O presente trabalho aborda a interação entre a utilização do Méthode pour la Guitare (1830) de Fernando Sor com o processo de construção de interpretação da Sonata op. 25, do mesmo autor. O trabalho foi norteado pela hipótese de associação entre as concepções técnicas e composicionais de Sor, articuladas em seu Método, e sua correspondente tradução em sua escrita violonística. Através desse cotejo, traçaram-se claras possibilidades de associação, e concluiu-se positivamente na utilização do Método como ferramenta complementar na interpretação da música de Fernando Sor. / The present work concerns the interaction between the use of the Méthode pour la guitare (1830) by Fernando Sor and the process of constructing an interpretation for the Sonata op. 25, by the same author. The work‟s main hypothesis was the association between technical and compositional conceptions of Sor, displayed in his Method, and their correspondent translation into his guitar compositional writing. Through this association, clear relationships were established and the work was conclusive on the positive use of the Method as a complementary tool for the interpretation of Fernando Sor‟s music. / El presente trabajo aborda la interacción entre la utilización del Méthode pour la guitare (1830) de Fernando Sor con el proceso de construcción de una interpretación para la Sonata op. 25, del mismo autor. La hipótesis del trabajo fue la asociación entre las concepciones técnicas y compositivas de Sor, articuladas en su Método, y su correspondiente traducción en su escritura guitarrística. Por medio de este cotejo, se trazaron claras posibilidades de asociación, y se concluyó positivamente por el uso del Método como herramienta complementaria en la interpretación de la música de Fernando Sor.

Orientadores: Eduardo Antonio Conde Garcia Junior, Mauricy Matos Martin / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-17T14:54:19Z (GMT). No. of bitstreams: 1 Shigeta_Ayumi_M.pdf: 1413010 bytes, checksum: 17ec7f031c9fa9ac2b3f8399fc2ab4a5 (MD5) Previous issue date: 2008 / Resumo: Esta dissertação trata de questões referentes à interpretação pianística contemporânea e à importância de sua aproximação com a história. Para tanto, primeiramente, elaborou-se um breve estudo de duas concepções interpretativas opostas, mostrando os prós e os contras de cada uma delas, a saber, a da execução histórica ou historicamente autêntica, representada pelo movimento da Música Antiga, e a da abordagem atemporal ou anti-histórica da interpretação, dita também "pós-moderna", tributária do estruturalismo. A seguir, combinaram-se as duas, resultando na perspectiva de interpretação aqui defendida, à qual se denomina "historicamente informada". Igualmente procede-se a uma análise focada na execução da última obra para piano de Beethoven, as Bagatelas op.126, mostrando como um músico prático pode valer-se da história para aperfeiçoar sua interpretação. A metodologia de análise baseou-se nos livros Beethoven on Beethoven: playing his piano music his way de William S. Newman e Performance Practices in Classic Piano Music de Sandra P. Rosenblum / Abstract: This dissertation is about questions concerning to the contemporary piano interpretation and the importance of its approximation to history. So, firstly, a brief study on two opposite interpretative conceptions was prepared showing the pros and cons of each one of them, namely the historical or historically authentic performance, represented by the Ancient Music movement, and the atemporal or antihistorical approach of performance, also called "post-modern", tributary of structuralism. Next, both of them were combined resulting in the performance prospect here defended, so named "historically informed". Then, an analysis focused on the last Beethoven piano pieces, the six Bagatelles op.126, was carried out, showing how a practical musician can make use of history in order to improve his performance. The analytic methodology is based on the books Beethoven on Beethoven: playing his piano music his way by William S. Newman and Performance Practices in Classic Piano Music by Sandra P. Rosenblum / Mestrado / Mestre em Música

