Orientador: Martha Herr / Banca: Mirna Rubin / Banca: Káthya Ayres de Godoy / Resumo: Tendo em vista a exigência do cantor de ópera atual possuir não somente uma excelente técnica vocal e musical, mas também uma competente desenvoltura cênica, e, levando em consideração que estas habilidades cênicas são desenvolvidas pelo cantor na maioria das vezes de forma autodidata, este trabalho tem como objetivo pesquisar conhecimentos que possam auxiliar no desenvolvimento destas habilidades por jovens cantores que careçam de orientação nesta área ao ingressarem no mercado de trabalho. Esta pesquisa baseia-se principalmente em teóricos que já abordaram a questão específica da atuação cênica do cantor de ópera. / Abstract: Considering the demands presently made upon the opera singer to have not only an excellent vocal and musical technique, but also a competent capacity scenically, and taking into account that these scenic abilities are usually self-taught, the objective here is to research theoretical tools that will aid the young singer entering the job market and who lacks orientation in this area to develop these abilities. Research is based on works that approach the specific subject of the opera singer' scenic performance. / Mestre

Por meio da mútua colaboração, compositores e intérpretes sempre buscaram novas maneiras de explorar as possibilidades sonoras, tímbricas e técnicas dos instrumentos. Na música contemporânea, essa busca revela-se principalmente no que chamamos de técnicas estendidas. Este estudo tem como objetivo investigar, sob a ótica da cooperação compositor-intérprete, as técnicas estendidas aplicadas nas obras Vitrais, para fagote, cordas e percussão, composta por Nelson Almeida, e Fantasia, para fagote e piano, composta por Ricardo Brafman. Traça-se um panorama histórico da parceria entre o compositor e o intérprete ao longo da história da música, no qual se discute a importância de todo esse processo colaborativo. Em se tratando da música composta a partir do século XX, como é o caso das peças em questão nesta pesquisa, a metodologia utilizada baseia-se, principalmente, nos trabalhos do compositor italiano Bruno Bartolozzi e do fagotista italiano Sérgio Penazzi, que desenvolveram trabalhos colaborativos nas pesquisas relacionadas às técnicas estendidas. Além disso, por meio dos diálogos, das comunicações pessoais e das entrevistas realizadas pelo autor deste trabalho com os compositores Nelson Almeida e Ricardo Brafman, relatamos todo o processo composicional que envolveu as referidas peças. Ao focar na interpretação das obras, este trabalho traz a análise em duas partes. A primeira, sob o prisma das particularidades individuais das técnicas estendidas aplicadas, tece considerações acerca de dedilhados e das maneiras de execução. A segunda parte destaca os aspectos da forma, do ritmo, do timbre e textura e dos materiais musicais usados. Pela cooperação, obtiveram-se resultados satisfatórios na aplicação das técnicas estendidas utilizadas tanto em Vitrais quanto na Fantasia. Dessa forma, o processo colaborativo mostra-se eficiente como uma ferramenta importante no auxílio da busca do material sonoro esperado pelos compositores. / In their collaborations, composers and performers have always sought to find new ways of exploring musical instruments sonic, timbral and technical possibilities. In contemporary music today, that exploration is noticeable above all in what are called extended techniques. The present study\'s objective is to investigate, from the perspective of composer-performer collaboration, the use of extended techniques in the following works: Vitrais, for bassoon, strings and percussion, composed by Nelson Almeida, and composer Ricardo Brafman\'s Fantasia for bassoon and piano. The study offers a historical view of collaborations between composer and performer throughout the history of western music, and the importance of all this joint work is discussed. The present study focuses on works from the twentieth century; for that reason the methodology employed is based principally on the work of the Italian composer Bruno Bartolozzi, as well as that of the Italian bassoonist Sergio Penazzi. Both undertook collaborative projects in their research relating to extended techniques. In addition, the present study describes the compositional process involved in the aforementioned compositions, by means of dialogue, personal communications and interviews undertaken by the researcher with composers Nelson Almeida and Ricardo Brafman. The interpretation of these works is also discussed here, being analyzed from two perspectives. The first of these involves the specific details of the extended techniques employed; fingerings and means of execution are discussed. The second part highlights those elements of form, rhythm, timbre and texture and musical materials that were used. The collaboration that took place led to satisfactory results in the employment of extended techniques both in Vitrais and in the Fantasia. The collaborative process can thus be seen to be effective as an important tool, aiding in the search for the sonic results desired by the composers.

