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Submitted by DANILO PINHEIRO DE AVILA null (danilo.avila@gmail.com) on 2016-10-28T19:38:33Z No. of bitstreams: 1 DISSERTAÇÃO - FINALMENTE - REPOSITÁRIO.pdf: 1241131 bytes, checksum: 297f528d21a6afcdc6b76f2b5c034241 (MD5) / Approved for entry into archive by Felipe Augusto Arakaki (arakaki@reitoria.unesp.br) on 2016-11-03T19:40:47Z (GMT) No. of bitstreams: 1 avila_dp_me_fran.pdf: 1251094 bytes, checksum: 15d632fc0bed4576aa94a04a5959177d (MD5) / Made available in DSpace on 2016-11-03T19:40:47Z (GMT). No. of bitstreams: 1 avila_dp_me_fran.pdf: 1251094 bytes, checksum: 15d632fc0bed4576aa94a04a5959177d (MD5) Previous issue date: 2016-09-28 / Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP) / Esta pesquisa objetiva compreender as diversas atividades musicais construídas ao longo da década de 1940 pela participação de Hans Joachim Koellreutter no Música Viva. Se, nos primeiros anos desta década, este é entendido como grupo e sociedade, após 1944 assume uma feição específica em torno da liderança de Koellreutter em função dos seus alunos e ex-alunos. Compositor e professor advindo dos círculos da Neue Musik alemã, sua personagem é controversa e suscita uma movimentação neste período que pretende fundar uma nova etapa da modernidade musical brasileira – pelo menos é deste consenso que partem as principais interpretações. A fim de propor uma leitura histórica da sua trajetória, a presente dissertação se divide em três diferentes capítulos de coerência documental e interpretativa própria, verticalizando dilemas específicos a cada movimento dado pelo compositor, procurando compreendê-lo em sua historicidade. Este gesto visa se distanciar dos recursos de memória e se ater ao elo entre as fontes documentais e musicais – principalmente para interrogar a forma serial específica que é trabalhada pelo compositor teuto-brasileiro. Neste horizonte, o conceito de vanguarda surge como um elemento de contradição, partindo-se do pressuposto de que é um termo autorreferido pelo grupo e construído teoricamente; entretanto, ao pensarmos na trajetória do “estilo” de Koellreutter e a filosofia do material que a engendra, temos uma tessitura que não se identifica ao modernismo precedente, nem às intenções do mercado. / This research aims to comprehend the whole musical activities constructed along the 40's decade by the participation of Hans Joachim Koellreutter in Música Viva. If, in the first years of this decade, it is understood as a group or society, further than in 1944 it assumes a specific feature around the leadership of Koellreutter in relation of his students and ex-students. Composer and professor arising from the German Neue Musik circles, his character is controversial and raises a movimentation in this period that pretends to found a new stage in Brazilian musical modernity (at least the main interpretations start from this consensus). In order to propose an historical reading of his trajectory, the present dissertation divides itself in three different chapters with particular interpretative and documentary coherence, deepening specific dilemmas on each step given by the composer, looking forward to comprehend him in his historicity. This gesture aims to distance the resources of memory and attain us to the link between the documentary and musical sources, without identifying them – above all in order to question the specific serial form that is created by the german-brazilian composer. In this horizon, the concept of the avant-garde comes up as an element of contradiction, following the assumption that it is a self-said term and that it is constructed theoretically. However, when we think in the route of the “style” of his compositions and the philosophy of the material that begets it, there is a process that cannot be compared to the precedent modernism. / FAPESP: 2014/03349-7

Made available in DSpace on 2015-07-22T20:49:11Z (GMT). No. of bitstreams: 0 Previous issue date: 2012-09-30. Added 1 bitstream(s) on 2015-08-11T03:26:34Z : No. of bitstreams: 1 Publico-LucianeCandidoRodrigues.pdf: 675587 bytes, checksum: 6329e1a0c9e673b1b0b16bef3e5b5fda (MD5) / A presente pesquisa, de caráter teórico-bibliográfico tem por objetivo apresentar, em linhas gerais, o funcionamento da cultura de massas nos Estados Unidos durante os anos de 1938 a 1941 à luz dos escritos deixados, ainda que de forma fragmentária, pelo filósofo alemão Theodor Adorno. A partir de uma leitura da compilação crítica de tais escritos, denominada Current of Music foi possível constatar a metodologia de