Submitted by Luciana Ferreira (lucgeral@gmail.com) on 2015-11-20T12:34:03Z No. of bitstreams: 2 Dissertação - Jackes Douglas Nunes Angelo - 2015.pdf: 5180701 bytes, checksum: 4f8d6320fc3cd3534bb8466a57925b5e (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2015-11-20T12:36:06Z (GMT) No. of bitstreams: 2 Dissertação - Jackes Douglas Nunes Angelo - 2015.pdf: 5180701 bytes, checksum: 4f8d6320fc3cd3534bb8466a57925b5e (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Made available in DSpace on 2015-11-20T12:36:06Z (GMT). No. of bitstreams: 2 Dissertação - Jackes Douglas Nunes Angelo - 2015.pdf: 5180701 bytes, checksum: 4f8d6320fc3cd3534bb8466a57925b5e (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Previous issue date: 2015-07-06 / This article is result from combination of interpretive practice, bibliographic study into musical gesture, analysis of the interpreted musical works, and reporting my experience as interpreter. Is made here a gesture study in musical performance and its possible potential to optimize the interpretative communication between performer and pubic. For this, we used three music pieces for trombone by composer Estércio Marquez Cunha. Backed in bibliographical searches as well as in my experience report into the preparation and interpretation of the musical works, this research describes the relationship between performance and musical gesture. From the interpretative analysis, it was found multiple instances in which musical gesture, coupled with body movement, likely to influence the interpreter expressiveness, interfering therefore directly at the moment of performance. / O presente artigo é o resultado de uma combinação da prática interpretativa, estudo bibliográfico sobre gesto musical, análise de obras interpretadas e relato da minha experiência como intérprete. Faz-se aqui um estudo acerca do gesto na performance musical e seu possível potencial de otimizar a comunicação interpretativa entre intérprete e púbico. Para tanto, foram utilizadas três obras para trombone do compositor Estércio Marquez Cunha. Com respaldo em pesquisas bibliográficas e em meu relato de experiência na preparação e interpretação das obras, esta pesquisa descreve a relação entre o gesto musical e a performance. A partir das análises interpretativas, foram encontrados vários momentos em que o gesto musical, juntamente com o movimento corporal, tendem a influenciar na expressividade do intérprete, interferindo, assim, diretamente no ato da performance.

Submitted by Erika Demachki (erikademachki@gmail.com) on 2015-01-29T17:22:50Z No. of bitstreams: 2 license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Dissertação - Viviane de Mendonça Fiaia Costa - 2013.pdf: 2823749 bytes, checksum: ecfd680ce08bcf98dfe51f08f6e6d2d2 (MD5) / Approved for entry into archive by Erika Demachki (erikademachki@gmail.com) on 2015-01-29T17:44:58Z (GMT) No. of bitstreams: 2 license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Dissertação - Viviane de Mendonça Fiaia Costa - 2013.pdf: 2823749 bytes, checksum: ecfd680ce08bcf98dfe51f08f6e6d2d2 (MD5) / Made available in DSpace on 2015-01-29T17:44:58Z (GMT). No. of bitstreams: 2 license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Dissertação - Viviane de Mendonça Fiaia Costa - 2013.pdf: 2823749 bytes, checksum: ecfd680ce08bcf98dfe51f08f6e6d2d2 (MD5) Previous issue date: 2013-04-27 / The digital piano is an instrument that has been increasingly used in the musicalization process, instrument practice, and performance. As every instrument has a peculiar technique, the digital piano also offers possibilities in musical interpretation. In the context of teaching piano in group, we investigated the possibilities that the digital clavinova piano CVP 401, instrument used in the piano laboratory at UFG, offers to the musical interpretation. Therefore, the aim of this research is to study the possibilities that the digital piano offers for musical interpretation in this context. For this purpose, three musical pieces of three different music styles were taught: classic, romantic, and Brazilian dance (samba), for piano students in groups, presenting technical tools for distinction in articulation and phrasing for each style in order to evaluate the end result sound. The results are discussed based on the concept of interpretation and musical style of Thurston Dart (2000), Nikolaus Harnoncourt (1998 ), Muniz Sodré (1998) and Carlos Sandroni (2008) technical knowledge of the mechanism of the digital piano used, assessment of four renowned pianists, and the researcher’s experience and knowledge in using the acustic piano and the digital piano. As a result of this work, the digital clavinova CVP 401 offers a potential for different interpretation styles, but with limitations regarding the level of repertoire and the reverberation of harmonics. / O piano digital é um instrumento que vem sendo cada vez mais utilizado no processo de musicalização, prática do instrumento, e performance. Como todo instrumento possui uma técnica peculiar, o piano digital também oferece possibilidades na interpretação musical. Dentro do contexto do ensino de piano em grupo, investigamos as possibilidades que o piano digital clavinova CVP 401, instrumento utilizado no laboratório de piano em grupo da UFG, oferece para a interpretação musical. Para isso ensinamos três peças de três estilos musicais, clássico, romântico e dança brasileira (samba), para alunos de piano em grupo, apresentando ferramentas técnicas para distinção de articulação e fraseado referentes a cada estilo com o intuito de avaliarmos os resultados sonoros. Discutimos tais resultados tendo como fundamentação o conceito de interpretação e estilo musical conforme Thurston Dart (2000), Nikolaus Harnoncourt (1998), Muniz Sodré (1998) e Carlos Sandroni (2008), o conhecimento técnico sobre o mecanismo do piano digital utilizado, a avaliação de quatro pianistas renomados e as experiências e conhecimentos da utilização do piano acústico e piano digital desta pesquisadora. Como resultado desse trabalho, o piano digital clavinova CVP 401 oferece uma potencialidade para interpretação de estilos diferenciados, mas com limitações no que concerne ao nível do repertório e a reverberação de harmônicos.

