Orientadores: José Roberto Zan, Mário Vieira de Carvalho / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-25T21:23:05Z (GMT). No. of bitstreams: 1 LimaRezende_GabrielSampaioSouza_D.pdf: 26091609 bytes, checksum: d8488439c409cacf219ceba526d199b9 (MD5) Previous issue date: 2014 / Resumo: O título dado a este trabalho cria uma correspondência entre "o problema da tradição na trajetória de Jacob do Bandolim" e "comentários à história oficial do choro". Essa correspondência se desdobra em duas dimensões principais. A primeira diz respeito à hipótese central deste trabalho, a saber, a de que a trajetória de Jacob Pick Bittencourt foi um ponto de inflexão na história do choro. Para dar nitidez aos elementos capazes de comprová-la, o foco da investigação recai sobre "o problema da tradição": por um lado, foi ele que mobilizou e organizou grande parte dos esforços que o bandolinista dispensou em sua atuação no campo da música popular; por outro, é ele que organiza as formas atuais de narrar a história do choro e, consequentemente, recobre de sentidos aquela trajetória. Dessa situação deriva a segunda dimensão, pois a realização da tarefa proposta implica, ao mesmo tempo, tecer comentários sobre a história do choro tal como se convencionou narrá-la. Em outras palavras, analisar o problema da tradição na trajetória de Jacob do Bandolim é também discutir o processo de construção de uma narrativa pela qual se transmite uma determinada leitura da história deste gênero que nos atinge no presente e que se esforça por apresentar-se como evidente / Abstract: The title given to this work creates a correspondence between "the problem of tradition in Jacob do Bandolim's trajectory" and "comments on choro's official history". This correspondence unfolds itself in two main dimensions. The first relates to the central hypothesis of this study, namely, that the trajectory of Jacob Pick Bittencourt was a turning point in the history of choro. In order to bring to the foregound the elements that are able to prove it, the focus of the research is set on "the problem of tradition": on the one hand, it was this problem that organized and mobilized a large part of the efforts that the mandolinist dismissed in its activities in the field of popular music and, secondly, it is the same problem that organizes the current ways of narrating choro's history and, therefore, that covers with meanings that trajectory. From this situation arises the second dimension, since the realization of the proposed task imply, at the same time, make comments on the conventional way of narrate choro's history. In other words, analyze the problem of tradition in Jacob do Bandolim's trajectory is also to discuss the process of building a narrative by which becomed usual to transmit a particular reading of the history of this genre that reaches us in present / Doutorado / Fundamentos Teoricos / Doutor em Música

This diploma thesis deals with history of the Czech Society for Chamber Music and its place among societies that performed chamber music in 1918-1953. In the historical part the thesis concentrates on context, organizational structure, repertoire and artists who performed in concerts of the Czech Society for Chamber Music. The chapter about the competition for new chamber composition which was held in 1895-1945 constitutes another important section of the thesis. The comparison of the Czech Society for Chamber Music with other chamber societies is placed in the final chapter. It focuses on selected institutions in Prague and elsewhere in Czech lands and on the influence of the Czech Society for Chamber Music, mutual cooperation and differences.

Orientador: Marcelo Siqueira Ridenti / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-08-09T00:08:55Z (GMT). No. of bitstreams: 1 Sezerino_GlauberAquiles_M.pdf: 1446287 bytes, checksum: 167991651972c78199570c138868df1c (MD5) Previous issue date: 2007 / Resumo: Este trabalho constitui uma reflexão, baseada em trabalho empírico, acerca das alterações sofridas durante a segunda metade do século XX no âmbito das práticas musicais de populações camponesas de Santa Catarina, marcadas pela cultura cabocla. Para a realização desta pesquisa, os dados foram coletados entre populações caboclas residentes em São José do Cerrito (Santa Catarina, Brasil). Nesta pesquisa, o objetivo é analisar as transformações ocorridas com relação a duas práticas musicais caboclas, a Recomenda das Almas e os Bailes. Enquanto a primeira prática consiste de uma celebração realizada tradicionalmente apenas durante a quaresma para recomendar as almas dos mortos, caracterizando-se por uma procissão cantada que tem como foco a remissão dos pecados daqueles que dela participam através da penitência e oração, a segunda diz respeito a eventos que são caracterizados como ¿pontos de encontro¿ que, integrando indivíduos de diferentes bairros rurais, articulam os caboclos com a sociedade abrangente. A análise destas práticas se deu a partir dos conceito de cultura e campesinato, de forma que a relação entre estas práticas musicais próprias da população cabocla e o adensamento do processo de modernização vivenciado por esta população a partir de 1960 se mostrasse de forma mais precisa. Ao final da pesquisa, notou-se que as contradições surgidas no interior da relação entre essas práticas musicais e o processo de modernização se inserem na própria contradição existente entre o modo de organização do trabalho camponês e o capital, tomado enquanto relação social / Abstract: This work constitutes a reflection, established in empirical work, concerning the alterations suffered during the second half of century XX in the scope of the musical practices of peasantry populations of Santa Catarina, marked for the caboclo culture. For the accomplishment of this research, the data had been collected between caboclo populations resident in São José do Cerrito (Santa Catarina, Brazil). In this research, the objective is to analyze the occured transformations in two caboclo musical practices, Recomenda das Almas and the Balls. While the first practice consists of a celebration carried through traditionally only during quaresma to recommend the souls of deceased, characterizing itself for a sung procession that has as focus the remission of the sins through the penance and conjunct, the second practice says respect about the events that are characterized as "meeting points" that, integrating individuals of different peasant communities, articulate the caboclo with the including society. The analysis of these both practices is based in the concept of culture and peasantry, of form to apprehend the relation between these caboclo¿s musical practices and the process of modernization lived deeply for this population from 1960. To the end of the research, it was noticed that the contradictions appeared in the interior of the relation between these musical practices and the process of modernization is insert in the existing contradiction between the way of organization of the peasant way of work and the capital, taken while social relation / Mestrado / Trabalho, Cultura e Ambiente / Mestre em Sociologia

