A presente investigação teve como objetivo geral investigar a comunicação das nuanças da emoção triste em ponteios de Camargo Guarnieri através das relações entre a estrutura musical e recursos expressivos. O delineamento metodológico foi de natureza qualitativa e quantitativa. Para cada Ponteio, foram escolhidos dois termos que traduzissem nuanças dessa emoção. A amostra foi constituída de estudantes de música em nível de extensão (N = 66), graduação e pós-graduação (N = 63) pertencentes aos cursos da UFRGS. A coleta de dados empregou um questionário por escolha forçada, onde os participantes indicaram a emoção percebida. O estímulo foi a performance integral, ao vivo, de cada Ponteio. A abordagem qualitativa envolveu uma entrevista semiestruturada por estimulação de recordação com sete pianistas universitários, visando a reflexão tanto sobre as terminologias escolhidas para cada Ponteio, como sobre as decisões interpretativas. Os resultados demonstraram que o grau de comunicação emocional com base nos termos escolhidos apresentou dispersão em ambas as populações investigadas. O modelo bidimensional de Russell permitiu analisar o registro da performance com polarizações entre valência (timbre, dinâmica) e atividade (andamento, timing, articulação). Levando em conta os recursos estruturais e expressivos concebidos pela intérprete, a incidência dos termos percebidos pelos estudantes universitários e os níveis relativos de atividade e valência, os Ponteios puderam ser classificados em termos relativos de grau de tristeza. / The present research aimed at investigating the relationships between musical structure and expressive resources manipulated in the planning of the interpretation of four Ponteios from Camargo Guarnieri bearing explicit indications of the emotion Sadness, for the communication of this emotion in the performance. The methodological design was quali- and quantitative. The interpretation of the Ponteios 11, 31, 36 and 41 was constructed aiming at communicating the emotion Sadness, based on musical interpretative analysis and the structural and expressive aspects associated to the communication of this emotion, according to the literature. For each Ponteio, two terms that might translate the nuances of this emotion were chosen. Sample was constituted of music students at university extension level (N = 66), as well as music undergraduate and graduate students from UFRGS. Data sampling employed a questionnaire by forced choice. The stimulus was the whole piece live performance. The qualitative approach involved a semi structured stimulated recall interview with seven universitary students, aiming at thinking both on the chosen terms as well as on the interpretative choices. The results have demonstrated that the degree of emotional communication, based on the chosen terms, presented dispersion in both investigated populations. Russell´s bidimensional model allowed us to analyze the performance records with polarization between valence (timbre, dynamics) and activity (tempo, timing, articulation). Taking into account the structural and expressive resources conceived by the performer, the incidence of the terms perceived by the university level students and the relative levels of activity and valence, the Ponteios could be classified in terms of relative degree of Sadness.

A presente investigação teve como objetivo geral investigar a comunicação das nuanças da emoção triste em ponteios de Camargo Guarnieri através das relações entre a estrutura musical e recursos expressivos. O delineamento metodológico foi de natureza qualitativa e quantitativa. Para cada Ponteio, foram escolhidos dois termos que traduzissem nuanças dessa emoção. A amostra foi constituída de estudantes de música em nível de extensão (N = 66), graduação e pós-graduação (N = 63) pertencentes aos cursos da UFRGS. A coleta de dados empregou um questionário por escolha forçada, onde os participantes indicaram a emoção percebida. O estímulo foi a performance integral, ao vivo, de cada Ponteio. A abordagem qualitativa envolveu uma entrevista semiestruturada por estimulação de recordação com sete pianistas universitários, visando a reflexão tanto sobre as terminologias escolhidas para cada Ponteio, como sobre as decisões interpretativas. Os resultados demonstraram que o grau de comunicação emocional com base nos termos escolhidos apresentou dispersão em ambas as populações investigadas. O modelo bidimensional de Russell permitiu analisar o registro da performance com polarizações entre valência (timbre, dinâmica) e atividade (andamento, timing, articulação). Levando em conta os recursos estruturais e expressivos concebidos pela intérprete, a incidência dos termos percebidos pelos estudantes universitários e os níveis relativos de atividade e valência, os Ponteios puderam ser classificados em termos relativos de grau de tristeza. / The present research aimed at investigating the relationships between musical structure and expressive resources manipulated in the planning of the interpretation of four Ponteios from Camargo Guarnieri bearing explicit indications of the emotion Sadness, for the communication of this emotion in the performance. The methodological design was quali- and quantitative. The interpretation of the Ponteios 11, 31, 36 and 41 was constructed aiming at communicating the emotion Sadness, based on musical interpretative analysis and the structural and expressive aspects associated to the communication of this emotion, according to the literature. For each Ponteio, two terms that might translate the nuances of this emotion were chosen. Sample was constituted of music students at university extension level (N = 66), as well as music undergraduate and graduate students from UFRGS. Data sampling employed a questionnaire by forced choice. The stimulus was the whole piece live performance. The qualitative approach involved a semi structured stimulated recall interview with seven universitary students, aiming at thinking both on the chosen terms as well as on the interpretative choices. The results have demonstrated that the degree of emotional communication, based on the chosen terms, presented dispersion in both investigated populations. Russell´s bidimensional model allowed us to analyze the performance records with polarization between valence (timbre, dynamics) and activity (tempo, timing, articulation). Taking into account the structural and expressive resources conceived by the performer, the incidence of the terms perceived by the university level students and the relative levels of activity and valence, the Ponteios could be classified in terms of relative degree of Sadness.

