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Vertigo: Riccardo Formosa's composition technique.Barkl, Michael Laurence Gordon, mikewood@deakin.edu.au January 1994 (has links)
Riccardo Formosa has been identified as being an important and widely recognised young Australian composer. Formosa's possession of a sophisticated composition technique is central to his approach to composition and to his reputation among contemporary composers.
Vertigo: Riccardo Formosa's Composition Technique aims to define the composition technique employed by Formosa. It does so by analysing the works from a number of clearly defined perspectives.
The study proceeds firstly through a description of the works as a whole and their relationship to the composers personal history. Secondly, the note-to-note operations Formosa has employed are reassembled through a detailed examination of the scores. Thirdly, an assessment is made of the function of the various techniques within the musical texture. Lastly, a number of comparisons are made between Formosas work and the work of his compositional models.
The study concludes that Formosas works show evidence of a composition technique operating effectively on different levels. The note-to-note processes, simple in themselves, are multiplied to form a complex counterpoint. On both the note-to-note level and the relationship between larger sections of the works, the controlling factor was found to be one of binary expression in the form of symmetry or complementarity, a compositional aesthetic also held by Formosa's teacher. Franco Donatoni.
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II mulino Del Po: entre a história e a ficção na escritura de Bacchelli / The Mill On The Po: the History and the fiction in the Bacchelli s writingTasca, Odete da Glória Oliveira 14 March 2016 (has links)
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Previous issue date: 2016-03-14 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / ABSTRACT: This article presents an analysis of the trilogy The Mill on the Po
(1957), by Riccardo Bacchelli, a piece of work that portrays the complex story of a
family of millers, which is seen in three successive generations. The novels include
events of a whole century of history: from the period of Napoleon s defeat in Russia
(1812) until the First World War (1918), and it depicts the banditry and the first social
conflicts that occurred in the context of the struggle for Resurgence and Unification of
Italy. In the perspective of the comparative studies and based upon reflections of
writers such as Coutinho and Carvalhal (1994), Georg Lukacs (2011), Celia
Fernández Prieto (2003), among others, a confrontation between the three novels
that form the Bacchellian trilogy is established to compare the discourse of fiction
with the discourse of History. This is done to acknowledge how the History of Italy
dialogues with the fiction presented in the novel. It is also the objective of this
research,through the use of some specific fragments of the novel, to analyze the
poetic literary discourse in the rereading
of the story, making sure the way the first
one fictionalizes the official story and toshow how the popular masses begin to
realize that they are the engine history. About the history of Italy s constitution, the
novel also portrays the search for a national identity in this context. We notice,
therefore, how Bacchelli s writing poeticizes the History through the use of a
polysemic and metaphorical language, emphasizing also the question of religious
discourse, making the reader notice, beyond the historical episode, a religious vision
in the narrative, originated from popular traditions and legends. After some analysis
of the characters relationship through life adversities, it is possible to comprehend
that the human beings in Bacchelli s vision are temporal and historical beings. They
are subjects of the flow of History and its irresistible force, but at the same time,
through the matter that the History offers them, they have to build up their lives and
confront their eternal destiny, for what they are also responsible. There is,
consequently, a representation of human life in Bacchelli s writing between the
material events of the human existence and the direction that is set beyond History / RESUMO: Este trabalho apresenta uma leitura da trilogia Il mulino del Po (1957), de
Riccardo Bacchelli, obra que retrata a complexa história de uma família de moleiros,
vista em três gerações sucessivas, abrangendo um século de história: o período que
vai desde a derrota de Napoleão na Rússia (1812) até a Primeira Guerra Mundial
(1918). Retrata o banditismo e os primeiros conflitos sociais que se deram no
contexto da luta pelo Ressurgimento e Unificação da Itália. Na perspectiva dos
estudos comparados, a partir das reflexões de Coutinho e Carvalhal (1994), Georg
Lukács (2011), Celia Fernández Prieto (2003), entre outros, estabelecese
um
confronto entre os três romances que compõem a trilogia bacchelliana, a fim de
comparar o discurso da ficção com o discurso da história, para verificar como a
história da Itália dialoga com a ficção no romance. É objetivo também dessa
pesquisa, a partir de fragmentos do romance, analisar a poeticidade do discurso
literário na releitura da história, verificando de que modo aquele ficcionaliza a história
oficial e mostra como as massas populares começam a se dar conta de que elas são
o motor da história. Ao tratar da história da constituição da Itália, a obra também
retrata a busca por uma identidade nacional neste contexto. Percebese,
portanto,
que Bacchelli trata os eventos históricos a partir de uma linguagem polissêmica e
metafórica, dando ênfase também à questão do discurso religioso, fazendo com que
o leitor perceba, além do episódio histórico, uma visão religiosa na narrativa,
originada de tradições e lendas populares. Após algumas análises sobre a relação
das personagens com as adversidades da vida, percebese
que os seres humanos,
na visão de Bacchelli, como seres temporais e históricos, estão sujeitos ao fluxo da
história e à sua força irresistível, mas ao mesmo tempo, por meio da matéria que a
história lhes oferece, eles têm que construir suas vidas e confrontarse
com seus
destinos eternos, dos quais também são responsáveis. Temse,
portanto, uma
representação da vida humana entre os acontecimentos materiais da existência e o
sentido que se coloca para além da história.
