The objective of this dissertation is to explore how collaborative partnerships between composers and performers can shape musical repertoire. Since composers do not work in isolation and they often compose with specific players in mind, the person they write for can influence their approach to a given piece. If they consult the performer, a working relationship might ensue in which the performer’s contribution to the music can range from the interpretation of the piece to its co-creation. Numerous flute compositions in Hungary since the 1950s were created for specific performers and have therefore greatly benefited from this type of music-making. This study proposes a theoretical model of composer-performer collaborations that classifies these artistic partnerships into six types, according to the amount and kind of influence the performer has on the music. Based on score analysis and interviews conducted with Hungarian performers and composers, the creative contributions made by flutists István Matuz, Zoltán Gyöngyössy, Gergely Ittzés, Gyula Csetényi, Bea Berényi, Ákos Dratsay and János Bálint are examined in the music of Miklós Kocsár, Iván Madarász, László Dubrovay, József Sári, Miklós Sugár, István Láng, László Tihanyi, István Szigeti, Máté Hollós and Péter Eötvös. In addition, pieces by flutist-composers István Matuz, Zoltán Gyöngyössy and Gergely Ittzés are also studied. The focus is directed to music for one to four flutes, flute with orchestra and flute with piano, as these are the types of pieces in which composer-performer partnerships are most apparent.

A percussion performance by a skilled musician will often extend beyond a written score in terms of expressiveness. This assertion is clearly evident when comparing a human performance with one that has been rendered by some form of automaton that expressly follows a transcription. Although music notation enforces a significant set of constraints, it is the responsibility of the performer to interpret the piece and “bring it to life” in the context of the composition, style, and perhaps with a historical perspective. In this sense, the sheet music serves as a general guideline upon which to build a credible performance that can carry with it a myriad of subtle nuances. Variations in such attributes as timing, dynamics, and timbre all contribute to the quality of the performance that will make it unique within a population of musicians. The ultimate goal of this research is to gain a greater understanding of these subtle nuances, while simultaneously developing a set of stochastic motion models that can similarly approximate minute variations in multiple dimensions on a purpose-built robot. Live or recorded motion data, and algorithmic models will drive an articulated robust multi-axis mechatronic system that can render a unique and audibly pleasing performance that is comparable to its human counterpart using the same percussion instruments. By utilizing a non-invasive and flexible design, the robot can use any type of drum along with different types of striking implements to achieve an acoustic richness that would be hard if not impossible to capture by sampling or sound synthesis. The flow of this thesis will follow the course of this research by introducing high-level topics and providing an overview of related work. Next, a systematic method for gesture acquisition of a set of well-defined percussion scores will be introduced, followed by an analysis that will be used to derive a set of requirements for motion control and its associated electromechanical subsystems. A detailed multidiscipline engineering effort will be described that culminates in a robotic platform design within which the stochastic motion models can be utilized. An analysis will be performed to evaluate the characteristics of the robotic renderings when compared to human reference performances. Finally, this thesis will conclude by highlighting a set of contributions as well as topics that can be pursued in the future to advance percussion robotics. / Graduate / 2019-12-10

Main objective of this thesis is to examine in detail the topic of performers' intellectual property rights and their term of protection, offering an insight based both on the historical background and the current state of legal regulation (Czech, European and international). Especially, I deal with the changes resulting from implementation of Directive 2011/77/EU of the European Parliament and of the Council of 27 September 2011 amending Directive 2006/116/EC on the term of protection of copyright and certain related rights. A significant part is also dedicated to the recently adopted Beijing Treaty on Audiovisual Performances (2012). The introductory chapter consists of a comprehensive historical overview that covers important events and sources of law relevant to performers' intellectual property rights and their term of protection. Certain documents can be considered milestones, such as Rome Convention for the Protection of Performers, Producers of Phonograms and Broadcasting Organizations, the WIPO Performances and Phonograms Treaty and the Beijing Treaty on Audiovisual Performances. A substantial part is also dedicated to the harmonisation of term of protection of copyright and certain related rights through European law. The second chapter gives a brief overview of the concept and...

Este trabalho concentra-se na colaboração com o compositor Flávio Oliveira durante o processo de construção de uma interpretação para Round about Debussy. A autora discute os limites da notação musical no contexto do estilo do compositor, focalizando os elementos estilísticos que escapam a notação musical. Apoiada por material documentado em áudio/vídeo coletados nos encontros com o compositor, bem como uma entrevista semiestruturada com Oliveira, a autora apresenta e discute exemplos à luz das observações e sugestões feitas pelo compositor. / This dissertation focuses on the collaboration with composer Flávio Oliveira during the process of constructing an interpretation for Round about Debussy. The author discusses the limits of musical notation in the context of the composer’s style, focusing on the stylistic elements that escape notation. Supported by material documented in audio/video collected in the encounters with the composer, as well as a semi-structured interview with Oliveira, the author presents and discusses examples in light of the comments and suggestions made by the composer.