Submitted by Luciana Ferreira (lucgeral@gmail.com) on 2017-05-10T11:43:45Z No. of bitstreams: 2 Dissertação - Anderson Afonso Silva - 2017.pdf: 7480769 bytes, checksum: c5fae92480b7a51c53b754f1e5b4aac3 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2017-05-10T11:44:55Z (GMT) No. of bitstreams: 2 Dissertação - Anderson Afonso Silva - 2017.pdf: 7480769 bytes, checksum: c5fae92480b7a51c53b754f1e5b4aac3 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2017-05-10T11:44:56Z (GMT). No. of bitstreams: 2 Dissertação - Anderson Afonso Silva - 2017.pdf: 7480769 bytes, checksum: c5fae92480b7a51c53b754f1e5b4aac3 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2017-04-01 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This work is the result of an experience acquired in the study of composer-interpreter relations, under the performer's view. The central axis of this research is to develop, along with Estércio Marquez Cunha, new possibilities of the horn resources in relation to the Sixxen. Firstly, a bibliographical study of the collaborative role between interpreters and composers, referenced in BRANDINO 2012, ISHISAKI and MACHADO 2013, RAMOS 2013, RAY 2013 and ROSSI and BARBOSA 2015, is undertaken to understand the collaboration path of these two crucial pieces for the making of music. For its novelty in Brazil, the second part is dedicated to the Sixxen, investigating about conception, repertoire and its trajectory until Goiânia, with support in the study done by MORAIS, CHAIB and OLIVEIRA, 2016. For the optimization of the research, the third part is intended in the report of the experience in the course of the collaboration of this researcher as an interpreter with the composer. In this part, the specificities of sound effects in the horn are demonstrated and instructed in how the composer idealized the work in question by virtue of the experiments performed with the interpreter. The main results that the research brings is the contribution of the world contemporary repertoire for both instruments, evidenced through the language of the composer in question and thus have generated an explanatory didactic material for the techniques extended in the horn. / Este trabalho é fruto de uma de experiência adquirida no estudo das relações compositor-intérprete, sob olhar do performer. O eixo central desta pesquisa está em explorar, juntamente com Estércio Marquez Cunha, novas possibilidades dos recursos da trompa em relação ao Sixxen. Primeiramente, faz-se um estudo bibliográfico do papel colaborativo entre intérpretes e compositores, referenciados em BRANDINO 2012, ISHISAKI e MACHADO 2013, RAMOS 2013, RAY 2013 e ROSSI e BARBOSA 2015, a fim de compreender o caminho de colaboração dessas duas peças cruciais para o fazer musical. Pelo seu ineditismo no Brasil, a segunda parte é dedicada ao Sixxen, investigando a respeito de concepção, repertório e sua trajetória até Goiânia, com respaldo no estudo feito por MORAIS, CHAIB e OLIVEIRA, 2016. Para otimização da pesquisa, a terceira parte destina-se no relato da experiência ao decorrer da colaboração deste pesquisador enquanto intérprete com o compositor. Nesta parte, demonstra-se e instrui as especificidades dos efeitos sonoros na trompa, em como o compositor idealizou a obra em questão em virtude das experimentações realizadas com o intérprete. Os principais resultados que a pesquisa traz é da contribuição do repertório contemporâneo mundial para ambos intrumentos, evidenciada por meio da linguagem do compositor em questão e assim ter gerado um material didático explicativo para as técnicas extendidas na trompa.

Ce travail propose une étude du domaine de la direction de chœur. Il est centré sur les compétences du chef et les conditions d’une performance optimale, selon attentes déclarées des acteurs du monde choral. Il s’agit de compétences souhaitées par les choristes et les chefs. Les questions du répertoire, du contexte social et historique de la direction sont abordées, ainsi que les aspects épistémologiques de l’interprétation musicale. Les origines du concept de compétence, son évolution, son approche selon différentes perspectives, son emploi pédagogique précèdent l’observation empirique qui prend la forme d’une enquête menée sur un vaste échantillon dans six pays : l’Allemagne, l’Autriche, l’Espagne, les Etats-Unis, la France et le Venezuela. L’analyse critique donne une image psychologique des compétences du chef, décrit sa position culturelle et sa performance dans le contexte social. En découlent des considérations liées à l’héritage historique de la direction de chœur et une réflexion relative à la formation du chef. / The work consists in a study related to the field of choral direction. The study focuses on the competences and the conditions of choir directors to achieve optimum performance in the opinion of constituents of the choral world as desired by choir members and directors. Choice of repertoire, social and historical context of choral direction, and epistemological issues of the musical interpretation have been addressed.The origins of the concept of competences, their evolution and approach according to different perspectives and their educational use precede the empirical observation. The latter study consists of a wide survey in six countries, namely Austria, France, Germany, Spain, United States of America and Venezuela. The critical analysis of this study reflects the psychological image of choir director’s competences, describing the cultural position and its performance in the social context. This study triggers assumptions relating to the historical legacy of choral direction as well as a framework of considerations related to the professional qualification of choir directors.