Prenant acte de la crise des représentations liées à la « graphosphère » et de la montée en puissance des représentations multimédia, constatant l'émergence de l'informatique temps réel dans les arts de la scène, nous avons mené notre recherche depuis plusieurs années sur le thème de la médiation des technologies de l'information et de la communication dans l'écriture des spectacles vivants (théâtre et opéra, principalement), et leur recréation par les spectateurs. Notre perspective est la conception d'environnements informatiques pour la création artistique scénique et sa réception, destinés à trois communautés d'utilisateurs : les créateurs d'œuvres, les performers sur scène, et le public au sens large.<br />Dans la conduite de notre recherche, nous avons exploré trois pistes, chacune adossée à une étude de cas sur un spectacle professionnel représenté sur scène :<br />− Les environnements virtuels informés, pour permettre l'émergence de nouvelles modalités de mise en scène, au-delà du déploiement classique d'ontologies de personnages et de situations.<br />− Les collections numériques, entre semblance et contiguïté, au service de créations ouvertes, que le performer comme le visiteur peut réagencer en les parcourant.<br />− Les environnements d'assistants virtuels de performer et metteur en scène, à base de collections numériques et de logique floue, qui se positionnent dans les processus de formulation d'intentions de leurs utilisateurs.<br />L'ensemble de ces travaux ouvre à un programme de recherches autour de l'assistance aux concepteurs, aux interprètes et aux spectateurs des productions artistiques, en travaillant sur les situations d'intervention : le plateau et plus seulement l'ordinateur en tant qu'environnement de prescription pour les concepteurs ; les espaces de training et plus seulement la scène pour les performers ; enfin, l'espace du spectateur n'est plus seulement la salle de concert, mais des lieux non-scéniques comme le musée, et des terminaux comme l'ordinateur individuel ou le téléphone portable.

Current scholarship recognizes that music is a powerful channel that can manifest individual identity. But such research takes for granted music as a symbol of collective cultural identity, and, therefore, neglects examining how music in general, but musical performance in particular, functions to produce and reproduce a society at large. Indeed, what is missing is a rigorous understanding of not only how the act of performing forms collective identity, but also how it acts as an agency, indeed, perhaps the only agency that enables this process. As Thomas Turino suggests, externalized musical practice can facilitate the creation of emergent cultural identities, and help in forming life in new cultural surroundings. The present thesis examines the dynamics between cultural identity and music from the perspective of the performing musician. By examining musical situations in the context of the Armenian – Canadian diaspora, I will show how performers themselves both evoke feelings of nostalgia for the homeland and maintain the traditions of their culture through the performance event, while simultaneously serving as cultural ambassadors for the Armenian – Canadian community. My thesis outlines four key themes that are crucial in understanding the roles of musicians in Armenian culture. They are tradition bearer, educator, cultural ambassador, and artisan. As boundaries between peoples and nations progressively blur, I conclude that performance proves a vital medium where a search for national identity can occur, frequently resulting in the realization of one’s ethnic identity. Ultimately, without the labors of the performing musician, music would be unable to do the social work that is necessary in forming cultural, social, or even personal identities.