A presente investigação teve como objetivo geral investigar a comunicação das nuanças da emoção triste em ponteios de Camargo Guarnieri através das relações entre a estrutura musical e recursos expressivos. O delineamento metodológico foi de natureza qualitativa e quantitativa. Para cada Ponteio, foram escolhidos dois termos que traduzissem nuanças dessa emoção. A amostra foi constituída de estudantes de música em nível de extensão (N = 66), graduação e pós-graduação (N = 63) pertencentes aos cursos da UFRGS. A coleta de dados empregou um questionário por escolha forçada, onde os participantes indicaram a emoção percebida. O estímulo foi a performance integral, ao vivo, de cada Ponteio. A abordagem qualitativa envolveu uma entrevista semiestruturada por estimulação de recordação com sete pianistas universitários, visando a reflexão tanto sobre as terminologias escolhidas para cada Ponteio, como sobre as decisões interpretativas. Os resultados demonstraram que o grau de comunicação emocional com base nos termos escolhidos apresentou dispersão em ambas as populações investigadas. O modelo bidimensional de Russell permitiu analisar o registro da performance com polarizações entre valência (timbre, dinâmica) e atividade (andamento, timing, articulação). Levando em conta os recursos estruturais e expressivos concebidos pela intérprete, a incidência dos termos percebidos pelos estudantes universitários e os níveis relativos de atividade e valência, os Ponteios puderam ser classificados em termos relativos de grau de tristeza. / The present research aimed at investigating the relationships between musical structure and expressive resources manipulated in the planning of the interpretation of four Ponteios from Camargo Guarnieri bearing explicit indications of the emotion Sadness, for the communication of this emotion in the performance. The methodological design was quali- and quantitative. The interpretation of the Ponteios 11, 31, 36 and 41 was constructed aiming at communicating the emotion Sadness, based on musical interpretative analysis and the structural and expressive aspects associated to the communication of this emotion, according to the literature. For each Ponteio, two terms that might translate the nuances of this emotion were chosen. Sample was constituted of music students at university extension level (N = 66), as well as music undergraduate and graduate students from UFRGS. Data sampling employed a questionnaire by forced choice. The stimulus was the whole piece live performance. The qualitative approach involved a semi structured stimulated recall interview with seven universitary students, aiming at thinking both on the chosen terms as well as on the interpretative choices. The results have demonstrated that the degree of emotional communication, based on the chosen terms, presented dispersion in both investigated populations. Russell´s bidimensional model allowed us to analyze the performance records with polarization between valence (timbre, dynamics) and activity (tempo, timing, articulation). Taking into account the structural and expressive resources conceived by the performer, the incidence of the terms perceived by the university level students and the relative levels of activity and valence, the Ponteios could be classified in terms of relative degree of Sadness.