Du 19e siècle à nos jours, la musique chinoise a pris une nouvelle direction. La création musicale en Chine s'est développée à travers les diverses cultures et les changements de politique, conférant ainsi un charme particulier à la musique contemporaine chinoise. A partir du début de l'imitation occidentale et juste avant la fondation de la nouvelle Chine, les musiciens chinois sont parvenus à associer les éléments musicaux chinois avec les nouveaux langages musicaux. Au cours de certaines périodes, l'art avait été asservi au pouvoir politique et la création musicale de style traditionnel était l'identité principale. Après de vagues stratégies d’Etat successives, l’évitement des thèmes sensibles, les besoins urgents de la culture racine, la mise en œuvre des techniques expérimentales s’est déployée et diversifiée et les échanges internationaux ont conduit à l'émergence du départ à l'étranger des compositeurs chinois pour chercher leur propre chemin créatif. La musique contemporaine de la Chine s’est élaborée à partir de la technique occidentale et a progressé dans le contexte culturel chinois et ses racines multiples, les pensées fermées et les expériences d'enfance dans l'environnement culturel pur et la collision du nouvel environnement créent des œuvres d'art fascinantes, la rendant remarquablement différente de la musique contemporaine occidentale. Durant ces 30 dernières années de développement économique et d'ouverture politique, la société chinoise s’est de plus en plus internationalisée; les nouvelles technologies et les profils variés des compositeurs ont incité la nouvelle génération à mettre en place d’excellentes innovations musicales spécifiques. / As of the 19th century up to now, Chinese music has been taking a new direction and has developed in the wake of social evolutions. In China, the musical creation was affected by both the various cultures and political changes, thus bestowing a special charm on contemporary Chinese music. From the beginning of Western imitation and just before the founding of the new China, Chinese musicians succeeded in matching the Chinese musical elements with the new musical languages. Throughout specific periods, art had been bound to political power, and traditional style constituted the main identity of musical creation. Following the Cultural Revolution, the return to the root culture, the implementation of diversified experimental techniques have resulted in the departure of Chinese composers abroad in search of their own creative way. Contemporary Chinese music developed from Western technique and progressed in the Chinese cultural context and its multiple roots, closed thoughts and childhood experiences in the pure cultural environment and the collision of the new environment is now creating fascinating works of art, remarkably different from Western contemporary music. During the last 30 years of economic development and political openness, Chinese society has become increasingly internationalized; the new technologies and the varied profiles of composers have prompted the new generation to set up outstanding specific musical innovations.

This paper critically goes through the sources, the Swedish curricula in music published between 1962 and 2011.Through tools as discourse analysis and deconstruction it derives key expressions, checks for values and possible hierarchies between keywords relating to genre and other emphasized concepts related to the music curricula. The study pays special attention to the position of musical craft and esthetical values in the various documents. A starting point for problematization is Jacques Derrida's expression "monolingualism" where the owner, recipient and purpose of the narrative are made visible. The theoretical perspective consists of political ideology as the origin of the curricula within the education system. The analysis is based on theory and method from Michel Foucault, Jacques Derrida, Giovanna Borradori and Zygmunt Bauman. Theory and method are used in the search and evaluation of wordings that reveal impact from political ambitions in the Swedish music curricula. A comparative analysis of the result concludes the study and withdraws conclusions and suggestions for future studies.

