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.

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.

Kumano bikuni (the Buddhist nuns of Kumano) are itinerant female religious performers who were particularly active between the 16th and 18th centuries in Japan. Travelling across the country, they promoted the syncretic belief of the Kumano mountains, popular pilgrimage sites that have attracted a variety of people regardless of class, gender, and religious affiliation. To raise funds for temples and shrines there, they performed etoki (literally, picture deciphering) that addressed the everyday concerns of the masses, and especially women. Conceptualizing Kumano bikuni as mediators who bridged the religious world and the masses, this thesis examines how Kumano bikuni reflected perspectives of the audience at etoki performance and responded to diverse interests of different groups. / Graduate / 0320 / 0332 / 0453 / chihiro_620@hotmail.com

Syfte: I ett snabbt föränderligt och konkurrensutsatt företagsklimat är det viktigt att prestera på topp för att göra karriär och klättra snabbt inom en organisation. Ett område där forskningen kommit lång vad gäller prestation på topp är inom elitidrotten, där idrottarna behöver kunna prestera på begäran och klara av att hantera press och stress för att lyckas med detta. Viktiga faktorer för att klara av det är de s.k. sekundära kompetenserna, mentala kompetenser och förmågor som kan underlätta prestation. Syftet med denna studie är att belysa hur individer kan nå framgång i sin yrkesutövning genom att arbeta med att förbättra sekundära kompetenser och utveckla sin verktygslåda för prestation med hjälp av lärdomar från individuella idrottare och därigenom utvecklas till att bli företagsatleter.   Metod: Ämnet har studerats utifrån ett hermeneutiskt perspektiv och aktörssynsättet varit det grundläggande synsättet. Studien har en abduktiv ansats och ämnet har studerats med hjälp av en fallstudie. Arbetet inleds med en teoretisk överblick, följt av en empirisk undersökning. Denna fallstudie har haft en kvalitativ ansats och intervjuer har genomförts med tio respondenter från idrottsvärlden. Det material som tagits fram i den empiriska undersökningen har transkriberats och sedan analyserats tillsammans med tidigare forskning för att skapa en så tydlig bild som möjligt över området.   Resultat & slutsats: Genom studien har en ökad förståelse för vilka faktorer som är viktiga för en företagsatlet nåtts. Dessa kompetenser, och teknik för användning av kompetenserna har utvecklats med utgångspunkt i hur elitidrottare arbetar med dessa.   Förslag till vidare forskning: I denna studie berördes endast ett fall och en typ av idrottare. I vidare forskning behöver flera olika fall och flera olika typer av idrottare studeras, för att till fullo utveckla ämnesområdet.   Uppsatsens bidrag: Studien visar på ett antal kompetenser och färdigheter som kan användas av företagsatleter för att nå större framgång och prestera bättre på arbetet, samt hur dessa ska användas. Dessa kompetenser har samlats i en verktygslåda för prestation i slutet av arbetet.   Nyckelord: Företagsatlet, sekundära kompetenser, maximal prestation, elitidrott, prestera på begäran. / Aim: In an ever changing and more competitive business climate, it is important to perform on maximal level to get ahead and climb to the top of the organization. The research on how to get to the top has come very far in the area of elite sports, the athletes have to perform at maximum levels and handle pressure well to win the medals. Important factors to be able to do this are the so-called secondary competencies, mental competencies that will make performing easier. The aim of this paper is to show how individuals can improve their work by learning from athletes in individual sports and how they, at the workplace, can work with development and improvement of the secondary competencies and thereby become corporate athletes.   Method: The subject has been studied from a hermeneutic perspective, where the operator approach has been the basic view. This study has an abductive attempt and the subject has been studied by a case study. A theoretical framework of the topic, followed by empirical research, starts the paper.  The case study had a qualitative approach, ten interviews has been made with respondents from the world of elite sports. The material from the empirical research has been transcribed and analyzed together with the theoretical framework to create a clear view of the research area.   Result & Conclusion: This paper aims to give the reader a better understanding over mental abilities and factors that affect a corporate athlete. These competencies and abilities, and technique for using them have been developed from the base of elite athletes and their work with the abilities.   Suggestions for future research: This study were based on one case only, it would be interesting to look into another case and another type of athletes, as well as testing the tools in the corporate world.   Contribution of the thesis: This study show a number of competencies and abilities that can be used by a corporate athlete in order to be more successful and perform better at work. In the end of the paper, these competencies and user techniques has been collected in a toolbox for performance.   Key words: Corporate athlete, secondary competencies, maximal performance, elite sport, perform on demand, high performers.