這是一個結合音樂創作專輯和現場展演（火車音樂會）的作品，探討城市之間旅途的往返和時空的轉換，創作過程同時也是尋找「自我」的過程。 專輯發想於我多年來在揚州、北京和台北三地之間往返的移動經歷。十四首曲目通過「出發」「海島」「都市」「歸家」這樣的線索串連，其中也將收錄城市不同角落的聲景，期盼透過作品，讓聽眾思考心目中城市的樣貌，也藉由出發找到自我。展演的部分的是由火車音樂會構成，將音樂表演安排在區間車車廂內舉行，試圖將聽眾們帶回我最初創作歌曲的場景，更好地感受我的音樂創作。 本創作論述提供創作的背景與動機，關於城市、空間、民謠的歷史的文獻探討和其他作品討論，以及專輯和火車音樂會的創作內容說明，觀眾回饋。最後附上結論與參考文獻，構成共五章的創作論述。 / Between Cities is a comprehensive work which combines music album and live show(train concert). It intends to discuss the journeys between cities and time-space transposition. Also, the process of creation is a process of finding myself. Inspired by the travel experience among Yangzhou, Beijing and Taipei over the years, the music album contains 14 tracks through a clue of “Departures” “The island” “Cities” and  “Homecoming”. It also records soundscapes of different cities’ corners. I hope these songs can let the audience think about the appearance of their imaginative cities and find themselves by starting from somewhere. Consisting of music performance which is arranged in train cabin, the train concert intends to bring the audience back to my original scene of songwriting and make them learn my songs more deeply. The thesis declares my motives and songwriting background of this creation in the first part. It then reviews the literary writings about cities, space, folk history and other songwriters’ artworks. In the third and fourth part, I explain all the treatment of my album and train concert, including the audience feedback. Adding on the conclusion and reference, working records above become a five-chapter thesis in the end.

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This dissertation is intended as a supportive document for the five-part suite for ten-piece jazz ensemble entitled Real Talk. It is divided into six chapters, four of which are analytical and cover the following topics: Form, Melody, Harmony, and Other Compositional Techniques. Subcategories are used within these chapters to draw attention to specific compositional components relevant to the construction of the piece; illustrative tables and examples have been provided to assist in describing these components. The ultimate purpose of this document is to describe in detail my technical approach to the composition. / text

Ce mémoire porte sur l’impact des interactions faites par le musicien lors d’une séance d’interprétation musicale en jazz incluant de l’improvisation. L’analyse est basée sur le matériel phonographique et les transcriptions de deux pièces exécutées par le trio composé de Jan Garbarek, le saxophoniste norvégien, Egberto Gismonti, le pianiste et guitariste brésilien, et Charlie Hayden, le bassiste américain. L’analyse fait une comparaison entre les mêmes pièces jouées en studio et en concert live, à partir d’une base théorique incluant le processus de l’improvisation ainsi que les affordances, concept emprunté à la psychologie écologique et adapté à la musicologie. Les résultats de cette recherche indiquent que le processus d’improvisation est affecté par les invariants liés à l’environnement de performance. Cette analyse est un premier pas vers une compréhension contextualisée des éléments environnementaux qui influencent l’improvisation dans la musique jazz. / The following master’s thesis considers the impact of the interactions affecting a musician during a jazz performance including improvisation. The analysis considers the phonographic source material and transcriptions of two tracks performed by the trio composed of the Norwegian saxophonist Jan Garbarek, the Brazilian pianist and guitarist Egberto Gismonti, and the American bass player Charlie Haden. The analysis focuses on two tracks that were both recorded in studio and live during a concert of the trio, and is based on the theoretical notions of improvisation as well as affordance theory, which was originally developed in the field of environmental psychology and then adapted to musicology. The results of this research indicate that the process of improvisation is affected by the invariants relating to the location of the performance. This analysis is a first step towards a contextualized understanding of the environmental elements that can influence improvisation in jazz.

This thesis describes how I took part in a series of collaborations with dancers Danai Pappa and Katie Hall, musician George Williams and video artist Julie Kuzminska. To realise our collaborations, I built electronic sculptural instruments from junk using bricolage, the act of subversion, skip diving and appropriation. From an auto-ethnographic viewpoint, I explored how collaborations began, how relationships developed and how various levels of expertise across different disciplines were negotiated. I examined how the documentation of the performances related to, and could be realised as, video art in their own right. I investigated the themes of work, labour and effort that are used in the process of producing and documenting these works in order to better understand how to ‘create’. I analysed the gender dynamics that existed between my collaborators and myself, which led to the exploration of issues around interaction and intimacy, democratic roles and live art. The resulting works challenged gender stereotypes, the notion of what a musical instrument can be and how sound is produced through action/interaction. I found that reflective time was imperative; serendipity, constant awareness of one’s environment, community and intimate relationships greatly enhanced the success of the collaborations. Instruments became conduits and instigators with shifting implied genders based on their context or creative use. As well as sound being a product of movement, effort and interaction, I realised it was also an artefact of the instruments.

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No description available.