abstract: During the first half of the last decade, there was a heated debate regarding what type of critical approach best suits the study of video games. Those who argued for approaches traditionally associated with narrative studies were primarily interested in video games as a new frontier for storytelling. The opposition claimed that video games are not systems for storytelling, and that applying literature and film theories to video games dismisses the interactive nature of video games as games. The argument was bitter, but ended abruptly with no clear results or consensus. Yet are narratology and ludology, the two proposed critical theories, so disparate that the use of one means the exclusion of the other? This paper suggests the possibility that narratology and ludology share more in common than critics have thus far realized. Both games and story share themes of conflict, and in focalizing on the antagonist of single-player video games it becomes possible to trace the development of conflict and how it functions in the video game medium. In analyzing antagonists and the conflict they embody, it becomes apparent that narratology and ludology are not so incompatible in their methodologies and assumptions. Finally, because video games themselves are a multifaceted medium, it is only appropriate that critics use multiple theoretical approaches in their analysis to broaden critical knowledge of how the medium functions. / Dissertation/Thesis / M.A. English 2012

This study considers only one aspect of music of the twentieth century--that of dissonance. Through an analysis of harmonic tension in the twelve fugues of the "Ludus Tonalis" by Paul Hindemith, a two-fold significance is notable. First, consideration of the broad tendencies of modernism is necessary. second, with Hindemith as a chosen representative of certain aspects of the twentieth century style, the study attempts to show more specifically certain characteristics of the composer himself in the use and treatment of dissonance, one of the more technical features of style in modern music.

This diploma thesis is focused on the analysis of different alternative methods of teaching foreign languages and the possibilities and limitations of their usage in traditional school teaching. The theoretical part is focused on the definition of the terms alternative method and superlearning method and then it concentrates on an analysis of two methods which belong to the group of superlearning methods. Because there are many such methods, and they are very similar to each other, I decided to choose methods which are the biggest examples in the sub-category of superlearning. Those are Suggestopedia, as a method which was the first to be called as superlearning and many of other methods are its modification and Drama methods which, the past years or decades have been gaining more popularity. The practical part is focused on the usage of the analyzed methods or their parts during the traditional teaching of foreign languages. I am designing alternative possibilities of presentation, revision and evaluation of learning material.