Current scholarship recognizes that music is a powerful channel that can manifest individual identity. But such research takes for granted music as a symbol of collective cultural identity, and, therefore, neglects examining how music in general, but musical performance in particular, functions to produce and reproduce a society at large. Indeed, what is missing is a rigorous understanding of not only how the act of performing forms collective identity, but also how it acts as an agency, indeed, perhaps the only agency that enables this process. As Thomas Turino suggests, externalized musical practice can facilitate the creation of emergent cultural identities, and help in forming life in new cultural surroundings. The present thesis examines the dynamics between cultural identity and music from the perspective of the performing musician. By examining musical situations in the context of the Armenian – Canadian diaspora, I will show how performers themselves both evoke feelings of nostalgia for the homeland and maintain the traditions of their culture through the performance event, while simultaneously serving as cultural ambassadors for the Armenian – Canadian community. My thesis outlines four key themes that are crucial in understanding the roles of musicians in Armenian culture. They are tradition bearer, educator, cultural ambassador, and artisan. As boundaries between peoples and nations progressively blur, I conclude that performance proves a vital medium where a search for national identity can occur, frequently resulting in the realization of one’s ethnic identity. Ultimately, without the labors of the performing musician, music would be unable to do the social work that is necessary in forming cultural, social, or even personal identities.

Užsienio autoriai atlieka tokius tyrimus, kurių tikslinė grupė – profesionalūs muzikos atlikėjai. Tyrėjų tikslas nustatyti, ar muzikos studijų programa aukštojoje mokykloje tinkamai parengia jaunuosius muzikos atlikėjus, kad jie galėtų būti vadinami profesionalais (Creech, Papageorgi, et. all, 2007). Kiti autoriai analizuoja tokius probleminius klausimus, kaip kintantys muzikos atlikėjo profesionalumo standartai (Smilde, 2007; Tooley, 1998). Neneigiant pastarųjų tyrimų reikšmingumo, aktualu tyrinėti muzikos studijų krypties studentų sėkmingos karjeros sampratą ir veiksmus, siekiant sėkmingos karjeros. Tyrimo objektas – muzikos studijų krypties studentų sėkmingos karjeros samprata ir sėkmingos karjeros strategijos. Problema – prieštaravimas tarp muzikos studijų krypties studentų sėkmingos karjeros sampratos ir sėkmingos karjeros strategijos. Tyrimo klausimai – kokia muzikos studijų krypties studentų sėkmingos karjeros samprata?, kokios muzikos studijų krypties studentų sėkmingos karjeros strategijos? Tikslas – nustatyti muzikos studijų krypties studentų sėkmingos karjeros sampratą ir sėkmingos karjeros strategijas. Tyrimo uždaviniai: 1. Identifikuoti muzikos atlikėjo vaidmenis. 2. Apibrėžti kintančios karjeros sampratą. 3. Apibūdinti sėkmingos karjeros sampratą. 4. Apibrėžti sėkmingos karjeros strategijas. 5. Nustatyti muzikos studijų krypties studentų sėkmingos karjeros sampratą ir sėkmingos karjeros strategijas. Tyrimo metodai: 1. Užsienio autorių straipsnių analizė. 2... [toliau žr. visą tekstą] / There are made various researches that focus on such participants as professional music performers. The aim of those researches is to ascertain does music curriculum of high school is appropriate in order to train qualified professional musicians (Creech, Papageorgi, et. All, 2007). Different authors analyze such kind questions as changing standards of professional music performer (Smilde, 2007; Tooley, 1998). Talking about students of musical studies field, it is important to define their conception of successful career and actions reaching successful career. The object of this research - successful career strategies of students’ of musical studies field The aim of this research - to determine successful career conception and successful career strategies of students’ of musical studies field. The following tasks were formulated in order to achieve the purpose: 1. To identify the roles of music performer. 2. To determine protean career conception. 3. To describe successful career conception. 4. To describe successful career strategies. 5. To determine successful career conception and successful career strategies of students’ of musical studies field. The methods of this research: abroad authors academic articles analysis; qualitative research (semi structured interview) One of the main results of this research is conclusion that successful career conception meanings of students’ of musical studies field belong to different constructs configurations of multidimensional model... [to full text]