Orientador: Graziela Estela Fonseca Rodrigues / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-17T09:11:00Z (GMT). No. of bitstreams: 1 Melchert_AnaCarolinaLopes_D.pdf: 7945181 bytes, checksum: e89fcdbc8879c252dbe6f878e8455ccb (MD5) Previous issue date: 2010 / Resumo: Esta pesquisa teve por finalidade aprofundar o eixo Inventário no Corpo do Método Bailarino- Pesquisador-Intérprete (BPI), através de sua aplicação a um grupo de alunos voluntários, com o intuito de verificar o grau de incidência e o modo de ocorrência dos seguintes itens: a rejeição à cultura brasileira (manifestações populares brasileiras), a descoberta da cultura velada e a descoberta dos gestos vitais. Os sujeitos desta pesquisa foram estudantes universitários dos seguintes institutos e faculdades da Universidade Estadual de Campinas: Instituto de Artes, Instituto de Filosofia e Ciências Humanas e Faculdade de Educação Física. Este projeto foi aprovado no Comitê de Ética em Pesquisa da Faculdade de Ciências Médicas da Unicamp (Parecer CEP No. 679/2008). No eixo do Inventário no Corpo tem-se um contato com as ferramentas do Método BPI e são desenvolvidas inúmeras atividades para a busca de dados sobre a história cultural e social. A pesquisa realizada começou a revelar aos sujeitos participantes dados das suas culturas veladas, que, ao serem assumidos, promoveram o enfrentar os sentimentos de rejeição à cultura brasileira. O desenvolvimento do processo fez com que os sujeitos tivessem maior contato consigo mesmos e começassem a descobrir os seus gestos vitais, que são a porta de entrada para uma produção artística de qualidade. O desenvolvimento do Inventário no Corpo trabalhou com uma visão fenomenológica do corpo e uma visão integrada da dança, onde os aspectos físicos, afetivos, culturais e sociais foram contemplados conjuntamente. Os instrumentos para coleta de dados foram os Questionários Aplicados, os Corpos na Argila, os Relatos dos Dojos e as Sínteses Práticas. Utilizamos a Estrutura do Fenômeno Situado para analisar os Questionários aplicados. Para os trabalhos corporais e para os Corpos na Argila utilizamos a Análise de Conteúdo, dialogando com uma Análise de Expressão, a partir da Estrutura Física e da Técnica dos Sentidos do Método BPI. O desenvolvimento do eixo Inventário no Corpo do Método BPI promoveu, aos sujeitos desta pesquisa, o estabelecimento de um processo corporal, que os possibilitou: assumir suas origens, se redescobrir como brasileiro, ampliar os referenciais socioculturais, liberar a expressão do corpo, abrir um processo criativo, assumir a identidade do corpo e gerar uma dança integrada e original / Abstract: This research aimed to deepen the axis Inventory in the Body Method Dancer-Researcher-Performer (DRP), through its application to a group of student volunteers, in order to ascertain the degree of incidence and mode of occurrence of the following items: the rejection of Brazilian culture, the Discovery of culture veiled and the discovery of vital gestures. The subjects were college students from the following institutes and faculties of the University of Campinas, Institute of Arts, Institute of Philosophy and Humanities and Faculty of Physical Education. This project was approved by the Ethics Committee of the School of Medical Sciences (CEP Opinion No. 679/2008). In the axis Inventory in the Body one has a contact with the tools of the DRP Method and are developed numerous activities to search for data on social and cultural history. The research began to reveal to the subjects participating data veiled from their cultures, which are assumed to have promoted the deal with feelings of rejection to the Brazilian culture. The development process has brought to the subjects a greater contact with themselves and the begin of discovering of their vital gestures, which is the entrance door to an artistic production quality. The development of the Inventory in the Body worked with a phenomenological view of the body and an integrated vision of dance, where the physical, aff ective, cultural and social rights were dealt with together. The instruments for data collection were the Questionnaires, the Clay Bodies, the Dojos Reports and the Summaries Practices. We use the Structure Situated Phenomenon to analyze the Questionnaires applied. To work for the body and Bodies in Clay used the Content Analysis, talking with an Expression Analysis, through the DRP Physical Structure and Technical Senses. The development of the body axis Inventory in the Body Method DRP promoted to the subjects of this research, the establishment of a body process, which enabled them, to take their roots, to rediscover herself as a Brazilian, broadening the socio-cultural references, to release the body expression open for a creative process to assume the body identity and generate an integrated and original dance / Doutorado / Artes Cenicas / Doutor em Artes

