Neste estudo, busco compreender como as performances musicais das cantoras/chanteuses dos clubes noturnos de Porto Alegre nas primeiras décadas do século XX podem mediar as relações de gênero dentro e fora destes espaços de sociabilidade moderna. O termo chanteuse é largamente difundido na imprensa e nas crônicas brasileiras de início de século, posto que uma parcela considerável de artistas-cantoras eram enviadas da Europa para o mercado sul-americano e o termo francês conferia-lhes status sobretudo em relação às cantoras nacionais que também disputavam espaço neste cenário artístico-musical. Através de uma etnografia histórica, procuro recompor esse cenário, para compreender como a música, através do repertório e da performance, contribui na construção social da figura dessas mulheres nas urbes modernas. Apesar da associação, via senso comum, dessas artistas à prostituição, observo que a profissionalização artística lhes proporcionava uma alternativa ao meretrício, garantindo sua sobrevivência sem necessariamente vender seu sexo. Entretanto, a prática musical feminina aparece estreitamente relacionada ao corpo, à sensualidade, o que é fortemente expresso nas imagens e crônicas jornalísticas, colocando-o em evidência. A partir dos estudos de gênero e na literatura musicológica, trato de examinar a trajetória musical dessas mulheres através do fenômeno social dos cabarés na modernidade urbana do Brasil. / This study aims to understand how the musical performance of the singers/chanteuses of the night clubs in Porto Alegre, in the early decades of the twentieth century, could mediate the gender relationships either inside or outside these spaces of modern sociability. The term chanteuse is widely spread and used by the press and in the Brazilian chronicles of the early century, once a considerable amount of artists-singers would be sent from Europe to South America, and the French term would give them a superior status in relation to the national singers that were also competing for a place in this artistic-musical scenario. Through a historical ethnography, I have sought to rebuild this scenario in order to learn how music, through repertoire and performance, contributes to the social construction of these women in modern cities. Despite the association of the figure of these artists with prostitution, I observe that the fact of women turning into professionals of arts provided them an alternative of not being involved with prostitution, ensuring their survival without the need of selling sex. However, the female musical performance happens to be closely related to the body, sensuality and this fact is strongly expressed in the pictures and in the newspaper chronicles. From the studies of gender and musicological literature, I examine the musical journey of these women through the social phenomenon of cabarets in the modern cities in Brazil.

A sonoridade é um aspecto importante para a execução violonística. Esse trabalho tem por objetivo estudar a sonoridade com um elemento da execução musical, entender os seus aspectos formadores dentro do âmbito técnico, textual e perceptivo, utilizando-se como exemplo duas gravações das Quatro Peças Breves de Frank Martin. Os resultado são discutidos à luz do embasamento teórico, fazendo-se considerações a respeito das possibilidades de execução musical e como a sonoridade do violão atua nesse contexto. / Sound is an important aspect to guitar performance. The purpose of this work is to study the sound as an element of musical performance, understanding the aspects which form it as seen through technique, text and perception, using two recordings of the Frank Martin´s Quatre Pièces Brèves as example. The results were based on the theoretical framework considering the possibilities of musical performance and how the guitar sound works in this context.