Orientador: Denise Hortência Lopes Garcia / Dissertação ( mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-16T08:05:22Z (GMT). No. of bitstreams: 1 Weiss-Santos_KlausSebastian_M.pdf: 25328955 bytes, checksum: e64f05dc52ca92dcc0794ff330b93124 (MD5) Previous issue date: 2009 / Resumo: A constante preocupação de como propiciar ao aluno de piano uma visão mais ampla do fazer musical, mais relacionada com a sua época, com o indivíduo, incita a investigação por aquilo que possa expandir essas perspectivas. Nesse sentido, é importante haver pesquisas que promovam, com o intuito de difusão e estudo aprofundado, obras musicais que apresentam preocupação com a iniciação a uma linguagem musical contemporânea à época. Ao deparar-se com a coleção de 162 peças progressivas para piano de Ernst Widmer - o Ludus Brasiliensis - essas questões emergem e surge a necessidade de esclarecimento de sentidos e significados dessa música. Neste estudo, o objetivo é revelar sentidos e significados da música de Widmer a partir da apresentação e discussão dos elementos estilísticos da peça nº 162 concatenação do Ludus Brasiliensis. A última peça da coleção, concatenação, apresenta um painel de tendências estéticas e procedimentos técnicos diversificados que sintetizam a proposta de todo o Ludus Brasiliensis. Ela é representativa do repertório para piano no Brasil dos anos 60, do estilo do compositor e do local em que foi escrita. Para o entendimento da peça, foi conduzida uma proposta de análise da mesma, observando as considerações analíticas propostas por LaRue (1989). A metodologia está basicamente dividida em três etapas: em um primeiro momento, foram levantadas questões a fim de situar o texto musical na produção do compositor e no contexto daquele período. Em seguida, foi realizado um estudo descritivo dos elementos musicais da peça baseado em três níveis analíticos: macro, média e micro-análise. Finalmente, foi realizada a síntese e reflexão crítica dos dados coletados. Em termos de resultados, na macroanálise, as questões analisadas na partitura revelaram o aspecto mosaico da peça, no qual elementos celulares presentes no fragmento inicial pervadem toda a obra. As diferentes seções e partes estão concatenadas por elementos de coerência, mas não é possível pensar que a peça se sustenta em parâmetros de unidade, uma vez que as dicotomias não são resolvidas. A relação é mais paradoxal que dialética. Em relação às estruturas médias, foi possível verificar a adaptação de estruturas formais relacionadas ao objetivismo neoclássico. Na microanálise, foi verificado que o emprego de síncopes e de determinados padrões rítmicos, associado ao uso de uma harmonia modal, claramente demonstra a referência regional proposta por Widmer. O estudo mostrou como o ecletismo estilístico, aliado a ideia de miscigenação, de concatenação, revelou-se nessa obra como um programa estético e técnico, e como a perspectiva didática de Widmer resultou em uma abordagem consistente e rica / Abstract: The recurrent preoccupation of how to provide to the student of piano a broader view of the process of making music, which is more related to its time, with the individual, fosters the investigation about what could expand those perspectives. In this sense, it is important to have research that promote, with the intention of diffusion and deep study, musical works that present the preoccupation with a musical language initiation contemporary to the epoch. When we face the collection of 162 progressive pieces to piano from Ernst Widmer - the Ludus Brasiliensis - those questions emerge and it is stated the necessity of enlightenment of senses and meanings of this music. In this study, the objective is to reveal meanings and senses of the music from Widmer since the presentation and discussion of stylistic elements of the piece number 162 concatenação of Ludus Brasiliensis. The last piece of the collection, concatenação, presents a panel of the esthetical tendencies and diversified technical procedures that synthesize the proposal of all Ludus Brasiliensis. It is a representative piece of the repertoire for piano in the Brazil of the 60s, of the style of the composer and of the place where it was written. To the understanding of the piece, a proposal of stylistic analysis of the piece was conducted, observing the analytical considerations proposed by LaRue (1989). The methodology is basically divided into three steps: firstly, some questions were stated to situate the musical text in the composer's production and in the context of that period. Then, a descriptive study of the musical elements of the piece was done based on three analytical levels: macro, middle and micro analysis. Finally, a synthesis and critical reflection of the data collected was done. In terms of results, in the macroanalysis, the analyzed questions in the score revealed the mosaical aspect of the piece, in which cellular elements present in the initial fragment pervade all the work. The different sections and parts are concatenated by coherence elements, but it is not possible to think that the piece is based on parameters of unit, since the dichotomies are not solved. The relation is more paradoxal than dialectic. In relation to the middle structures, it was possible to verify the adaptation of formal structures related to the neoclassic objectivism. In the microanalysis, the use of syncopation and of determined rhythmic patterns, associated to the use of a modal harmony, clearly demonstrate the regional reference proposed by Widmer. The study has shown how the stylistic eclecticism, allied to the idea of miscegenation, of concatenation, was revealed in this musical work as an esthetical and technical program, and, how the didactic perspective of Widmer resulted in a consistent and rich approach / Mestrado / Fundamentos Teoricos / Mestre em Música

The problem with, which this thesis is concerned is that of analyzing and comparing the fugal writing and contrapuntal style of J. S. Bach in the fugue expositions of The Well-Tempered Clavier and that of Paul Hindemith in the fugue expositions of the Ludus Tonalis. This comparison is made on the basis of a comprehensive analysis of the fugal expositions both collections of fugues mentioned ( The Well-Tempered by Bach and the Ludus Tonalis by Hindemith). Chapter I includes a discussion of the careers and compositional techniques of Bach and Hindemith. An emphasis is placed on a comparison of Bach's fugal writing with that of his immediate predecessors (composers of the seventeenth and early eighteenth centuries who were writing in the fugal style) and on a comparison Of Hindemith's theory of tonality, as expressed in The Craft of Musical Composition, with that of the traditional harmonic concept of Bach's day. Chapter II deals with the evolution of the fugal concept. In this chapter, imitative forms of composition which gradually evolved toward the fugue are traced from their very early beginnings through the sixteenth, seventeenth, eighteenth, nineteenth, and twentieth centuries. Emphasis is placed on the fugal form that Bach used and on Hindemith's neo-Baroque approach to fugal writing in the twentieth century. In Chapters III and IV, analyses are made of the expositions in the forty-eight fugues of Bach's Well-Tempered Clavier and Hindemith's Ludus Tonalis .There is a discussion of the number of voices, order of entries", order of statements of the theme, key relationships, and redundant entries. Also discussed In these chapters are the beginning and ending notes of the Subject, a change in tonality of the subject range and length of the subjects. There is, further, a discussion of the real and tonal answers and the reasons for the use of a tonal answer, recurring countersubject, invertible counterpoint, interludes, length of the exposition, and the cadences at the end of the fugue expositions. in Chapter V the fugal writing of Bach, as demonstrated in the fugue expositions of The Well-Tempered Clavier, and that of Hindemith, as demonstrated in the fugue expositions of the Ludus Tonalis, are compared. This comparison of these two styles of fugal writing shows the two composers' techniques and procedures to be very much alike except in Hindemith's expanded concept of tonality. Although Bach's set of fugues has set a standard for this type of writing, Hindemith has shown that this old form is still capable of being used with originality when adapted to twentieth-century practices.