A pesquisa propõe pensar a arte que se faz nas ruas em seus modos de criação e autoanálise, estabelecendo um diálogo com os diferentes artistas que ocupam a Rua da Praia, localizada na cidade de Porto Alegre (RS), a partir de alguns conhecimentos sobre arte na atualidade. Por meio dos depoimentos, em entrevistas, de estátua viva, bandas independentes, músicos solos, pintor de retratos e poetas errantes, busca-se compreender como o artista percebe a rua em relação ao que chamareide Galeria Urbana e quais são os motivos que cercam a escolha da rua como palco ou galeria. Para tanto, como metodologia e princípio de desenvolvimento para a pesquisa teórica, elabora-se uma cartografia, assumindo, assim, uma pesquisa em movimento, em que o caminhar do pesquisador articula conhecimentos. A fim compreender cartografia e sua investigação para a análise de dados, utilizou-se autores como Félix Guattari, Gilles Deleuze, Suely Rolnik e Virgínia Kastrup. Ademais, o entendimento de rua e da arte que dela se apropria dáse no diálogo com Raquel Rolnik, Vera Pallamin, Paola Jacques e com os artistas Márcio Petracco (Bluegrass Porto-alegrense), Welci Araújo, Abraham Ponce, Pablo Seearasta (Som Central) e com os músicos Marcelo da Luz, Pedro Ourique, Jean Kartabil, Lester Borges, da banda Cartas na Rua. Ao fim do percurso, além de perceber as questões que envolvem a escolha da rua como palco, bem como as paisagens que se criam por meio das falas dos artistas, discute-se as relações socioculturais que se atravessam nesse âmbito por intermédio da apropriação de espaços urbanos para as artes. / The research proposes to think about the art that is done in the streets in their modes of creation and self - analysis, establishing a dialogue between different artists that occupy Rua da Praia, in the city of Porto Alegre - RS, with some knowledge about art today. Through interviews with live statues, independent bands and solo musicians, portrait painters and wandering poets, one seeks to understand how the artist perceives the street in relation to what I will call an Urban Gallery and the motives surrounding the choice of Street as stage our gallery. As a methodology and development principle for theoretical research, a cartography is created, assuming a research in movement, in which the researcher's path articulates knowledge. For the understanding of cartography and its investigation for data analysis, authors such as Félix Guattari, Gilles Deleuze, Suely Rolnik and Virginia Kastrup are used. As well as for the understanding of the street and the art that appropriates it, dialogue with Raquel Rolnik, Vera Pallamin, Paola Jacques, and artists: MárcioPetracco (Bluegrass Porto-alegrense), WelciAraújo, Abraham Ponce, Pablo Seearasta (Som Central) and musics Marcelo da Luz, Pedro Ourique, Jean Kartabil, Lester Borges this band Cartas naRua.At the end of the course, in addition to perceiving the issues surrounding the choice of the street as a stage, and the landscapes that are created, through the artists' speeches, we discuss the sociocultural relations that are crossed through the appropriation of urban spaces for the Art.