O presente trabalho investiga as percepções e concepções sobre corpo, gesto, técnica pianística e suas relações nas vivências de alunos de piano de dois cursos de Graduação em Música. Fundamentada no conceito de corporalidade, utilizo os conceitos de gesto musical e técnica pianística para examinar as relações que emergem entre o indivíduo, o piano e a música, expressas nas experiências externadas pelos participantes. O conceito de corporalidade (MERLEAU-PONTY [1999], VAZ [2004], CHAUÍ [2011]) compreende o indivíduo como uno, ímpar e indissociável, uma unidade portadora de simbolismos, de memória cultural e social, e repleta de nuances pelas bagagens constituídas ao longo da vida nas relações estabelecidas culturalmente e socialmente, considerando que o modo como construímos nossa visão de mundo passa pelo nosso corpo. O conceito de gesto musical (JENSENIUS et al. [2010], LEMAN; GODØY [2010]) implica em um movimento que carrega intenção e significado, unindo aspectos técnicos e interpretativos, possibilitando pensar a relação entre o texto musical, pianista e piano a partir da individualidade de cada sujeito expressa na organização de movimentos ímpares. Os conceitos de técnica pianística (CHIANTORE [2001]; SANDOR [1981]; KAEMPER [1967]; WHITESIDE [1955]; JAËLL [1904]) elencados neste trabalho são convergentes em proposições fundamentadas no movimento. Participaram deste estudo oito estudantes de duas instituições de Ensino Superior: Universidade Federal do Rio Grande do Sul – UFRGS – Curso Bacharelado em Música/Piano e Escola de Música e Belas Artes do Paraná – EMBAP/UNESPAR – Universidade Estadual do Paraná – Campus I de Curitiba – Curso Superior de Instrumento/Piano. O enfoque metodológico foi de Estudo Qualitativo, tendo como instrumento de coleta de dados a filmagem de vídeos, uma entrevista semiestruturada que abordou o sentir-se na performance e o ver-se na performance (momento em que os participantes apreciaram suas próprias performances gravadas), e uma Entrevista Fenomenológica que abordou os três grandes eixos temáticos do trabalho: técnica pianística, corpo e gesto musical. O instrumento de análise e interpretação de dados foi fundamentado nos três passos do Método Fenomenológico: descrição fenomenológica, redução fenomenológica e interpretação fenomenológica. / This study investigates perceptions and conceptions of the body, gesture and piano technique and the relationship between them in the experiences of piano students on two undergraduate music courses. Drawing on the idea of corporeality, I use the concepts of musical gesture and piano technique to examine the relationships that emerge between the individual, the piano and music and are expressed in the experiences manifested by the participants. According to the notion of corporeality (MERLEAU-PONTY [1999], VAZ [2004], CHAUÍ [2011]), the individual is singular, unique and indissociable, a unity that carries symbolism and cultural and social memory and is full of nuances resulting from the cultural and social relationships established during an individual’s life, as the way we build our view of the world is linked to our body. The concept of musical gesture (JENSENIUS et al. [2010], LEMAN; GODØY [2010]) implies movement charged with intention and meaning, combining technical and interpretative aspects and allowing one to consider the relationship between musical score, pianist and piano in terms of the individuality of each subject expressed in the organization of unique movements. The concepts of piano technique (CHIANTORE [2001]; SANDOR [1981]; KAEMPER [1967]; WHITESIDE [1955]; JAËLL [1904]) mentioned in this work all share ideas based on movement. Eight students from the following two music programs at two higher-education institutions took part in this study: the Bachelor’s Degree Program in Music/Piano, Federal University of Rio Grande do Sul, UFRGS, and the Degree Program in Instrumental Music/Piano, School of Music and Fine Arts, EMBAP/UNESPAR, Paraná State University, Campus I, Curitiba. The study was a qualitative one, and data were collected in videos filmed during the study, in a semi-structured interview that addressed self-feeling in the performance and self-seeing in the performance (when participants appreciated their own recorded performances) and in a phenomenological interview covering the three main themes in the study: piano technique, body and musical gesture. The data analysis and interpretation was based on the three steps of the phenomenological method: phenomenological description, phenomenological reduction and phenomenological interpretation.