Syftet med arbetet är att studera min läroprocess och hur specifika övningar påverkar tekniska spelfärdigheter på instrumentet altviolin. Under en period på sex veckor har jag genomfört övningstillfällen fem gånger i veckan, 15-20 minuterspass. Jag har vidare  genomfört videoinspelningar en till tre gånger i veckan. I bakgrunden presenteras litteratur och forskning om övning, spelteknik och designteoretiskt perspektiv. I metodkapitlet presenteras valt material och dokumentation. I resultatkapitlet beskrivs hur designandet av mitt lärande har gått till samt dess påverkan i min utveckling av mitt altviolinspel. Dessa bygger på mina transkiberingar av valda videoinspelningar. Resultatet visar att undersökningen har lett till framsteg i finmotorik, ergonomiskt spel, bättre intonation och färre misstag i spelet. I diskussionsdelen diskuteras resurserna samt resultat som bottnar i presenterad litteratur, tidigare forsknig och det designteoretiska perspektivet. / The purpose of this study is to investigate my learning process and how specific exercises affect the technical playing skills of the instrument viola. For a period of six weeks I have practiced technical skills on viola five times a week, 15- 20 minutes each time and recorded 1-3 of these practice sessions with a video camera. Chapter two presents literature and research on exercise, playing technique and design theory perspective. Chapter three presents selected materials and documentation. The result is described in chapter four where I explain how the design of this project has effected my technical development in violaplaying.The recordings have been transcribed by me. Results reveal that this study has given myself success in terms of ergonomic playing, better intonation and less mistakes in my playing. The recources and results are discussed in relation to previous research and relevant literature.

No description available.

My recent compositions are situated within a postmodern theoretical framework. The heterogeneity of materials and hybridity of musical formation in these works are interpreted and contextualized within a personal reading of postmodern theories. The critical essay traces my aesthetics through a historical investigation into the definition of musical postmodernism. Through extensive citation and analysis of the writings of Julius T. Fraser, Italo Calvino, and Richard Rorty, the essay aims to provide a theoretical context for the interpretation of the musical examples. The creative documentation contains three newly-composed musical works: Piano Trio from Opus 3/c, Opus 6 for Violin, and Opus 7 for Piccolo. The works' postmodern features include creative approaches to the fragmentation of musical time into separate levels, historical allusions, and the exploration of multiplicity.

