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Ma recherche dans le cadre de SACRe a pour but de démontrer et faire agir – de façonconsciente et organique – dans le travail du plateau, la similarité des modes de perception etstructuration du temps dans la musique et dans le théâtre et proposer, à partir de cette relation,une base solide et un langage commun au travail de l’acteur, du musicien, du performeur et dumetteur en scène.Mes travaux porteront essentiellement sur la dimension sonore et l'approche musicale du théâtre(écoute, rythme, ligne mélodique, harmonie, contrepoint) aussi bien en ce qui concernel'investigation et interprétation du texte qu'au niveau de la dynamique et des mouvementsscéniques. Il s’agir de mettre en évidence, au moyen de multiples expérimentations déclinant lesdifférentes possibilités offertes par la scène, la nature essentiellement musicale – notamment ence qui concerne le rapport temps-rythme et l’harmonie « chorale » – des principes structurantl’organisation et l’accomplissement du phénomène théâtral.Prenant la musicalité comme base du travail de l'acteur et de la construction scénique, il s'agirade décliner, au fil des différents travaux et expérimentations pratiques, la notion/dispositif dechoralité. La polyphonie m'intéresse énormément, le mélange de timbres, de couleurs,d'harmoniques... même quand il ne sera pas nécessairement question de « notes musicales » àproprement parler.La voix est au centre de cette recherche. La gamme très vaste de possibilités sonores etexpressives que peut produire notre appareil phonateur – qui se multiplie encore à l’infiniquant on combine les sons produits par plusieurs personnes vocalisant ensemble – est uneporte grande ouverte à la création : c’est de la matière poétique concrète, malléable,élastique, transformable. Que ce soit la voix parlée, le cri, le rire, lechant lyrique, traditionnel, populaire ou expérimental, sa relation et l’engagement qu’elleentraîne avec le corps en mouvement : tout ce monde m’intéresse et m’inspire. C’estl’univers dans lequel je compte travailler et créer en tant qu’interprète, compositeur,enseignant, chef de chœur, performeur, comédien ou metteur en scène.Penser, explorer e potentialiser la musique - ou, plus largement, la notion bien plus vaste demusicalité - comme matière-première « concrète », indissociable du travail de l’acteur, inscriteau présent de la scène e du jeu, tel est le but de ce projet de recherche. Bien plus qu’un ensemble de codes et compétences formelles ou académiques dépendantes d’une seule voied’acquisition possible – à savoir, la notation musicale occidentale – l’approche musicale, dansson essence, se relie à un processus beaucoup plus intuitif et immédiat. Surtout lorsqu’onconstate, en effaçant les frontières (actuelles) entre les arts, que la musique a toujours été (et ledemeure) associée à l’action scénique. Rythme, dynamique, tempo, phrasé et harmonie, parexemple, sont des concepts directement applicables aussi bien à la pratique musicale qu’à celledu théâtre, même lorsque ce dernier ne se sert pas de partitions et œuvres musicales entenduescomme tel. / The aim of my research is to demonstrate and put in action on stage - in a conscious and organic way - the similarity of perception and structuring of time in music and theater and propose, from this relation, a solid foundation and a common language for the work of the actor, the musician, the performer and the director.My work will focus on the sound dimension and the musical approach of the theater (listening, rhythm, melodic line, harmony, counterpoint) both in terms of the investigation and interpretation of the text and the dynamics and movements of the scene. The aim is to highlight, by means of multiple experiments that reveal the different possibilities offered by the scene, the essentially musical nature - in particular as regards time-rhythm and "choral" harmony - of the principles structuring organization and accomplishment of the theatrical phenomenon.Taking musicality as the basis of the work of the actor and the stage construction, it will be necessary to decline, through the various practical experiments, the notion/device of chorality. Polyphony interests specifically this work and the mixture of timbres, colors, harmonics, even when it will not necessarily be a question of "musical notes" strictly speaking.Voice is at the center of this research. The wide range of sonorous and expressive possibilities our phoning apparatus can produce - which is multiplied infinitely as we combine the sounds produced by several people vocalizing together - is a door wide open to creation: it is the poetic matter concrete, malleable, elastic, transformable. Whether it is spoken voice, cry, laughter, lyrical, traditional, popular or experimental song, its relationship and the commitment it brings with the body in motion: all this world interests and inspires me. This is the universe in which I intend to work and create as an interpreter, composer, teacher, choirmaster, performer, actor or director.Thinking, exploring and potentiating music - or rather the much broader notion of musicality - as a "concrete" material, inseparable from the work of the actor, inscribed in the present of the scene and the game, that is the purpose of this research project. Much more than a set of formal or academic codes and competences depending on a single possible path of acquisition - namely, Western musical notation - the musical approach, in essence, connects to a much more Intuitive and immediate process. Especially when one notices, by effacing the (current) borders between the arts, that music has always been (and remains) associated with scenic action. Rhythm, dynamics, tempo, phrasing and harmony, for example, are concepts directly applicable to musical practice as well as to theater, even when the latter does not use musical scores and works understood as such.