Neste estudo, busco compreender como as performances musicais das cantoras/chanteuses dos clubes noturnos de Porto Alegre nas primeiras décadas do século XX podem mediar as relações de gênero dentro e fora destes espaços de sociabilidade moderna. O termo chanteuse é largamente difundido na imprensa e nas crônicas brasileiras de início de século, posto que uma parcela considerável de artistas-cantoras eram enviadas da Europa para o mercado sul-americano e o termo francês conferia-lhes status sobretudo em relação às cantoras nacionais que também disputavam espaço neste cenário artístico-musical. Através de uma etnografia histórica, procuro recompor esse cenário, para compreender como a música, através do repertório e da performance, contribui na construção social da figura dessas mulheres nas urbes modernas. Apesar da associação, via senso comum, dessas artistas à prostituição, observo que a profissionalização artística lhes proporcionava uma alternativa ao meretrício, garantindo sua sobrevivência sem necessariamente vender seu sexo. Entretanto, a prática musical feminina aparece estreitamente relacionada ao corpo, à sensualidade, o que é fortemente expresso nas imagens e crônicas jornalísticas, colocando-o em evidência. A partir dos estudos de gênero e na literatura musicológica, trato de examinar a trajetória musical dessas mulheres através do fenômeno social dos cabarés na modernidade urbana do Brasil. / This study aims to understand how the musical performance of the singers/chanteuses of the night clubs in Porto Alegre, in the early decades of the twentieth century, could mediate the gender relationships either inside or outside these spaces of modern sociability. The term chanteuse is widely spread and used by the press and in the Brazilian chronicles of the early century, once a considerable amount of artists-singers would be sent from Europe to South America, and the French term would give them a superior status in relation to the national singers that were also competing for a place in this artistic-musical scenario. Through a historical ethnography, I have sought to rebuild this scenario in order to learn how music, through repertoire and performance, contributes to the social construction of these women in modern cities. Despite the association of the figure of these artists with prostitution, I observe that the fact of women turning into professionals of arts provided them an alternative of not being involved with prostitution, ensuring their survival without the need of selling sex. However, the female musical performance happens to be closely related to the body, sensuality and this fact is strongly expressed in the pictures and in the newspaper chronicles. From the studies of gender and musicological literature, I examine the musical journey of these women through the social phenomenon of cabarets in the modern cities in Brazil.

A sonoridade é um aspecto importante para a execução violonística. Esse trabalho tem por objetivo estudar a sonoridade com um elemento da execução musical, entender os seus aspectos formadores dentro do âmbito técnico, textual e perceptivo, utilizando-se como exemplo duas gravações das Quatro Peças Breves de Frank Martin. Os resultado são discutidos à luz do embasamento teórico, fazendo-se considerações a respeito das possibilidades de execução musical e como a sonoridade do violão atua nesse contexto. / Sound is an important aspect to guitar performance. The purpose of this work is to study the sound as an element of musical performance, understanding the aspects which form it as seen through technique, text and perception, using two recordings of the Frank Martin´s Quatre Pièces Brèves as example. The results were based on the theoretical framework considering the possibilities of musical performance and how the guitar sound works in this context.

Orientador: Marcos Siqueira Cavalcante / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-15T06:11:32Z (GMT). No. of bitstreams: 1 Almeida_MarcusV.S.R.M._M.pdf: 2978458 bytes, checksum: a34648b4e235af5bbc33e4ae82987edb (MD5) Previous issue date: 2009 / Resumo: Esta pesquisa teve por finalidade analisar a música de João Bosco de Freitas Mucci, particularmente, a maneira de tocar violão desse arista. O objetivo, aqui, foi demonstrar alguns recursos técnicos e musicais, relacionando-os a um projeto artístico construído em parceria com Aldir Blanc. Para isso, foi levantada uma bibliografia que consistiu, principalmente, em entrevistas e reportagens sobre o músico. Além disso, foi realizada uma audição minuciosa de toda a discografia, o que contribuiu para a análise de elementos rítmicos, harmônicos e melódicos. Para analisar os recursos técnicos utilizados pelo violonista, foram feitas transcrições de passagens significativas desse material. Ao relacionar técnica, recursos musicais e projeto artístico, verificou-se que o virtuosismo violonístico de João Bosco alcança mais expressividade quando o músico se apresenta ao vivo e sem o acompanhamento de outros instrumentistas / Abstract: This research had for purpose to analyze the music of João Bosco de Freitas Mucci, particularly, the way this artist plays guitar. The objective of this work was to demonstrate some technicians and musicals resources, relating them to an artistic project constructed in partnership with Aldir Blanc. A bibliography was raised that consisted, mainly, in interviews and articles about the musician. Moreover, his discography was critically studied, that contributed for the analysis of rhythm, harmony and melody. Transcriptions of significant parts of this material had been made to analyze the resources technician used by the violonist. When relating technique, musical resources and artistic project, were verified that the guitar skills of João Bosco reaches more expressivity when the musician presents himself in a live show and without the accompaniment of others musicians / Mestrado / Musica / Mestre em Música