[ES] Elementos de teoría musical al servicio de la interpretación históricamente informada de los repertorios italianos del Renacimiento y del Barroco temprano: análisis de fuentes y nuevos antecedentes. La práctica de la interpretación musical históricamente informada nos enfrenta continuamente a la necesidad de herramientas que permitan abordar y reconstruir los repertorios anteriores al siglo XVIII y, especialmente, aquellos italianos del Renacimiento y del Barroco temprano objeto de este estudio. La teoría musical tonal, el solfeo y el análisis moderno parecieran no bastar: la lejanía espacio-temporal y la falta de referencias estéticas, éticas y poéticas dificulta su interpretación. Es que, queriendo interpretar dichos repertorios de forma históricamente informada, lo mejor sería hacerlo con las mismas herramientas con las que los músicos de aquella época lo hacían. A estas se puede acceder a través del análisis de la composición y de las fuentes, mediante elementos de teoría musical que en muchos casos se alejan de los actuales: quizás uno de los más importantes sea la solmisación. Inicialmente concebida en el siglo XI como un método nemotécnico de aprendizaje de los intervalos, ésta se desarrolla por más de siete siglos con la contribución de músicos y teóricos de diversos orígenes y culturas. En este sentido, al igual que el solfeo parece aludir a los rudimentos teóricos de la tonalidad, una gran parte de la teoría musical antigua se transmite por generaciones a través de la solmisación. Sin embargo, a este tradicional carácter pedagógico podemos agregar una dimensión de herramienta de la interpretación musical y de elemento de la composición. No obstante, estas dos últimas perspectivas incidan directamente en la interpretación musical, hoy en día la solmisación se utiliza poco en la actividad musical profesional. Por ello, a través de un renovado análisis, pretendemos adentrarnos en las noticias que las fuentes teóricas y prácticas de la época nos ofrecen de la solmisación, tanto como herramienta de interpretación musical, como elemento de la composición. Algunas de estas noticias han sido ya estudiadas como parte de la teoría musical modal: las revisamos ahora desde el punto de vista interpretativo. Otras son nuevos antecedentes de incidencias del método guidoniano útiles a la interpretación musical históricamente informada de estos repertorios. / [CAT] Elements de teoria musical al servici de la interpretació històricament informada dels repertoris italians del Renaixement i del Barroc enjorn: anàlisi de fonts i nous antecedents. La pràctica de la interpretació musical històricament informada ens enfronta contínuament a la necessitat d'eines que permeten abordar i reconstruir els repertoris anteriors al segle XVIII i, especialment, aquells italians del Renaixement i del Barroc primerenc objecte d'aquest estudi. La teoria musical tonal, el solfeig i l'anàlisi moderna semblen no bastar: la llunyania espacial i temporal i la falta de referències estètiques i èmiques dificulta la seua interpretació. És que, volent interpretar aquests repertoris de forma històricament informada, el millor seria fer-ho amb les mateixes eines amb les quals els músics d'aquella època ho feien. A aquestes es pot accedir a través de l'anàlisi de la composició i de les fonts, denotant elements de teoria musical allunyats dels actuals: potser un dels més importants és la solmització. Inicialment concebuda en el segle XI com un mètode mnemotècnic d'aprenentatge dels intervals, aquesta es desenvolupa per més de set segles amb la contribució de músics i teòrics de diversos orígens i cultures. En aquest sentit, igual que el solfeig sembla al·ludir als rudiments teòrics de la tonalitat, una gran part de la teoria musical antiga es transmet per generacions a través de la solmització. No obstant això, a aquest tradicional caràcter pedagògic podem agregar una dimensió d'eina de la interpretació musical i d'element de la composició. No obstant això, aquestes dues últimes perspectives incideixen directament en la interpretació musical, en l'actualitat la solmització s'utilitza poc en l'activitat musical professional. Per això, a través d'una renovada anàlisi, pretenem endinsar-nos en les notícies que les fonts teòriques i pràctiques de l'època ens ofereixen de la solmització, com eina d'interpretació musical i com a element de la composició. Algunes d'aquestes notícies han sigut ja estudiades com a part de la teoria musical modal: les revisem ara des del punt de vista interpretatiu. Unes altres són nous antecedents d'incidències del mètode guidonià útils a la interpretació musical històricament informada d'aquests repertoris. / [EN] Elements of Music Theory at the Service of Historically Informed Performance of Italian Renaissance and Early Baroque Repertories: analysis of sources and new antecedents. The practice of historically informed musical performance continually confronts us with the need for tools that allow us to address and reconstruct the pre-18th century repertoires and, especially, those italians of the Renaissance and early Baroque period, that are the object of this study. Tonal music theory and modern analysis seem not enough: the spatio-temporal distance and the lack of aesthetic, ethics and poetics references make their interpretation difficult. Therefore, to perform these repertoires in an historically informed way, the best thing would be to do it with the same tools as the musicians of that time. These can be accessed through the analysis of the composition and the sources, but also by denoting elements of music theory differents from the current ones: worthy of note in particular is solmisation. Initially conceived in the 11th century as a mnemonic method to do intervals learning, it has been developed for more than seven centuries with the contribution of musicians and theorists from various origins and cultures. In this sense, just as music theory seems to allude to the theoretical rudiments of tonality, a large part of ancient music theory is passed, down through generations, through solmisation. However, to this traditional pedagogical character we can add a dimension of a musical interpretation tool and element of the composition. Even if these last two perspectives have a direct incidence on musical performance, today solmisation isn't widely used in professional musical activity. For this reason, through a renewed analysis, we intend to get into the notices that the theoretical and practical sources of that time offer us about solmisation, both as a tool for musical interpretation and as an element of composition. Some of this news has already been objet of study as a part of modal music theory: we now review it from an interpretive point of view. Others are new incidences of the guidonian method useful to the historically informed performance of these repertoires. / Suez Suez, SM. (2020). Elementos de teoría musical al servicio de la interpretación históricamente informada de los repertorios italianos del Renacimiento y del Barroco temprano: análisis de fuentes y nuevos antecedentes [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/158620