A presente dissertação busca compor possíveis interlocuções entre o campo psicanalítico e musical a partir da temática da voz. Para tanto, explora, primeiramente, as referências à voz e à musicalidade encontradas nas teorizações psicanalíticas, dando especial ênfase à concepção lacaniana de voz como objeto a e à pulsão invocante. Em seguida, a pesquisa se aproxima do campo musical, buscando situar transformações sofridas no emprego da voz ao longo da história da música. Finalmente, através das obras do compositor Gilberto Mendes, possíveis articulações e tensionamentos entre as áreas psicanalítica e musical são tecidos, buscando ainda, pontos de encontro entre sua arte de vanguarda e os potentes estudos utópicos. / The possibility of Interlocution between music and psychoanalysis through the theme voice is the focus of the present dissertation. Towards this goal references to voice and musicality as found in psychoanalytical theory are explored with emphasis on the Lacanian concept of voice as object a as well as on vocal drive. Changes in voice use along the history of music, and Brazilian composer Gilberto Mendes’ works are analyzed in view of probable interfaces with psychoanalysis, and of points of contact between his vanguard art work and today’s promising utopian studies.

A presente dissertação busca compor possíveis interlocuções entre o campo psicanalítico e musical a partir da temática da voz. Para tanto, explora, primeiramente, as referências à voz e à musicalidade encontradas nas teorizações psicanalíticas, dando especial ênfase à concepção lacaniana de voz como objeto a e à pulsão invocante. Em seguida, a pesquisa se aproxima do campo musical, buscando situar transformações sofridas no emprego da voz ao longo da história da música. Finalmente, através das obras do compositor Gilberto Mendes, possíveis articulações e tensionamentos entre as áreas psicanalítica e musical são tecidos, buscando ainda, pontos de encontro entre sua arte de vanguarda e os potentes estudos utópicos. / The possibility of Interlocution between music and psychoanalysis through the theme voice is the focus of the present dissertation. Towards this goal references to voice and musicality as found in psychoanalytical theory are explored with emphasis on the Lacanian concept of voice as object a as well as on vocal drive. Changes in voice use along the history of music, and Brazilian composer Gilberto Mendes’ works are analyzed in view of probable interfaces with psychoanalysis, and of points of contact between his vanguard art work and today’s promising utopian studies.

A presente pesquisa acompanha o processo de aprendizagem da flauta doce de um grupo de dezessete sujeitos, com idades entre nove e treze anos, que participa de um projeto de extensão oferecido por uma escola pública de Ensino Fundamental e Médio em Porto Alegre, buscando compreender como se dá o desenvolvimento da musicalidade. Apóia-se na concepção de musicalidade como uma característica humana, constituída pela capacidade de geração de sentido musical através de uma performance expressiva. A metodologia de pesquisa possui abordagem qualitativa, com a realização de um estudo de caso em grupo por meio de observações de aulas e apresentações coletivas de flauta doce. Foram realizadas entrevistas semi-estruturadas como procedimento complementar. A coleta de dados aconteceu entre setembro de 2007 e agosto de 2008, totalizando 16 encontros, registrados em diário de campo e em arquivos de áudio. A observação dos indicadores sonoridade, fraseado, fluência na execução instrumental e interação musical otimizou a análise e interpretação dos resultados. O desenvolvimento da musicalidade dos sujeitos caracterizou-se por ser um processo dinâmico de aquisição gradativa de conhecimentos e habilidades musicais que promovem, a cada avanço, uma totalidade nova do saber-fazer que favorece a expressividade na performance. Os resultados demonstraram que o repertório, a prática e estudo, o contexto sociocultural, o acesso à técnica, criação e leitura musical e a ocorrência de apresentações musicais são fatores que influenciam o desenvolvimento da musicalidade. / The present research traces the recorder learning process in a group of seventeen people, between the ages of nine and thirteen, which participate in an extension program held by a public school in Porto Alegre city. This research aims to understand how musicality is developed, based on the concept that this is a human characteristic, constituted by the capacity of creating musical meaning through expressive performance. The methodology applied has a qualitative approach. A group case study was made through class observation and collective recorder presentations. Semi-structured interviews were conducted as a complementary procedure. Data collection occurred between September 2007 and August 2008 by a total of 16 meetings registered in a field diary and in audio files. The observation of indicators such as sonority, musical phrasing, instrumental fluency and musical interaction optimized the analysis and interpretation of the results. The development of musicality in these seventeen people was characterized by the dynamic process of gradual acquisition of musical knowledge and ability, which promotes, at every progress, a new know-how wholeness that favors performance expressivity. The results demonstrated that: repertoire; practice and study; sociocultural context; access to technique, composition, improvisation, and musical reading; and the occurrence of musical presentations are factors that influence musicality development.