Orientador: Sara Pereira Lopes / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-23T23:02:01Z (GMT). No. of bitstreams: 1 MotaMaier_ReginaHelenaCunha_M.pdf: 2269037 bytes, checksum: 050b989b94ea1add4165330c31806262 (MD5) Previous issue date: 2013 / Resumo: A presente dissertação investiga a corporalidade do cantor em cena. O trabalho estuda possibilidades expressivas do canto e sua relação com a pedagogia da voz. O eixo que direciona o trabalho é a constituição da pesquisadora enquanto cantora e professora de canto e a (im)possível relação dialógica entre essas duas posições. Partindo de uma retrospectiva das referencias musicais da pesquisadora, a discussão do arcabouço bibliográfico e teórico contrapõe-se à problematização empreendida no segundo capítulo quanto à performance. Desse modo, intenta-se ressaltar os efeitos do entendimento da performance sob a perspectiva conceitual de Zumthor, o que resultou na ressignificação da experiência da pesquisadora como cantora e professora. A vivência da preparação vocal de um grupo de 11 cantores indicia tais efeitos. As considerações que fecham o trabalho partem da certeza de que não há respostas prontas, porém reelaboram algumas das idéias que podem permitir uma continuidade nas investigações, apontando para a indissociabilidade entre corpo e voz / Abstract: The present dissertation investigates the singer's body on stage. The work studies expressive possibilities in singing, and their connection with vocal pedagogy. The axis which orients the work is the researcher's constitution as a singer and teacher, and the (im)possible dialogical relationship between these two. Starting from a retrospective of the researcher's musical references, the discussion of the theoretical and bibliographic structures are collated with the performance as problematized in the second chapter. Thus, this study intends to stress an understanding of performance according to Zumthor's perspective, which resulted in a re-signification of the researcher's experience as a singer and teacher. An experience with the vocal coaching of a group of 11 singers, indicate such effects. The final considerations which close the work, though implying there are no ready answers, elaborate some ideas which might allow continuity for this research, pointing to the indivisibility between body and voice / Mestrado / Artes Cenicas / Mestra em Artes

Many musicians are forced to scale down or even abandon their profession due to injuries caused by playing and practicing their instruments for long hours in unnatural body positions; also, the competition and the high standard expected of performers in the industry causes anxiety and tension in their lives. Increasingly, music schools, conservatories and colleges attempt to cater for these problems by including classes in the Alexander Technique. But young learners can also fall prey to these problems. Performance anxiety is potentially a threat to any musician’s career and can be experienced at all levels of expertise. In the light of this the following research question was tested: Is it possible to substantially reduce performance anxiety (stage fright) in instrumental playing by implementing Alexander Technique principles? The study included a group of twelve school-going children who had been identified as being prone to performance anxiety. They were divided into two groups of six each, one being the experimental group and the other the control group. The experimental group consisted of six flute students who were exposed to selected Alexander Technique principles in their lessons, while the control group consisted of six flute students that were taught by different teachers, who provided no exposure. Both groups were tested at the beginning of the research, before they played an examination, to ascertain the level of performance anxiety they experienced. Eighteen months later, after the experimental group had been exposed to Alexander principles, both groups played another examination and were then tested again to ascertain whether or not the experimental group’s levels of anxiety had been significantly reduced, compared to the control group. The control groups’ second testing was very similar to their first testing and performance anxiety was still a big drawback to their musical performance. Not only was performance anxiety markedly reduced in the experimental group, but their self-esteem and self-confidence were increased as well. As a result it was deduced that young learners can benefit tremendously from learning and applying Alexander Technique principles to the playing of a musical instrument. Copyright / Dissertation (MMus)--University of Pretoria, 2009. / Music / unrestricted