This study records the history and activities of the South African Society of Music Teachers (SASMT) from its founding in 1922 until 2015, concentrating on the contribution it has made to music education in South Africa and the extent to which it has adapted to changing socio-political circumstances. Within the context of South African history and its education system, a study of the SASMT's Constitution, journal and other archival material was undertaken. The SASMT's reaction to changing trends in music education, including multiculturalism and the praxial philosophy, was contrasted with the activities of the South African Music Educators' Society (SAMES) and comparable overseas organisations. The mission and activities of ISME and PASMAE were used as a yardstick for determining the extent to which the SASMT fulfills the music educational needs of post-apartheid South Africa. Initially the SASMT provided a link between Europe and South Africa, focusing almost exclusively on Western Art Music. With an arguably colonial-based outlook, the organisation helped to unite music teachers by means of various projects and activities, as well as through its magazine and by forming a strong relationship with the overseas examining bodies and Unisa. Throughout its history, the SASMT has grappled with determining exactly what aspects of music education it represents, and consequently who should be admitted to membership. This became particularly pertinent in the 1980s with the formation of the South African Music Educators' Society, which highlighted the need for a more open organisation in the context of the fragmented education system of the times. The SASMT has a long, stable history, with a network of centres and institutional members, and in the late 1990s was appointed as the National Affiliate of ISME. Currently the SASMT is characterised by reduced participation in its activities and a membership that does not adequately reflect South Africa's demographics. The study concludes with recommendations as to how the SASMT might transform its vision to serve fully the needs of South African music education. / Art History, Visual Arts and Musicology / D. Litt. et Phil. (Musicology)

Submitted by CAMILA CARRASCOZA BOMFIM null (camilabomfim167@gmail.com) on 2017-09-08T13:47:02Z No. of bitstreams: 1 Arquivo revisto MP 15.04 pdf.pdf: 16414897 bytes, checksum: 034a75902a6910c38c3b53aa7bb81c4e (MD5) / Approved for entry into archive by Monique Sasaki (sayumi_sasaki@hotmail.com) on 2017-09-11T20:37:51Z (GMT) No. of bitstreams: 1 bomfim_cc_dr_ia.pdf: 16414897 bytes, checksum: 034a75902a6910c38c3b53aa7bb81c4e (MD5) / Made available in DSpace on 2017-09-11T20:37:51Z (GMT). No. of bitstreams: 1 bomfim_cc_dr_ia.pdf: 16414897 bytes, checksum: 034a75902a6910c38c3b53aa7bb81c4e (MD5) Previous issue date: 2017-03-30 / Esta pesquisa foi estruturada a partir da percepção do processo de encolhimento do número de orquestras profissionais subsidiadas por organismos estatais nos últimos anos, desde 2000. O esvaziamento dos ideais civilizatórios que orientaram a criação de sinfônicas em meados do século XX e a perda de identificação de boa parte da sociedade com determinadas práticas culturais vinculadas às elites são as hipóteses levantadas para justificar esse cenário de retração da música de concerto no Brasil e, de modo específico, na Região Metropolitana de São Paulo, espaço privilegiado que congrega vários dos principais organismos culturais do país. O objetivo específico deste trabalho é comprovar a tendência de retração do quadro de orquestras profissionais ativas na região no período compreendido entre 2000 e 2016, investigando suas possíveis causas e significados. O estudo, elaborado com base no mapeamento das orquestras ativas ou extintas nesses 16 anos e na análise de estatísticas geográficas e socioeconômicas, bem como no histórico de formação das vias culturais na cidade de São Paulo, resultou na confirmação das hipóteses apontadas, relativas à perda da função social desses grupos e ao progressivo abandono, por parte do Estado, de um modelo de educação e civilidade estabelecido ainda na primeira metade do século XX. / This research builds upon the observation of the shrinking process of the number of professional orchestras subsidized by state bodies in the last years, since 2000. The decline of the civilizational ideals that led to the creation of symphonies in the middle of the XX century and the loss of appreciation of considerable part of the society in cultural practices turned to the elite are the hypotheses raised to justify this scenario of concert music retraction in Brazil and, specifically, in the Metropolitan Region of São Paulo, a privileged space that concentrates several of the main cultural organizations of the parents. This work’s intention is to prove the tendency of retraction of the professional orchestras in São Paulo in the period between 2000 and 2016, analyzing all possible reasons and explanations. This work, based on the picture of active or extinct orchestras in those 16 years and the geographical analysis and socioeconomic statistics, as well as the history of culture in the city of São Paulo, resulted in the confirmation of the hypotheses related to the loss of the social function of these groups and the progressive disbandment by the State of an educational model and civility established in the first half of the twentieth century. / La investigación se estructura a partir de la percepción de un proceso de reducción, desde el año 2000, del número de orquestas profesionales subvencionadas por organismos estatales. Se parte de la hipótesis que el borrado de los ideales civilizatorios que orientaron la creación de orquestas sinfónicas a mediados del siglo XX y la pérdida de identificación de buena parte de la sociedad con determinadas prácticas culturales vinculadas a las elites justifican ese escenario de retracción de la música de concierto en Brasil y, de forma específica, en la región metropolitana de San Pablo, espacio privilegiado que congrega varios de los principales organismos culturales del país. El objetivo específico del trabajo es comprobar la tendencia de reducción del cuadro de orquestas profesionales activas en la región, en el período comprendido entre 2000 y 2016, investigándose las posibles causas y significados. El estudio, elaborado con base en un mapeo de las orquestas activas o extinguidas en esos 16 años y en el análisis de estadísticas geográficas y socioeconómicas, así como en el histórico de formación de las vías culturales en la ciudad de San Pablo, confirmó las hipótesis iniciales, relativas a la pérdida de la función social de esos grupos y el progresivo abandono, por parte del Estado, de un modelo de educación y civilidad establecido en la primera mitad del siglo XX.