The judgement 'that person is musical' is commonplace in our daily lives. The present writer has grown up in an intellectual environment coloured to a marked extent by interest in music and the related arts. To him it had always been a very natural phenomenon that a person should be regarded as musical or 'not-musical', and it seems justifiable to state that has attitude was but typical of his fellow-men. There appears to have prevailed for some time the idea that musicality represented some 'innate permeating spirit' which distinguished the possessor of the 'musical spark' from his brethren of more common clay. This implied that certain human beings had some general musical capacity or 'turn of mind' which was not possessed by others. Is there any justification for such an assumption? It was a question such as this which first stimulated the writer's interest towards a scientific investigation of the problem of musicality. This interest was refreshed almost continuously by a consideration of a number of further questions inevitably bound up with the consequences of the initial problem: Of the musical individuals themselves, was it true to say that their musicality was evidenced homogeneously either in degree or in quality throughout different musical operations? Was, for example, the music student who was keenest at discrimination of pitch also best at the memorizing of his music? Could anything definite be stipulated, either on a priori grounds or on the basis of experience, about the relationship existing between one's musicality and one's general intelligence? And what of the so-called allied arts; did literary ability, for instance, likewise involve a special quality, and was this ichor the same as was to explain musicality? It was as an attempt to provide a scientifically-investigated answer to such and similar questions that this analysis was originally undertaken. At the time of writing the field of the problem was entirely virgin soil; and though the writer would like to feel that this world does take an appreciable step towards clearing the obstructing growths of ignorance on the subject, yet he is obliged to point out the severely limited nature of the scope ot this thesis, owing partly to the brevity of time at his disposal and partly to the amount of wasted labour attendant upon all "pioneer" endeavour.

Made available in DSpace on 2014-06-11T19:22:26Z (GMT). No. of bitstreams: 0 Previous issue date: 2011-09-21Bitstream added on 2014-06-13T20:07:37Z : No. of bitstreams: 1 fuscaldo_aia_me_ia.pdf: 931029 bytes, checksum: 256ba3492c65e5c0f50b51065b9afbcb (MD5) / Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP) / Esta dissertação caracteriza-se como estudo a respeito de atividades oníricomusicais a’uwe e processos de construção de conhecimento a elas vinculados. Destaca-se do contexto estudado a noção de pegar cantos nos sonhos e o fato de que cada geração de homens é orientada desde a infância pelos mais velhos, para que aprendam esta prática. A esses processos estão vinculadas noções de sonho, música e sobre o que entendemos como construção de saberes, investigadas, sobretudo, a partir de exercícios de tradução e análise de relatos de sonhos com cantos, narrados por homens a’uwe. As reflexões aqui apresentadas foram desenvolvidas a partir de um primeiro contato com pessoas do povo A’uwe (Xavante) no ano de 2001, de estudo bibliográfico e de estadias nas aldeias Pimentel Barbosa e Wederã (2006, quinze dias) e na aldeia Etenhiritipa (2010, dois meses), situadas na Reserva Rio das Mortes no Estado do Mato Grosso / This dissertation is characterized as a study about dream-musical activities a'uwe and construction processes of knowledge linked to them. Stands out from the context studied the notion of taking corners in dreams and the fact that each generation of men is driven since childhood by their elders, to learn this practice. To these processes are linked to notions of dreams, music and what we understand as knowledge construction, investigated mainly from exercises of translation and analysis of dream reports with songs, narrated by men a'uwe. The ideas presented here were developed from a first contact with the common people A'uwe (Xavante) in 2001, studied literature and overnight stays in villages and Wederã Pimentel Barbosa (2006, fifteen days) and in the village Etenhiritipa (2010, two months), located in the Rio das Mortes Reserve, in the state of Mato Grosso