Syftet med studien är att undersöka hur pedagogens syn på musik påverkar hur de arbetar med musik i förskolans verksamhet. Studiens tre frågeställningar är - Vad anser pedagoger ingår i begreppet musik? Vilka kunskaper anser sig pedagoger behöva för att undervisa i och arbeta med musik i förskolan? samt I vilket syfte använder pedagoger musik i förskolan? Datainsamlingen gjordes genom delvis strukturerade kvalitativa intervjuer med sex pedagoger i en större stad. Resultatet visar att musik ska vara ett glädjeämne i förskolan och finns dagligen med i de undersökta förskolorna. Pedagogerna anser att alla är musikaliska och att vem som helst kan arbeta med musik som verktyg. De medverkande pedagogerna är alla intresserade av musik, vilket de menar är en anledning till att de använder mycket musik i verksamheten. Samtliga pedagoger framhäver musikens viktiga roll i förskolan. Studiens slutsatser är att pedagogens intresse av och kunskaper inom musik styr hur denne planerar de musikaliska aktiviteterna i förskolan. Synen på musik och musikalitet påverkar hur musiken används och vilka möjligheter barn får till musikaliskt lärande. Musik är något som kan stimulera alla barns lärande. / The aim of the study is to research how the teacher’s view of music affects how they work with music in preschool. The three research questions are - What do teachers consider to be included in the concept of music? What knowledge do the teachers think they need to work with music in preschool? and With what purpose do teachers use music in preschool? The collecting of data was done through semi structured qualitative interviews with six teachers in a larger town. The result shows that music should be a joyful subject in preschool and is a daily element in the participating preschools. The teachers think that everyone is musical and that anyone can work with music as a tool. The participating teachers are all interested in music which they mean is a reason that they use a lot of music in preschools. All the teachers highlight the music’s essential role in preschools. The conclusions of the study are that the teachers interest in and knowledge of music affects how they plan the musical activities in preschool. The view of music and musicality affects how music is used and which opportunities children get to learn musically. Music is something that can stimulate every child’s learning.

The Sound and the Fury is a noisy book. Through the audible, the barely audible, and the silence, William Faulkner supports his narrative design with sound beyond dialog to inform and inflect the destabilizing narrative voices. This essay explores Faulkner's use of the sound and noise of the novel as another narrative voice. Faulkner's rich use of sound as a recurring motif, almost a persona or narrator itself, functions not merely to animate the action, the characters, and the title; it also speaks in the "hush" and the freighted "stiffly sibilant" whispers of those who dare not speak, or are "trying to say," while simultaneously running as a voiceless current beneath the disjunctive narrative. The range and quality of sound wavers throughout, from the musical to the "indescribable," as the past and present repeatedly segue forward and back to this soundtrack. Like the otherworldly racket of Macbeth, the noise of the novel plays beneath the surface, begging to be heard. Much scholarship has been devoted to exploring Faulkner's The Sound and the Fury, yet the text continues to reveal layers of meaning and resonance to yet another generation. This study seeks to interrogate the nature, function, and musicality of the sound, noise, and silence of the text as adumbrated in the rhetoric of Reverend Shegog's Easter sermon, Luster's valiant attempts to play on the saw the "inaudible tune," the ubiquitous bells, and Dilsey's determination through it all to sing. This study hopes to enter into the conversation on Faulkner's enduring work by listening to what the text is "trying to say."

This study is about El Sistema, a choir- and orchestra school, that focuses on social development and uses music as a tool to achieve their aims. They primarily work where it is needed the most. Their vision is to get all children, independent of social status, opportunity to take part in instrumental- and choir lessons. The purpose of this study is to shed light on how the El Sistema teachers enable musical learning to take place among the participants. Socio-cultural perspectives on learning, situated learning, the different layers of music from the theory of Frede V. Nielsen, and the intrinsic value of musical experience are used as theoretical starting points. The method in this study was qualitative, semi-structured interviews. This study was conducted with four qualitative interviews. The result shows that musical issues are, to some extent, neglected in El Sistema´s work, that different educators within El Sistema are differently aware of the musical aspect, and how the musical quality is to be achieved in the work, despite the fact that El Sistema has highly appointed musical goals. The result also shows that musical learning is promoted by teaching children in small groups, several times a week. / Den här uppsatsen handlar om El Sistema, en kör-och orkesterskola, som arbetar för social samt mänsklig utveckling främst där behoven är störst. El Sistema anser fokusera på social utveckling och använder musiken som medel för att nå dit. Syftet med denna studie är att belysa hur El Sistema lägger tillrätta för att det musikaliska lärandet ska kunna ske bland deltagarna. Som teoretiska utgångspunkter används sociokulturellt perspektiv på lärande, situerat lärande, musikens olika lager ur Frede V. Nielsens teori samt den musikaliska erfarenhetens egenvärde. Metoden har varit kvalitativa, semistrukturerade intervjuer. Fyra kvalitativa intervjuer har genomförts med fem informanter, varav fyra stråklärare och en rytmiklärare. Resultatet visar att musikaliska frågor till viss del är åsidosatta i El Sistemas arbete. Resultatet visar även att pedagoger inom El Sistema i olika grad inte är medvetna om hur den musikaliska kvalitén ska uppnås i arbetet, trots att El Sistema har högt uppsatta mål när det gäller det musikaliska uttrycket.