A pesquisa propõe pensar a arte que se faz nas ruas em seus modos de criação e autoanálise, estabelecendo um diálogo com os diferentes artistas que ocupam a Rua da Praia, localizada na cidade de Porto Alegre (RS), a partir de alguns conhecimentos sobre arte na atualidade. Por meio dos depoimentos, em entrevistas, de estátua viva, bandas independentes, músicos solos, pintor de retratos e poetas errantes, busca-se compreender como o artista percebe a rua em relação ao que chamareide Galeria Urbana e quais são os motivos que cercam a escolha da rua como palco ou galeria. Para tanto, como metodologia e princípio de desenvolvimento para a pesquisa teórica, elabora-se uma cartografia, assumindo, assim, uma pesquisa em movimento, em que o caminhar do pesquisador articula conhecimentos. A fim compreender cartografia e sua investigação para a análise de dados, utilizou-se autores como Félix Guattari, Gilles Deleuze, Suely Rolnik e Virgínia Kastrup. Ademais, o entendimento de rua e da arte que dela se apropria dáse no diálogo com Raquel Rolnik, Vera Pallamin, Paola Jacques e com os artistas Márcio Petracco (Bluegrass Porto-alegrense), Welci Araújo, Abraham Ponce, Pablo Seearasta (Som Central) e com os músicos Marcelo da Luz, Pedro Ourique, Jean Kartabil, Lester Borges, da banda Cartas na Rua. Ao fim do percurso, além de perceber as questões que envolvem a escolha da rua como palco, bem como as paisagens que se criam por meio das falas dos artistas, discute-se as relações socioculturais que se atravessam nesse âmbito por intermédio da apropriação de espaços urbanos para as artes. / The research proposes to think about the art that is done in the streets in their modes of creation and self - analysis, establishing a dialogue between different artists that occupy Rua da Praia, in the city of Porto Alegre - RS, with some knowledge about art today. Through interviews with live statues, independent bands and solo musicians, portrait painters and wandering poets, one seeks to understand how the artist perceives the street in relation to what I will call an Urban Gallery and the motives surrounding the choice of Street as stage our gallery. As a methodology and development principle for theoretical research, a cartography is created, assuming a research in movement, in which the researcher's path articulates knowledge. For the understanding of cartography and its investigation for data analysis, authors such as Félix Guattari, Gilles Deleuze, Suely Rolnik and Virginia Kastrup are used. As well as for the understanding of the street and the art that appropriates it, dialogue with Raquel Rolnik, Vera Pallamin, Paola Jacques, and artists: MárcioPetracco (Bluegrass Porto-alegrense), WelciAraújo, Abraham Ponce, Pablo Seearasta (Som Central) and musics Marcelo da Luz, Pedro Ourique, Jean Kartabil, Lester Borges this band Cartas naRua.At the end of the course, in addition to perceiving the issues surrounding the choice of the street as a stage, and the landscapes that are created, through the artists' speeches, we discuss the sociocultural relations that are crossed through the appropriation of urban spaces for the Art.

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

Beginning in 1939, the Concours International d'Exécution Musicale de Genève (CIEM; Geneva International Music Competition) is unique among international music competitions in its multidisciplinary approach. To date, fifteen works have been commissioned for clarinet for the years in which the clarinet was involved. The most well-known of these works is the unaccompanied work by Heinrich Sutermeister, Capriccio for Solo Clarinet in A, written in 1946 for the 1947 competition. This work is a staple in the unaccompanied clarinet repertoire. However, the other fourteen works commissioned for the competition are little known and to date no document has been prepared that examines each of these works in the context of the competition and clarinet literature. While perhaps less notable, works were also commissioned for a sight reading portion of the competition for many of the years in which the clarinet was a discipline chosen for the competition, two of which were published. These works are examined as well. This survey provides a critical, analytical, historical, performance-related and biographical review of the published and unpublished works commissioned for the clarinet by CIEM. The composers, competitors and the significance of these works and winners in the clarinet literature and history are included. A chapter is dedicated to each piece which includes performance considerations, critical, analytical, and historical information as well as biographical information regarding the composer and the competitors where available.