investigação de Adorno ao tomar a música transmitida via radiodifusão como seu objeto de pesquisa. Apesar da comum equiparação entre cultura de massas e cultura do povo, esta última por vezes tida como uma espécie de arte inferior, nos textos de Adorno é possível encontrar uma clara distinção entre estes dois conceitos: cultura do povo em nada se parece com a cultura de massas, esta última seria inclusive sinônimo de Indústria Cultural. Neste sentido, questiona-se então qual seria de fato a concepção de popular em Theodor Adorno. Para buscar uma possível resposta, utilizou-se como fundamentação a leitura primária dos textos publicados em Current of Music para compreender como o filósofo alemão chegou a conclusão da progressiva transformação da música em mercadoria, fenômeno inerente à cultura de massas. Por ter criticado em maior impacto a música popular, optou-se na presente pesquisa em seguir o mesmo caminho, propondo uma análise crítica do texto On popular Music. Relembrando que Current of Music traz os textos deixados por Adorno em sua versão original – estes trabalhos foram todos escritos pelo filósofo em língua inglesa. A conclusão que se chegou é que para Adorno popular significa indústria cultura e não cultura nascida no seio do povo. / This research presents a bibliographic theoretical approach that aims to present in general, the system of mass culture in the United States of America during the years 1938-1941 in light of the heritage of Theodor Adorno. From a critical reading of this “left-overs” published under the title of Current of Music was possible no understand the critical approach and methodology of investigation that Adorno was involved, concerning the radio music. Despite the equivalence that people sometimes provide between mass culture and folklore, the latter often regarded as a kind of inferior art the writings of Adorno make possible finding a clear distinction between these two concepts: folklore is nothing like the culture mass, the latter would also could be synonymous with the Culture Industry. In this sense, the arose question is then what is in fact the popular in the conception of Theodor Adorno. To search for a possible response the reading of the texts published in Current of Music was fundamental to understand how the German philosopher came to the conclusion of the gradual transformation of music into a commodity, a phenomenon inherent in mass culture. By the fact the popular music was more criticized by Adorno than serious music this study was choose to follow the same path, offering a critical analysis of the text On Popular Music. Recalling that Current of Music brings texts by Adorno left in its original version - these works were all written by the philosopher in the English language. The conclusion reached is that Adorno means that popular culture and culture industry are not raised among the people. / TEDE

O objetivo deste trabalho é analisar a relação que a peça Musik für Renaissance-Instrumente (1966), de Mauricio Kagel (1931-2008), estabelece com o material musical da tradição e das vanguardas, na segunda metade do século 20. A partir da definição de material musical em Adorno investigaremos historicamente a crítica que se delineia em sua peça com relação às posturas estéticas em questão. Este trabalho pretende refletir criticamente sobre o sentido do movimento de interpretação historicamente informada e dos movimentos de vanguarda, identificando suas convergências e afinidades estéticas. Por fim, nosso objetivo é traçar o sentido estético e filosófico da obra de Kagel no contexto musical de sua emergência, buscando refletir sobre a importância de sua obra para o contexto atual de produção musical. / The aim of this research is to analyze the relation established by Mauricio Kagel\'s Musik für Renaissance-Instrumente with traditional musical material and also with material built by the musical avant-garde from the second half of the 20th century. Based on the definition of musical material in Theodor Adorno\'s philosophy we also intend to investigate through historical perspective how Kagel\'s criticism in composition applies to both of the aforementioned tendencies. Furthermore a critical assessment of the historical interpretation movement as well as of the avant-garde has been carried out, with the main purpose of establishing their mutual aesthetical affinities. Lastly, our foremost objective was to outline the meaning of Kagel\'s composition in the context of its appearance, in order to ponder about its importance for contemporary context of musical production.