Orientador: Luiza H. S. Christov / Coorientador: Rosângela P. de Tugny / Banca: Tania Stolze Lima / Banca: Paulo R. Maia Figueiredo / Resumo: Esta dissertação caracteriza-se como estudo a respeito de atividades oníricomusicais a'uwe e processos de construção de conhecimento a elas vinculados. Destaca-se do contexto estudado a noção de pegar cantos nos sonhos e o fato de que cada geração de homens é orientada desde a infância pelos mais velhos, para que aprendam esta prática. A esses processos estão vinculadas noções de sonho, música e sobre o que entendemos como construção de saberes, investigadas, sobretudo, a partir de exercícios de tradução e análise de relatos de sonhos com cantos, narrados por homens a'uwe. As reflexões aqui apresentadas foram desenvolvidas a partir de um primeiro contato com pessoas do povo A'uwe (Xavante) no ano de 2001, de estudo bibliográfico e de estadias nas aldeias Pimentel Barbosa e Wederã (2006, quinze dias) e na aldeia Etenhiritipa (2010, dois meses), situadas na Reserva Rio das Mortes no Estado do Mato Grosso / Abstract: This dissertation is characterized as a study about dream-musical activities a'uwe and construction processes of knowledge linked to them. Stands out from the context studied the notion of taking corners in dreams and the fact that each generation of men is driven since childhood by their elders, to learn this practice. To these processes are linked to notions of dreams, music and what we understand as knowledge construction, investigated mainly from exercises of translation and analysis of dream reports with songs, narrated by men a'uwe. The ideas presented here were developed from a first contact with the common people A'uwe (Xavante) in 2001, studied literature and overnight stays in villages and Wederã Pimentel Barbosa (2006, fifteen days) and in the village Etenhiritipa (2010, two months), located in the Rio das Mortes Reserve, in the state of Mato Grosso / Mestre

No description available.

This master’s thesis examines different mental training tools that musicians can utilize in order to be more comfortable on stage and to let the music flow unobstructed. The study focuses to a great extent on the art of visualizations in order for the musician to redirect their attention from intruding performance thoughts towards a defined musical and emotional expression. In addition, the study explores how other tools such as singing, meditating, dancing, breathing and positive affirmations can affect the performance, as well as how the audience experience the concert. The study was carried out with the help of artist- and performance coach Christine Löfgren, and with the help of Kenny Werner's book “Effortless Mastery: Liberating the Master Musician Within”. The work observes the musical and personal development the author Ludvig Dahlström has undergone during his last semester at the master's program in classical viola at Edsberg, Royal College of Music, Stockholm. The final result was performed at an graduation recital on May 29, 2023 and is documented with an audio recording. The study concludes that the mental training has been successful, resulting in measurable differences such as a bigger sound, a more natural musical flow and an increased well-being on stage and in general, as well as an improvement in focus and quicker learning. In addition, the study has resulted in a general improvement of self-esteem of the writer and a closer communication with the audience. / Det här masterarbetet undersöker olika verktyg inom mental träning som musiker kan använda sig av för att bli bekväma på scenen och fria i musicerandet. Extra vikt läggs vid att visualisera känslor och karaktärer i musiken för att rikta uppmärksamheten bort från distraherande tankar, och istället mot det musikaliska och känslomässiga uttrycket. Studien har även utforskat hur andra verktyg såsom sång, meditation, dans, andning och positiva affirmationer kan påverkar framträdandet, och hur publiken upplever konserten. Studien genomfördes tillsammans med Christine Löfgren, artistcoach, föreläsare och regissör samt med hjälp av Kenny Werners bok “Effortless Mastery: Liberating the Master Musician Within”. Arbetet observerar den utveckling som författaren Ludvig Dahlström har genomgått under den sista terminen på masterprogrammet i klassisk viola på Edsberg, Kungliga Musikhögskolan i Stockholm. Slutresultatet redovisades i en examenskonsert den 29 maj 2023 och har dokumenterats med ljudinspelning. Studien kom fram till att dessa verktyg har haft en positiv musikalisk effekt i form av större klang, naturligare flöde i musiken och ett ökat välbefinnande, men även ett förbättrat fokus, och effektivare inlärning. Dessutom har studien resulterat i en allmänt förbättrad självkänsla samt en närmare kontakt med publiken.