The years 1815 to 1867 marked the first protracted period of peace in Nova Scotia’s colonial history. While the immediate effects of peace were nearly disastrous, these years ultimately marked a formative period for the province. By the eve of Confederation, various social, cultural, political, economic, and technological developments had enabled Nova Scotia to become a mature province with a distinct identity. One of the manifestations of this era of community formation was the emergence of a cosmopolitan-oriented music culture. Although Atlantic trade routes ensured that Nova Scotia was never isolated, the colonial progress of the pre-Confederation era reinforced and entrenched Nova Scotia’s membership within the Atlantic World. The same trade routes that brought imported goods to the province also introduced Nova Scotians to British and American culture. Immigration, importation, and developments to transportation and communication systems strengthened Nova Scotia’s connections to its cultural arbiters – and made possible the importation and naturalization of metropolitan music practices. This dissertation examines the processes of cultural exchange operating between Nova Scotia and the rest of the Atlantic World, and the resultant musical life to which they gave rise. The topic of music-making in nineteenth-century Nova Scotia has seldom been addressed, so one of the immediate aims of my research is to document an important but little-known aspect of the province’s cultural history. In doing so, I situate Nova Scotia’s musical life within a transatlantic context and provide a lens through which to view Nova Scotia’s connectivity to a vast network of culture and ideas. After establishing and contextualizing the musical practices introduced to Nova Scotia by a diverse group of musicians and entrepreneurs, I explore how this imported music culture was both a response to and an agent of the formative developments of the pre-Confederation era. I argue that, as Nova Scotia joined the Victorian march of progress, its musicians, music institutions, and music-making were among the many socio-cultural forces that helped to transform a colonial backwater into the civilized province that on 1 July 1867 joined the new nation of Canada.

The years 1815 to 1867 marked the first protracted period of peace in Nova Scotia’s colonial history. While the immediate effects of peace were nearly disastrous, these years ultimately marked a formative period for the province. By the eve of Confederation, various social, cultural, political, economic, and technological developments had enabled Nova Scotia to become a mature province with a distinct identity. One of the manifestations of this era of community formation was the emergence of a cosmopolitan-oriented music culture. Although Atlantic trade routes ensured that Nova Scotia was never isolated, the colonial progress of the pre-Confederation era reinforced and entrenched Nova Scotia’s membership within the Atlantic World. The same trade routes that brought imported goods to the province also introduced Nova Scotians to British and American culture. Immigration, importation, and developments to transportation and communication systems strengthened Nova Scotia’s connections to its cultural arbiters – and made possible the importation and naturalization of metropolitan music practices. This dissertation examines the processes of cultural exchange operating between Nova Scotia and the rest of the Atlantic World, and the resultant musical life to which they gave rise. The topic of music-making in nineteenth-century Nova Scotia has seldom been addressed, so one of the immediate aims of my research is to document an important but little-known aspect of the province’s cultural history. In doing so, I situate Nova Scotia’s musical life within a transatlantic context and provide a lens through which to view Nova Scotia’s connectivity to a vast network of culture and ideas. After establishing and contextualizing the musical practices introduced to Nova Scotia by a diverse group of musicians and entrepreneurs, I explore how this imported music culture was both a response to and an agent of the formative developments of the pre-Confederation era. I argue that, as Nova Scotia joined the Victorian march of progress, its musicians, music institutions, and music-making were among the many socio-cultural forces that helped to transform a colonial backwater into the civilized province that on 1 July 1867 joined the new nation of Canada.