A tese por nós defendida no texto que se segue tem como objetivo o estudo de dois importantes gêneros musicais, a modinha e o lundu, cujos processos de elaboração iniciam-se a partir da segunda metade do século XVIII no seio da sociedade luso-brasileira. Com o intuito de possibilitar uma reflexão mais abrangente do assunto, muito caro à historiografia musical em língua lusófona, são levados em consideração aqui, aspectos históricos, estilísticos e identitários. A fim de abordarmos de modo adequado a complexidade de nosso objeto de estudo, calcamos nossa metodologia, sobretudo, no estudo da história, articulado à musicologia histórica, à musicologia sistemática e à etnomusicologia. Partindo do reconhecimento de que os gêneros em questão, objeto de nosso estudo, estão ligados às transformações ocorridas no mundo luso-brasileiro e na transformação das concepções estéticas internacionais, procuramos identificá-los com o que acabou por denominar-se estética do sentimento ou sentimentalismo e com o estilo clássico que se desenvolveu na Europa durante o século XVIII, tanto na poesia quanto na música, e que paulatinamente forjaram outras formas de produção e recepção, identificadas com um novo modo de sociabilidade burguesa que dominará o século das luzes. Por outro lado, buscamos, igualmente compreender em que aspecto a cultura popular participou, contribuindo de modo significativo, para a formação desses gêneros e, por conseqüência como se dá este impacto na expressividade musical, manifesta já no período de sua formação. A partir do estudo da historiografia, buscamos estabelecer como a modinha e o lundu participam das discussões sobre uma pretensa identidade nacional, ainda calcada em pressupostos positivistas e nacionalistas do século XIX, pressupostos estes que se mantém em parte significativa na literatura do século XX. Finalmente, ao discutirmos sobre a performance, utilizando como fontes registros musicais a partir da década de 1950, procuramos identificar correntes estéticas e ideológicas presentes nesses registros, os quais denominamos paradigmas interpretativos. / The thesis we put in the following text aims to study two important musical genres, the modinha and lundu, whose process of preparation to start on the second half of the eighteenth century in Luso-brasilian society. In order to provide a more comprehensive discussion of the subject, the historical, stylistic and identity aspects that are very important to the historiography of music in Portuguese speaking countries, are taken into consideration here. In order to observe address the complexity of our object of study, we based our methodology especially in the study of history, combined with historical musicology, systematic musicology and also to ethnomusicology. Acknowledging that the genres in question, the object of our study are related to the transformations in the Luso-Brazilian society and in the international aesthetic conceptions, we identify them with what turned out to be called the aesthetic sentiment or sentimentalism, and the classical style that developed in Europe during the eighteenth century, both in poetry and music, and that built, gradually other modes of production and reception, identified with a new way of bourgeois sociability that will dominate the century of the enlightenment. On the other hand, we seek also to understand what aspect of popular culture participated for the formation of these genres, and consequently how is this impact on musical expression common to both already evident in the period of their origin. From the study of historiography related to the genres in question, as we seek to establish how modinha and lundu have participated in the discussions about national identity, yet steeped in positivist and nationalists thoughts of the 19th century that remains in significant part of the the literature of the 20th century. And finally, when we discuss about the performance, using sources such as musical recordings from the 1950s, sought to identify aesthetic and ideological currents present in these records, which we shall call interpretative paradigms.