A presente pesquisa, de natureza teórico-artística, propõe caminhos para investigarmos a figura e o fazer artístico do intérprete de dança na contemporaneidade, refletindo sobre algumas das principais especificidades de sua atuação. Pautado, sobretudo, no diálogo estabelecido com seis artistas que atuam na cidade de São Paulo, este estudo teve como principal objetivo pensar a dança do ponto de vista do intérprete. Desse modo, a pesquisa dá voz a seis intérpretes mulheres da cena contemporânea, trazendo à tona reflexões sobre os principais assuntos presentes em seus discursos, relacionados aos seus próprios contextos de trabalho. Além disso, esse estudo também pensa e estabelece relações entre a teoria e a prática da dança, a partir da elaboração de um solo cênico-coreográfico. / This research, of artistic and theoretical essence, suggests ways of investigating the nature and the artistic practice of the dance performer nowadays by reflecting on some of his/her main performance particularities. Centrally based on conversations with six artists of São Paulo city, this study has had as major purpose to regard dancing from the performer\'s perspective. Thus, the research gives voice to six female performers of the contemporary scene, bringing to light considerations on the main issues exposed in their speeches, related to their own work contexts. Furthermore, this study also reflects on the connections between dance theory and practice with the creation of a choreographic solo.

Orientador: Graziela Estela Fonseca Rodrigues / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-21T10:14:16Z (GMT). No. of bitstreams: 2 Costa_ElisaMassariollida_M.pdf: 2444656 bytes, checksum: 46741614e0010602026fcecc9136f1ef (MD5) Costa_ElisaMassariolliDa_M_Anexo.zip: 792303022 bytes, checksum: f187d9f850cd6916b4c497b59e303d8d (MD5) Previous issue date: 2012 / Resumo: O objetivo desta pesquisa consistiu em aprofundar-se na fase do Método Bailarino- Pesquisador-Intérprete (BPI) que denominamos de Retorno ao Campo. Essa fase consiste em levar o espetáculo, resultante do processo ocorrido dentro do BPI, ao campo onde foi realizado o Co-habitar com a Fonte para a criação cênica, eixo do Método no qual o bailarino faz uma pesquisa de campo em alguma manifestação cultural ou nicho social brasileiro. A fase do Retorno ao Campo, neste projeto, deu-se por meio da realização de quatro apresentações do espetáculo "Nascedouro" em três diferentes aldeias da Terra Indígena de Pimentel Barbosa, de etnia Xavante, no Norte do Estado do Mato Grosso. "Nascedouro" é resultado de pesquisas de Iniciação Científica no Método BPI, enfocando a etnia Xavante, com a direção da profa. dra. Graziela Rodrigues e interpretação de Elisa Costa. Para a experiência de retornar "Nascedouro" à sua Fonte, intérprete e diretora estiveram nas terras xavante. Fazia parte dos objetivos buscar, por meio do Retorno ao Campo, abertura, comunicação e troca suficientes para proporcionar a intervenção dos pesquisados, gerando um processo de interação, o que, de fato, aconteceu. Após ocorrida a fase do Retorno ao Campo, houve novos laboratório dirigidos, para elaborar cenicamente as reverberações resultantes dessa interação, que resultou em uma performance e também em novas apresentações de "Nascedouro", incorporando os novos sentidos apurados do diálogo entre os Xavante e o espetáculo. Concluímos, após todo esse percurso, que o Retorno ao Campo, no Método BPI, gera identificação e espelhamento com os pesquisados, promove o desenvolvimento do intérprete e também o desenvolvimento do espetáculo, proporcionando inclusive a criação de novos produtos cênicos. Concluímos, também, que uma relação de sintonia e confiança entre diretor e intérprete é essencial para que os processos no Método BPI sejam bem sucedidos / Abstract: The aim of this research has been to plunge into the stage of the Bailarino-Pesquisador- Intérprete Method (BPI, that means, in english, Dance-Research-Performer) which we have named Return to the Field. This very stage consists of taking the performance, which is the result of the process that occurred inside the BPI Method, back to the field where the Cohabiting with the Source for the scenic creation took place. This is a Method in which the performer's object of research is their focus on either a given cultural manifestation or on a certain stratum of the brazilian culture. The stage of the Return to the Field, in this very project, was based upon four presentations of the performance "Nascedouro", which took place in three different indigenous villages in the so-called "Terra Indígena de Pimentel Barbosa" belonging to the ethnic group of the Xavante and situated in the north of Mato Grosso State. "Nascedouro" is the result of the research of the undergraduate on the DRP Method and focus on the ethnic group of the Xavante. With the direction of the Professor Graziela Rodrigues and the performance of Elisa Costa. As for the experience of returning "Nascedouro" to its Source, both performer and director have been to the land of the Xavante people. It was part of the objectives to seek through the Return to the Field, openness, communication and exchange enough to generate a situation in which the objects of the research would interact with the spectacle and which happened in fact. After the Return to the Field stage, there were other directed creation labs that aimed at better elaborating the scenic results of this project, which resulted in a performance as well as in new presentations of "Nascedouro". Therefore, we have concluded that the Return to the Field, in the BPI Method generates identification together with the objects of the research, thus promoting the perfomer's development as well as the performance's development. It can also provide the creation of new scenic products. We have also concluded that being in tune and trusting one another are the essencial elements to the director-performer relationship, so that the processes of the BPI Method's successful / Mestrado / Artes da Cena / Mestra em Artes da Cena