In classrooms and textbooks the “Director's Vision” is often identified as the unifying concept for the production, and my goal in returning to graduate school was to explore my own vision as a director. In my own practice as a director, I tend to “hear” the play in my head before visualizing it. From my interpretation of the text, to the staging of the performers, to my collaboration with design team, my approach to the production of theatre stems from a place of musicality. Seeking a Vision, Finding a Voice explores my creative journey as multi-disciplinary theatre artist through a series of case studies detailing my practice as a Director/ Sound Designer. It examines my evolving process, which often utilizes audio collage to shape the dramatic arc of a piece or scene, experiments with using music to inform character, emotion, and movement, and values the impulses of the cast and creative team as important collaborative resources. By detailing my process on three productions (as Director/ Sound Designer of the University of Central Florida's Theatre for Young Audience's Tour, Emily Freeman's And Then Came Tango, as the Assistant Director/ Dramaturg/ Sound Designer for UCF's production of Paula Vogel's The Baltimore Waltz, and as the Director/ Sound Designer of John Patrick Shanley's Doubt: A Parable, for Titusville Playhouse, Inc.), my process as director/designer is critically analyzed and reflected upon. Through my analysis, I explore the benefits and challenges of being a Director-who-Designs and a Designer-who-Directs, utilizing aural dramaturgy, collaboration, rhythm and emotion as essential tools in practicing theatre production. Seeking a Vision, Finding a Voice reflects on my practice through the lens of David Roesner's Musicality as a Paradigm for the Theatre: A Kind of Manifesto, analyzing the ways in which the 'notion of musicality' was exemplified in the preparation, performance, and perception of my work. This thesis examines the benefits and challenges of multidisciplinary artistry, pondering the merits and pitfalls of taking on multiple roles in each of my processes. It further explores the impact applying musicality to theatre practice can have on both actors and audiences and cherishes sound design as a valuable tool capable of enriching theatrical storytelling.

No description available.

Musikalitet är ett begrepp fyllt av spänning. För många är musikalitet något eftersträvansvärt, men att definiera vad musikalitet innebär är mycket svårt, och det finns ingen vedertagen vetenskaplig definition som är allomfattande. Det finns heller ingen speciell metod eller undervisning beskriven som särskilt utvecklar musikaliteten hos olika individer. Inom dans- och musikundervisning används begreppet mycket frekvent, men det är ofta oreflekterat och oklart vad som exakt menas. Syftet med min undersökning har varit att bland danspedagogstudenter söka mer förståelse för vad det kan innebära att vara musikalisk. Jag ville ta reda på hur en grupp danspedagogstudenter valde att beskriva sina uppfattningar av innebörden av begreppet musikalitet, samt hur de beskrev om, och i så fall hur man kan utveckla musikaliteten. Studien har genomförts som en semistrukturerad enkät och med hjälp av en fenomenografiskt inspirerad analys har studenternas svar som ett resultat kunnat sorteras i ett antal beskrivningsområden. Genom det kulturpsykologiska perspektivet framhålls vikten av att se till variationer i människors uppfattningar om musikalisk förmåga i relation till biologi och miljö, i relation till individ och kultur. Begreppet musikalitet verkar vara ett samlande begrepp för ett flertal musikaliska förmågor, en multipel förmåga.

Diploma thesis "Development of musicality in children with specific learning disabilities" will be focused on children in elementary school age with diagnosis specific learning disabilities. The thesis is divided into two parts - a theoretical one and a practical one. The theoretic part includes information about specific leasing disabilities and about basic musical term. Also, there is a chapter about the psychomotor development. The practical part involves information about three children with specific leasing disabilities, be specific two boys and one girl at the similar age.This work will be find out level of musical skills in children with specific learning disabilities and compare their level of musical skills with intact children In second part of this thesis will be particular suggestions and procedure how to develop musicality in children with specific learning disabilities.