In hierdie studie word die invloed van Unisa se Oorsese Musiekstudiebeurs vir Voordraers op musiekontwikkeling in Suid-Afrika ondersoek. Ten einde hierdie doel te bereik, is twee navorsingsmetodes gevolg. Eerstens is ’n literatuurstudie gedoen. Daardeur is die loopbane van gevestigde en aspirerende uitvoerende kunstenaars ondersoek, die term ‘professionele musikus’ omskryf, die invloed van formele en informele musiekonderrig op jong musiekstudente bestudeer en ook die verhouding tussen ’n onderwys- en uitvoerende loopbaan bloot gelê. Tweedens is ’n vraelys aan al die beskikbare Unisa Oorsese Musiekstudiebeurswenners tussen 1970 en 2000 gestuur. Die doel van die vraelys was hoofsaaklik om inligting oor die persoonlike ervaring wat die persone in die steekproefgroep gedurende hul opleiding in die buiteland en daaropvolgende loopbane opgedoen het, in te win. Beide kwantitatiewe en kwalitatiewe data is deur die navorsingsmetodes bekom. Hoewel die responskoers redelik laag was, is waardevolle inligting ingewin oor die invloed wat Unisa se Oorsese Musiekstudiebeurs op die beurswenners gehad het. Die data het die hoedanighede van die beurswenners se loopbane asook die bydraes wat hulle in uitvoerende en onderwys kapasiteit lewer, aangedui. Die resultate het getoon dat die meerderheid beurswenners wel in Suid-Afrika gevestig is, terwyl die meeste van dié wat oorsee is, Suid-Afrika steeds besoek op ’n professionele basis. Die feit dat die meeste beurswenners suksesvolle musiekloopbane volg en ook meestal hoogs gekwalifiseer is, dui daarop dat Unisa se Oorsese Musiekstudiebeurs ’n integrale deel vorm van die ontwikkeling van Suid-Afrika se musiekbedryf. ENGLISH : This study examines the influence of Unisa’s Overseas Music Scholarship for Performers on the music development of South Africa. Two research methods were used to achieve this. Firstly, a literature study was conducted. This was done to obtain existing information regarding the careers of performing artists, define the term ‘professional musician’, study the influence of formal and informal music education on young music students as well as to uncover the relationship between teaching and performing careers. Secondly, a quesionnaire was sent to all available Unisa Overseas Music Scholarship winners between 1970 and 2000. The aim of the quesionnaire was to gain information regarding the winners’ personal experience of their education and careers. Quantitative and qualitative data was gained through this research method. Although the respons rate was low, valuable information was gathered regarding the influence that the Unisa Overseas Music Scholarship had on the scholarship winners. The data showed the capacity of the scholarship winners’ careers as well as the contribution they make in the performing and teaching environment. The results showed that more scholarship winners settled in South Africa, while many of those who settled overseas, still visit South Africa on a professional basis. The fact that most of the scholarship winners lead sucsessful music careers and are mostly highly qualified, indicates that Unisa’s Overseas Music Scholarship forms an integral part in the development of South Africa’s music industry. / Dissertation (MMus)--University of Pretoria, 2011. / Music / Unrestricted

Диссертация посвящена сложной, актуальной и мало разработанной пока проблеме взаимодействия народной и массовой культур в области музыкального творчества. Музыкальный фольклор исследуется в контексте тенденций современной массовой культуры, выявляются принципы его реализации в новых социокультурных условиях электронной эпохи глобализации и цифровизации. Дан краткий историко-культурный срез предпосылок развития такого музыкального направления ХХ века, как неофольклоризм. Выявлены особенности взаимодействия фольклора в композиторском творчестве «новой фольклорной волны» 1960-1970-х годов, повлиявших на современные процессы бытования музыкального фольклора в медиакультуре. Основные идеи работы доказываются на примере анализа таких явлений, как этноджаз, фолктроника и др., проявившихся в деятельности разных фольклорных групп ХХI века. В работе представлен самостоятельный проект, ориентированный на развитие современных фольклорных традиций и проявление творческих навыков в композиции и исполнительстве, а также сайт, в котором фигурируют исследуемые в диссертации коллективы (видеозапись). / The dissertation is devoted to a complex, topical and underdeveloped problem of the interaction of folk and mass cultures in the field of musical creativity. Musical folklore is studied in the context of the trends of modern mass culture, the principles of its implementation in the new socio-cultural conditions of the electronic era of globalization and digitalization are revealed. A brief historical and cultural section of the prerequisites for the development of such a musical direction of the twentieth century as neo-folklorism is given. The features of the interaction of folklore in the composer's work of the "new folklore wave" of the 1960-1970s, which influenced the modern processes of the existence of musical folklore in media culture, are revealed. The main ideas of the work are proved on the example of the analysis of such phenomena as ethnojazz, folktronics, etc., manifested in the activities of various folklore groups of the 21st century. The paper presents an independent project focused on the development of modern folklore traditions and the manifestation of creative skills in composition and performance, as well as a website that features the groups studied in the dissertation (video recording).