'s. This work aims at identifying and analyzing thematics, contents, as well as approaches, concepts, sources and methodologies. Another purpose for this work is to comprehend the agendas and dynamics of the researches, as far as its trends and inclinations are concerned, along with the aesthetical and ideological inflows that appear over time. It consists of an analytical map of popular music historiography in the country, from a critical perspective. It presents a theoretical methodological and also, historical reflection destined for a review of the process involving the formation and assertion of a field of studies inscribed in the area of Human Sciences and particularly, in History.

Este trabalho é um estudo da obra do compositor Antonio Carlos Jobim. Seu objetivo é mostrar a sua importante contribuição para a modernização da música popular brasileira a partir da segunda metade da década de 1950, através de análises de partituras, gravações em LPs, CDs e DVDs, livros e trabalhos acadêmicos. Analisa as referências que traz do Impressionismo Francês, particularmente da obra do compositor Claude Debussy, assim como os diálogos com as obras de Villa-Lobos e de compositores da música popular brasileira e norte americana da primeira metade do século XX. Estuda ainda, a presença constante da paisagem carioca, da beleza do mar, das florestas, da Mata Atlântica em especial, dos pássaros, da força das águas, dos rios, como elementos fundamentais na inspiração sonora em suas composições instrumentais e poéticas, em suas canções, entrevistas e livros. Mostra também um pouco da sua história e a grande preocupação que sempre teve com a preservação ambiental. / This work is a study of the composer Antonio Carlos Jobims musical work. The aim is to show his important contribution to the modernization of Brazilian popular music from the second half of the 1950s, through the analysis of his scores, recordings, LPs, CDs and DVDs, books and academic papers. It analyzes the references that he brings from the French Impressionism, particularly the work of the composer Claude Debussy, as well as the dialogues from the works of Villa-Lobos and Brazilian popular music and North American composers in the first half of the twentieth century. Further studies, the constant presence of Rio de Janeiro landscape, the beauty of the sea, forests, the Atlantic Forest in particular , birds, the force of water, rivers, as sonorous key inspiration to his instrumental compositions and poetry in his songs, interviews and books. It also shows a bit of his history and his great concern about environmental preservation.

A partir da revisão da obra musicológica do intelectual brasileiro Mário de Andrade (1893-1945) foram estudadas as características do conceito de música popular. Vislumbraram-se as complexidades que intervieram na construção desse conceito polissêmico por meio da comparação entre o pensamento musical de Mário de Andrade e de alguns colegas latino-americanos. Este pesquisa diferencia entre o conceito de música popular, herdeiro da visão de mundo do romantismo oitocentista, e o surgimento de outro significado relacionado com a música que circulava nas cidades e que era difundida pelos modernos meios de comunicação eletrônicos. Com o passar do século XX, esse novo tipo de música popular urbana distanciou-se cada vez mais da noção romântica de música popular, e contribuiu na criação de tensões no interior do conceito. Os escritos de Mário de Andrade, sistemáticos e tematicamente variados, permitem ilustrar essas complexidades na construção de seu próprio conceito de música popular. Esta dissertação leva ao campo da historiografia musical latino-americana as discussões e debates historiográficos posteriores à década de 1970 acerca da construção da cultura popular derivada de uma elite acadêmica. / By reviewing the musicological work of the Brazilian intellectual Mário de Andrade (1893-1945), I research the meaning and characteristics of the concept of popular music in Brazil. I examine the construction of this polysemous concept through the comparison of de Andrades thinking about music with the one of some of his Latin American colleagues. My work differentiates between a meaning of popular music, heir of the romantic worldview of the nineteenth century, and the appearance of a different meaning related to urban music disseminated by the new electronic communication devices, in the twentieth century. On time, this new kind of popular urban music distanced itself from the romantic concept of popular music and created tensions within the concept itself. Mario de Andrades essays, systematic and thematically varied, illustrate the concomitant complexities in the construction of his popular music concept. This monograph takes the post-1970 historiographical discussions and debates about the construction of the popular culture, made by an academic elite, to the musical historiography field in Latin America.