Jangwa music is traditional to the Manyika people of Zimbabwe. The Manyika are a sector of the Shona people, occupying a portion of Manicaland Province in the eastern part of Zimbabwe. African societies carefully craft songs for different contexts to serve a functional and educational purpose. The aim of the study was to explore the origin and the structure of jangwa music, the sociological and social psychological functions of the music and its performance, as well as its aesthetic values among the Manyika people. The study utilised focused ethnographical methods. A large group of elderly Manyika people with extensive knowledge and experience who were purposively selected acted as key informants. Data collection strategies included participant and non-participant observation during jangwa music performances, as well as in-depth individual and focus-group interviews. The study employed content analysis and selected songs were transcribed in staff notation using Crescendo Music Notation Software for analysis purposes. The outcomes of the study reveal some form of acculturation in the origin and structure of the music resulting in the music being a contemporary choral music. While some of the songs are for school sporting events, others are to demonstrate pride in teachers, community leaders and natural features within the Manyika region. However, the findings reveal that the majority of jangwa songs are for wedding and marriage ceremonies. Most of the wedding songs focus on the role of brides and married women as a whole, signifying the pivotal role they play within the Manyika society, yet a glimpse of the male roles are heard. In all the contexts, jangwa music contributes in uplifting the sociological and social psychological well-being of performers and audience members. For the Manyika people, the function of jangwa music takes precedence in its aesthetical values. Considering the diminishing of African musical arts, the study recommends the ethno-musicological use of jangwa music in informal and formal education in Zimbabwe for the promotion of indigenous knowledge systems. Jangwa song lyrics convey the distinctive values, virtues, and life skills of the Manyika people, and are therefore inextricably bound to the indigenous fabric and context-specific utilitarian purposes of the music. / Thesis (DMus)--University of Pretoria, 2016. / Music / DMus / Unrestricted

Scenskräck - En studie om musikers upplevelser av nervositet och stress kopplat till  scenframträdande samt vilka lärdomar som kan föras vidare till musikstuderande på gymnasiet.Marcus Olsson & Björn Rosenqvist antal sidor 39  En studie i hur musiker uppfattar och handskas med olika former av scenskräck. Syftet är att bidra med kunskap kring hur lärare kan utveckla sin undervisning i kurser med scenframställ- anden. Detta genom att undersöka hur verksamma musiker beskriver att de hanterar situationer som framkallar nervositet och stress. Studiens frågeställningar lyder:  Hur beskriver musiker sina erfarenheter av nervositet och stress i samband med scen- framträdanden? Vilka metoder använder sig musiker av för att hantera situationer som framkallar ner- vositet och stress kopplat till framträdanden?  För att få svar på forskningsfrågorna användes i studien kvalitativa intervjuer av sex yrkesverk- samma musiker. Studien visar på att samtliga respondenter återkommande upplever någon form av nervositet och/eller stress i samband med sceniska framträdanden, där mötet med publiken framstår som den enskilt största faktorn till att driva upp mängden upplevd nervositet och stress. Flera metoder att handskas med scenskräck framkom i studien, där förberedelser lyfts fram som särskilt viktig. Genom olika former av stöttning kan läraren förbereda eleverna på att själva tackla dessa tillspetsade situationer. Resultatet i studien påvisar stora likheter med tidigare forskning i ämnet.