O objetivo deste trabalho é analisar a relação que a peça Musik für Renaissance-Instrumente (1966), de Mauricio Kagel (1931-2008), estabelece com o material musical da tradição e das vanguardas, na segunda metade do século 20. A partir da definição de material musical em Adorno investigaremos historicamente a crítica que se delineia em sua peça com relação às posturas estéticas em questão. Este trabalho pretende refletir criticamente sobre o sentido do movimento de interpretação historicamente informada e dos movimentos de vanguarda, identificando suas convergências e afinidades estéticas. Por fim, nosso objetivo é traçar o sentido estético e filosófico da obra de Kagel no contexto musical de sua emergência, buscando refletir sobre a importância de sua obra para o contexto atual de produção musical. / The aim of this research is to analyze the relation established by Mauricio Kagel\'s Musik für Renaissance-Instrumente with traditional musical material and also with material built by the musical avant-garde from the second half of the 20th century. Based on the definition of musical material in Theodor Adorno\'s philosophy we also intend to investigate through historical perspective how Kagel\'s criticism in composition applies to both of the aforementioned tendencies. Furthermore a critical assessment of the historical interpretation movement as well as of the avant-garde has been carried out, with the main purpose of establishing their mutual aesthetical affinities. Lastly, our foremost objective was to outline the meaning of Kagel\'s composition in the context of its appearance, in order to ponder about its importance for contemporary context of musical production.

Depuis les années 80, le développement rapide des nouvelles technologies microélectroniques a donné naissance à une nouvelle génération d’oeuvres d’art musicales. Souvent, ces oeuvres profitent d’une approche analytique provenant de la théorie des médias. En même temps, de nouveaux courants dans la philosophie ainsi que dans les études culturelles ont engendré une nouvelle notion de genre (anglais : gender), qui vient s’établir dans la musicologie anglo-américaine et, de manière plus conscrite, dans la musicologie allemande ; jusqu’ici, elle ne s’établit guère dans la musicologie française. Cette thèse entreprend une investigation théorique d’oeuvres d’art électroniques, tout en utilisant la notion de gender : gender + electronic = gendertronics. Pour cette investigation, des notions sont employées dérivant de la lecture féminine : une approche pluridisciplinaire associée à l’écriture féminine d’Hélène Cixous (* 1937), écrivain et théoricienne poststructuraliste. Puisque ni la lecture féminine ni la théorie des médias ne prend en compte des éléments musicaux, cette investigation incorpore également des aspects de l’analyse musicale. Trois artistes sont considérées : Gerhard Stäbler (*1943), Terre Thaemlitz (*1968) et Miss Kittin (*1973). L’investigation trace le développement des notions de « sujet » et de « matériau musical » depuis la théorie poststructuraliste et la musique contemporaine jusqu’à des notions philosophiques émergentes du « corps ». Une considération particulière est le genre musical electronica, repérant ses antécédents dans la musique électronique expérimentale en Europe du vingtième siècle et dans les musiques populaires de danse aux Etats-Unis dans les années 80 et 90. L’investigation cherche à joindre les recherches récentes dans ces domaines. Elle ouvre de nouvelles pistes et propose des nouveaux outils pour explorer plus profondément le domaine émergent des gendertronics / Since the 1980s, rapid development of new micro-electronic technologies has spawned a new generation of musical art works employing electronic means. These artworks are often theoretically approached using media theory. Contemporaneously, new developments in philosophy and in cultural studies have given rise to the new notion of gender, which has since found its way into Anglo-American musicological and, to a more limited degree, into German musicology, though not at all into French. The present work undertakes a gendered theoretical investigation of electronic art works – gender + electronics = ‘gendertronics’. For the investigation, notions stemming from lecture féminine are employed, a pluralistic reading approach associated with écriture féminine of the poststructuralist theorist/writer Hélène Cixous (born 1937). Since neither lecture féminine nor abovementioned media theory takes musical elements into account, this investigation also draws on music analysis. Aspects of the works of three artists are considered: Gerhard Stäbler (born 1943), Terre Thaemlitz (born 1968), and DJ Miss Kittin (born 1973). The investigation traces the development of the topics ‘Subject’ and ‘musical material’ from poststructuralist and New Music theory of the 20th century to emerging new philosophical notions of the body. Particular attention is given to the development of the musical genre ‘electronica’, tracing its antecedents from European experimental electronic music of the 20th century and from American popular dance music of the 80s and 90s; subgenres treated include rave, glitch, clicks-and-cuts, electroclash, techno, electro, ambient, and house. The investigation complements recent research addressing lacunae in these areas and offers new paths and tools for future investigation in the emerging area of gendertronics