This qualitative multiple-case study examined the pedagogical role that performance arts training played in the emergence of students’ mature artistic identities. As one of many instructors in the musical theatre program of a post-secondary college, the author fulfilled both the roles of researcher and studio music teacher. Multiple learning contexts were observed for eight first-year students; these contexts included the regimens in various artistic classrooms and in the vocal studio. The data comprised field observations from studio and classroom settings, individual interviews with eight students from the vocal studio, and audio recordings from their studio sessions. Data analysis revealed that the students’ construction of identity was positively impacted by: the “triple-threat” program components, the unique dyad relationship between the vocal studio teacher and her students, and the rigorous, professional training the students underwent. A study of the interactions amongst the disciplines of music, dance, and drama exhibited several implications in relation to the students’ acute identity experiences. Recommendations for improved musical theatre curricula centred on improved integration of the three disciplines, enhanced studio time, and greater skill development in the studio. Suggestions for future research in performance arts education were also offered. / Thesis (Master, Education) -- Queen's University, 2008-08-12 23:23:52.131

Ett nytt ”gränslöst arbetsliv” med fokus på och bedömning av prestation har idag växt fram. Individen har större eget ansvar över sitt arbete och förväntas leva upp till höga krav. Syftet med denna studie är att i det prestationsinriktade arbetslivet undersöka upplevelser av högprestation och arbetstillfredsställelse inom ett företag som använder ett högpresterande system, områden som berörs är motivation och ledarskap. Undersökningens frågeställning som besvaras är: Hur upplever chefer och medarbetare högpresterande system och arbetstillfredsställelse? Undersökningen tar utgångspunkt i kvalitativ metod. Sammanlagt 8 intervjuer har genomförts, med 4 chefer och 4 högpresterande medarbetare. Det framkommer i resultatet att chefer ställer höga krav på medarbetare som i sin tur ställer höga krav på sig själva. Vissa egenskaper så som driv, energi, engagemang och viljan att utvecklas ses som speciellt värdefulla bland de intervjuade. Resultatet påvisar upplevelser kring att högpresterande system kan bidra med såväl positiva- som negativa konsekvenser.

Current scholarship recognizes that music is a powerful channel that can manifest individual identity. But such research takes for granted music as a symbol of collective cultural identity, and, therefore, neglects examining how music in general, but musical performance in particular, functions to produce and reproduce a society at large. Indeed, what is missing is a rigorous understanding of not only how the act of performing forms collective identity, but also how it acts as an agency, indeed, perhaps the only agency that enables this process. As Thomas Turino suggests, externalized musical practice can facilitate the creation of emergent cultural identities, and help in forming life in new cultural surroundings. The present thesis examines the dynamics between cultural identity and music from the perspective of the performing musician. By examining musical situations in the context of the Armenian – Canadian diaspora, I will show how performers themselves both evoke feelings of nostalgia for the homeland and maintain the traditions of their culture through the performance event, while simultaneously serving as cultural ambassadors for the Armenian – Canadian community. My thesis outlines four key themes that are crucial in understanding the roles of musicians in Armenian culture. They are tradition bearer, educator, cultural ambassador, and artisan. As boundaries between peoples and nations progressively blur, I conclude that performance proves a vital medium where a search for national identity can occur, frequently resulting in the realization of one’s ethnic identity. Ultimately, without the labors of the performing musician, music would be unable to do the social work that is necessary in forming cultural, social, or even personal identities.

This study investigates how a choreographer, through the abstract language of contemporary dance, generates emotional states/nuances which can be recognised but at the same time allow for ambiguity in the reading of the work. This investigation was addressed through a series of performance projects, culminating in the final dance work Inhabited Space. The setting for the work, triggered by Bachelard's The Poetics of Space, became the imagined spaces of a domestic urban environment, specifically the lounge and bedroom. In order to create a work reflecting emotional states and nuances, a range of choreographic processes were explored to inform the construction of movement vocabulary, framed by performer/space/object relationships. This studio-based study with performative outcomes was supported by a hybrid methodological approach of predominantly practice-led research, incorporating aspects of action research and phenomenology. Findings and understandings emerged from reflective practice in the exegesis but were primarily embedded within the creative work itself.