La thèse consiste en une approche pratique et théorique des stratégies du performeur sur fond des questions problématiques relatives à la performance et à la représentation. Elle s’intéresse plus spécifiquement aux manifestations et aux traductions des trois processus créatifs performance, mimêsis, représentation dans la pratique de la performance comme genre. <p>L’articulation d’axes de recherche paradigmatiques (des Performance Studies) à l’étude du genre repose sur un dialogue constant entre pratiques et théories qui permet de mieux cerner et comprendre le phénomène. La performance est à la fois un genre et un paradigme dont l’étude montre le passage d’une logique représentationnelle à une logique « performationnelle ». <p>La performance ne s’envisage pas directement comme représentation, mais comme restauration de comportement, comme processus, et comme événement dont trois aspects — la boucle de rétroaction autopoétique, la déstabilisation des oppositions binaires, les situations de liminalité — confirment sa nature en tant que telle. Elle ne dépend plus de la mimêsis en fonction de laquelle se constituait la représentation aristotélicienne, bipolaire. Elle renverse le processus de production de l’art, et s’impose de manière autonome et à part entière par rapport à la représentation et à la mimêsis qu’elle n’implique, ni n’exclut nécessairement. <p>Le genre de la performance tend à mettre en échec la mimêsis, mais ne dénie pas pour autant toute possibilité de représentation, qui s’ouvre à d’autres dimensions. <p>L’art de la performance est un art du moi, un art de la subjectivation qui questionne l’identification propre à la représentation de la fiction, par dés-identification, désappropriation, déclassification. Il n’assure pas moins la représentation identitaire, sociale, politique du sujet en action. <p>La performance traduit la représentation dont elle questionne, et élargit peut-être, le sens et les fonctions dans le champ des arts vivants. Elle se pose comme moyen de réflexion et d’évolution objective des conceptions, des logiques et des principes qui définissent le champ de ces déterminations. <p> / Doctorat en Information et communication / info:eu-repo/semantics/nonPublished

Este trabalho concentra-se na colaboração com o compositor Flávio Oliveira durante o processo de construção de uma interpretação para Round about Debussy. A autora discute os limites da notação musical no contexto do estilo do compositor, focalizando os elementos estilísticos que escapam a notação musical. Apoiada por material documentado em áudio/vídeo coletados nos encontros com o compositor, bem como uma entrevista semiestruturada com Oliveira, a autora apresenta e discute exemplos à luz das observações e sugestões feitas pelo compositor. / This dissertation focuses on the collaboration with composer Flávio Oliveira during the process of constructing an interpretation for Round about Debussy. The author discusses the limits of musical notation in the context of the composer’s style, focusing on the stylistic elements that escape notation. Supported by material documented in audio/video collected in the encounters with the composer, as well as a semi-structured interview with Oliveira, the author presents and discusses examples in light of the comments and suggestions made by the composer.

The diploma thesis deals with the field of musical theatre and specifies all the activities and competencies of a conductor throughout the process of preparation and subsequent realization of a musical performance. The text of the thesis consists of two parts. The theoretical part describes the characteristics of a musical, its brief world history and its integration into the Czech environment. It also maps the history of the Karlín Musical Theater and presents profiles of its current conductors. The aim of the theoretical part is to introduce the reader to the issues of this genre, to introduce its three basic components: music, drama and movement, and to point out the differences between classical musicals and those of a revue type. The second, practical part, focuses on the profession of conducting in the field of musical theatre. It demonstrates the specific activities of a conductor in two key genres of musical theatre: opera and musical. It also focuses on the means of expression a musical conductor works with, with a special emphasis on the tempo, which has been the subject of frequent discussions amongst members of different artistic components of the musical performance. In the following chapters, it introduces The Legend Called Holmes - The Musical, its script and its music genre. This...