Submitted by Maria Aparecida (cidazen@gmail.com) on 2017-08-11T12:15:15Z No. of bitstreams: 1 João Paulo Guedes.pdf: 6674303 bytes, checksum: 4479791b6c9b167b78a69a82a9f6d16a (MD5) / Made available in DSpace on 2017-08-11T12:15:15Z (GMT). No. of bitstreams: 1 João Paulo Guedes.pdf: 6674303 bytes, checksum: 4479791b6c9b167b78a69a82a9f6d16a (MD5) Previous issue date: 2016-08-08 / CAPES / This thesis aims to develop an analysis of dialogic languageoftambor de crioula linked to the concept of musical performance, which are at stake both “musical” elements as “extramusical”. The tambor de crioula is a popular manifestation very diverse and contextual predominantly held by blacks, with profiles of participants, motivations, forms of organization, musical and choreographic structures that have similarities and differences which are expected commune in the collective practice. This communion of feelings is achieved in times when the musical performance reach the summit and, as they say, the tambor „esquenta' and „pega fogo', expressions that I adopt as a phenomenon of collective euphoria. Through ethnography of musical performance, I intend to demonstrate an interpretation of how the dialogic language is manifested in 'marchas de tambor‟in different musical performances, as well as some elements that influence the „pega fogo do tambor‟. / Esta dissertação pretende desenvolver uma análise da linguagem dialógica do tambor de crioula vinculada ao conceito de performance musical, em que estão em jogo tanto elementos “musicais” como “extramusicais”. O tambor de crioula é uma manifestação popular muito diversa e contextual, predominantemente realizada por negros, com perfis de participantes, motivações, formas de organização, estruturas musicais e coreográficas, que possuem semelhanças e diferenças as quais se espera comungar na prática coletiva. Esta comunhão de sentimentos é concretizada em momentos em que a performance musical chega ao ápice e, como dizem, o tambor „esquenta‟ e „pega fogo‟, expressões que adoto como fenômeno da euforia coletiva. Através da etnografia da performance musical, pretendo demonstrar uma interpretação da maneira como a linguagem dialógica se manifesta em „marchas‟ de tambor em diferentes performances musicais, bem como, alguns elementos que influenciam o „pega fogo‟ do tambor.

The intention of this thesis is to describe the process of putting together a performance of a lecture recital on the song cycle Try Me, Good King: Last words of the wives of Henry VIII by modern composer Libby Larsen, and to conduct an in depth exploration of the characters of the first five wives of King Henry VIII of England. Each wife’s character will be investigated in relation to their roles in this song cycle which draws its’ text from the final words of these five women. Each wife’s character will be investigated from three perspectives, that of history, that of Libby Larsen, my own perspective (Morgan Tingle). The ultimate result will be a solid developed character for each wife that is the culmination of my studies portrayed by myself, soprano Morgan Tingle, in the final lecture recital.

Singing school teachers, who teach rural church congregations to sing from shape-note gospel songbooks, are still working in southcentral Kentucky, but the demand for them is smaller than it was in the first half of the twentieth century. The interdependence network in which singing school teachers, songbook publishers, and community singing events were key parts began to weaken in the 1940s as a result of the growth in popularity of professional gospel quartet concerts and gospel record albums. Many gospel music enthusiasts who once looked to songbooks as a major source for new material and for developing singing skills turned to albums and concerts in the 1940s. Singing school teachers began to be called on less frequently. The first three chapters of this thesis contain an overview of the gospel singing events, the songbook publishers, and the singing schools. The nature of the relationship between these three gospel music institutions is established. In the fourth chapter, I profile three singing school teachers of southcentral Kentucky. In the conclusion, the development of popular religious music since the early 1800s is summarized and the importance of researching Southern white gospel music as a step toward a greater understanding of Southern music traditions as a whole is examined.

The intention of this thesis is to provide an alternative counter-narrative to the mainstream histories of punk that center white men. By focusing on the contributions of fem queer and POC punks, I aim to legitimize punk music as a form of resistance against systems of oppression that are oppositional to the commodified forms of mainstream punk. Using Alice Bag, as my central case study as a fem queer punk that is often left out of punk historical narratives, I contextualize her work through feminist, queer, and media studies lenses to bridge the gap between academia and forgotten personal experience.

The Niles-Merton Songs is a two-opus collection of twenty-two songs by John Jacob Niles setting the poetry of Thomas Merton. The songs are beautiful but contrast from his more popular works in poetry and composition. This project explores reasons why these songs are rarely performed, and gives an overview and analysis of ten selected pieces. The document includes a brief introduction, biographies of Niles and Merton, information detailing Niles’s compositional process, and the technical and artistic requirements for performing the songs, including appropriate age and voice type.