Mark Morris is deeply engaged with dance traditions and the classics, but he transforms them into modern, eclectic pieces. He often dissolves the distinctions between reality and fantasy, and good and evil, emphasizing reconciliation and love. Morris sculpts his own story and characters from musical elements within the overarching musical structure, portraying the characters and their emotions through detailed variations of movement quality. Characterizing Morris' dual attitudes as ambivalence, this study aims to highlight the dynamic structure and complexity of meaning in his works. I suggest that Morris' ambivalence is related to his perspective, the way he sees the world. / Dance

Denna studie har som syfte att undersöka musiklärares definitioner gällande musikalitetsbegreppet. Studien undersöker också hur musiklärare resonerar kring sin egen, samt sina elevers musikalitet. Tidigare forskning presenteras i studien där musikalitet utifrån denna kan ses utifrån tre olika perspektiv: absolut, relativ och relationell musikalitetsuppfattning. Det sociokulturella perspektivet, med fokus på det kulturella sammanhangets betydelse för användning av begreppet musikalitet, är denna studies teoretiska utgångspunkt. Den forskningsmetod som valts för att undersöka ämnet är kvalitativa intervjuer, vilka fördes med sex musiklärare uppdelade i tre olika musikgenrer: klassisk musik, afroamerikansk musik och folkmusik. I resultatet framkommer det att musikalitet är ett svårdefinierat begrepp, det vill säga att det kan tolkas på många olika sätt. De definitioner som dock framkommer är att en musikalisk person har gott gehör och goda förmågor att kommunicera i samspel med andra musiker. Dessa förmågor kan både vara förvärvade redan från födseln eller vara utvecklingsbara. Musikalitetsbegreppet kan dessutom definieras som en företeelse som skiftar i värde beroende på i vilken situation och miljö det används i. Vad gäller resonemang gällande elevens musikalitet menar musiklärarna att det finns en osäkerhet kring att använda musikalitetsbegreppet i undervisningen. Lärarnas resonemang kring sin egen musikalitet är att de alla ser sig själva som musikaliska om de får utgå från sin egen definition av begreppet. Slutligen förs en diskussion kring de olika definitionerna på musikalitet som behandlas i resultatet utifrån det sociokulturella perspektivet och tidigare presenterad litteratur. / This study focuses on exploring how music teachers define the term musicality. The study also explores how music teachers discuss their own musicality and the musicality of their students. Previous research is presented in the study where musicality can be seen from three different perspectives: Definite-, relative- and relational perception of musicality. The sociocultural perspective, focusing on the meaning of the cultural context using the term musicality, is the theoretical premise of this study. The chosen research method to explore this subject is interviews, which were executed with six music teachers from three different music genres: classical music, improvised music and traditional folk music. The result shows that musicality is difficult to define, meaning that there are many different ways to interpret the concept. The definitions that do appear are that a person with musicality has advanced hearing and is able to communicate in interplay with other musicians. These abilities can be both acquired at birth or developed through life. The term musicality can also be defined as a phenomenon that changes in value depending on in what situation and environment it is used. In arguments about musicality in students the teachers find that they are hesitant about using the term in educational situations. Based on their own definition of the term the music teachers view themselves as musically talented. In conclusion a discussion is formed around the different definitions of musicality processed in the result using the sociocultural learning perspective and previously presented literature.