Juan Francisco Acosta (1890-1968) was a prolific composer, band conductor, and educator from Puerto Rico who created 1,256 original compositions. Even though his activities and influence were integral to the musical life of Puerto Rico in the twentieth century, many details of his life and works remain unknown. This project centers on Acosta’s contribution to the Puerto Rican tradition of the danza—a dance-based genre originating in the nineteenth century—through the study and arrangement of five of Acosta's danzas. Although Acosta composed most danzas for piano, he adapted them for performances by the municipal bands that he led in various towns. This practice of modifying his works for different instruments, as well as the importance of the guitar in Latin America, underpins the author’s choice to arrange his piano music for varied types of guitar combinations, including solo, duo, trio, and quartet. The five works are Bajo la sombra de un pino, Mercedes, Eres una santa, Dulce María, and In memoriam. The guitar arrangements of these five danzas are preceded by important information on the composer within the Puerto Rican music world, with emphasis on the intersections of the band and danza traditions. To enhance the study of these works, this document discusses basic stylistic features, including a comparison of forms, rhythms, and dance characters, and relates Acosta's treatment of the danza puertorriqueña to approaches of his Puerto Rican contemporaries. This document also includes performance guidelines to introduce Acosta's danza style to student and professional players. Based on primary biographical and musical sources, this study presents a foundation for a clearer understanding of the life and works of Acosta upon which further research, analysis, and criticism can be conducted. The arrangements offer a fresh look at new guitar repertoire using the peculiarities of rhythms and traditions of Puerto Rican and Carribean heritage. The arrangements also serve a pedagogical purpose by adding to the existing repertoire of ensemble music for the classical guitar.

This submission investigates the interpretation and performance of selected solo and chamber works for flute by American composers Lowell Liebermann (b.1961) and Robert Beaser (b.1954). The exegesis presents a discussion of the interpretation and preparation of the included works from two differing perspectives. First, it examines the repertoire from the perspective of the composer, drawing on audio recordings of interviews and lessons conducted by the author in the United States of America. Second, it reviews the recitals from the perspective of the performer with emphasis on the preparation and performance of the selected repertoire. The discussion draws on two recitals by the author and associate artists that were recorded and presented in Elder Hall, The University of Adelaide on 11 December 2008 and 16 June 2009. Excerpts from the recitals are used to demonstrate the discussion and the CDs of the complete recitals are therefore integral to the submission. / Thesis (M.Mus.) -- University of Adelaide, Elder Conservatorium of Music, 2009

Musicians are a high-risk occupational group for musculoskeletal disorders. Often manifesting in muscle tension, pain and paresthesia, musculoskeletal disorders can drastically affect comfort, mentality and endurance while performing. This study sought to examine the effects of electromyography (EMG) biofeedback training in reducing musculoskeletal symptoms in music performance. The subjects were university-level violinists and cellists. Over a period of 2-4 weeks, all participants underwent EMG biofeedback training while performing their instrument using audio feedback. No significant results were found, but patterns of decreased muscle tension and increased performance comfort and endurance were observed.

The aim of this thesis is to obtain a deeper understanding of students’ approaches to musical knowledge as it is distributed through one-to-one tuition in higher music education (HME). With a cultural-psychological perspective according to Bruner, the project was designed as a longitudinal, qualitative study of eight students in the performance program that concludes with a Bachelor of Arts degree in music. Two main musical genres were represented: Western classical music, and jazz and contemporary music. The students had one-to-one tuition on violin, classical guitar, saxophone and electric guitar, and were observed at three consecutive lessons per semester during one academic year. Many-sided data were collected: video recordings of instrumental lessons, semi-structured interviews with students and teachers, and the participants’ diary notes in connection with the observed lessons. In the analysis, the students’ approaches to knowledge of music cultural tools were focused. The results show that the students use three main approaches in relation to one-to-one tuition: adaptation, reflected navigation and indifference. These approaches vary and overlap, and are connected to the local cultural situations that are being studied, as well as to differences by instrument and genre. The different strategies used by the students are discussed in relation to apprenticeship in higher music education, and in relation to the consequences for students’ musical learning and knowledge development. The results are also connected to the Bologna process and the development of research-based teaching in HME. Methodological considerations and suggestions for further research are put forward. / Genom projektet, Instrumenatlisters musikaliska kunskapsutveckling. Finansierat av Vetenskapsrådet / Genom projektet, Vem äger lärandet? Finansierat av Myndigheten för nätverk och samarbete inom högre utbildning