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Il saxofono nell’orchestra italiana e francese della prima metà del secolo XX / Le saxophone dans l’orchestre italien et français de la première moitié du XXe siècle / The Saxophone in the Italian and French Orchestra in the first Half of the 20thBottaro, Marica 21 April 2017 (has links)
La thèse se propose de vérifier la présence du saxophone dans le répertoire français et italien pour orchestre de la première moitié du XXème siècle, avec le but de confirmer la possibilité d’intégrer le saxophone à l’orchestre de façon permanente.Le choix d’étudier le répertoire pour saxophone dans l’orchestre en France et en Italie des premières décennies du XXème siècle a été fait car cet instrument, créé par Adolphe Sax, facteur d’instrument d’origine belge, a sa première diffusion sur le territoire français pendant la seconde moitié du XIXème siècle, avant de « s’expatrier » dans d’autres pays. C’est à la France donc de vanter les premières compositions pour le saxophone, et c’est au XXème siècle que cette production augmente considérablement. La France, avec son goût pour la couleur du timbre des instruments, influence l’Italie d’une façon particulière, pays où cet instrument est déjà présent au milieu du XIXème siècle, aussi grâce aux appréciations de Gioachino Rossini (qui à l’époque est à Paris), qui poussent le Lycée Musical de Bologna à acheter les produits de la maison Sax. La thèse est subdivisée en trois parties : la première, d’empreinte théorique, dédiée à la présence du saxophone dans les traités d’instrumentation et d’orchestration français et italiens, ainsi que d’autres pays des XIXe et XXe siècle ; la seconde, de caractère illustratif, dans laquelle on analyse les partitions de trois compositeurs français (Ravel, Honegger et Ibert) ; la troisième, toujours de nature illustratif, dédiée à l’étude des compositions de deux auteurs italiens (Marinuzzi et Zandonai). / The thesis’ purpose is to examine the presence of the saxophone in the French and Italian repertoire for orchestra in the first half of the 20th century, and aims at confirming its possible, permanent inclusion in the orchestra. The decision of investigating the repertory of the saxophone in the orchestra in France and Italy in the first decades of the 20th century was made because this instrument, created by the inventor of plenty of other musical instruments, Adolphe Sax (born in Belgium), spreads out for the first time in France during the second half of the 19th century and then ‘expatriates’ to other countries. It is France that can boast the first compositions for this instrument and it is in the 20th century that its production grows excessively. France, with its taste for the color of the instruments’ timbre, influences especially Italy, where the instrument is already present in the first half of the 19th century, thanks to Gioachino Rossini’s appreciations (who was in Paris at that time), pushing the Liceo Musicale in Bologna to buy the maison Sax’s products. My thesis is divided into three parts: the first, with a theoretical purpose, is dedicated to the presence of the saxophone in instrumentation and orchestration treatises published in France, Italy and other countries in the 19th and in the 20th century. In the second part, of explicative kind, the scores of three French composers (Ravel, Honegger and Ibert) are analyzed. Finally, the third section, of explicative kind as well, is dedicated to the study of some compositions by two Italian authors (Marinuzzi and Zandonai).
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[pt] INTERPRETAÇÃO JURÍDICA: RECONSTRUÇÃO, REFLEXÕES E CRÍTICAS AOS FUNDAMENTOS DA ESCOLA GENOVESA / [en] LEGAL INTERPRETATION: RECONSTRUCTION, REFLECTIONS AND CRITICISMS OF THE ASSUMPTIONS OF THE GENOVESA SCHOOLPATRICK LUIZ MARTINS FREITAS SILVA 19 September 2023 (has links)
[pt] A Escola de Gênova sobre a Interpretação Jurídica, para alguns, ou o
Realismo Jurídico Genovês, para outros, é corrente teórica italiana que lança luz
sobre uma série de problemas que envolvem a interpretação jurídica; especialmente,
aqueles vinculados ao caráter discricionário do intérprete ao interpretar um
documento normativo. Este trabalho faz uma reconstrução dos problemas jurídicos
interpretativos mais consistentes que geraram as preocupações da Escola, e apresenta
as principais reflexões dos autores a ela vinculados. Seus principais fundamentos são:
a postura ceticista frente à interpretação jurídica e as decorrências analíticas:
separação entre texto e norma e necessidade de despolitização dos juízes. Apresenta-se, neste trabalho, os argumentos principais que marcam um bloco de posições dos
autores da Escola, que subsistem às críticas e que marcam o pensamento genovês. São
estes: a criação de um modelo meta-teórico e metajusrisprudencial de análise do
direito; o clareamento das discussões entre o formalismo jurídico e o ceticismo
interpretativo; as críticas ao objetivismo moral; a separação analítica entre texto e
norma; a reflexão crítica sobre o modelo tradicional de separação dos poderes e as
noções e os conceitos de sistema, decisão, ponderação e discricionariedade como
limitações da politização do judiciário. / [en] The Genoa School on Legal Interpretation, for some, or Genoese Legal
Realism, for others, is an Italian theoretical current that sheds light on a series of
problems involving legal interpretation; especially those linked to the interpreter s
discretion when interpreting a normative document. This work reconstructs the most
consistent interpretive legal problems that generated the School s concerns, and
presents the main reflections of the authors linked to it. Its main foundations are: the
skeptical attitude towards legal interpretation and the analytical consequences:
separation between text and norm and the need for depoliticization of the judges. In
this work, the main arguments that mark a block of positions of the authors of the
School, that remain with criticisms and that mark the Genoese thought are presented.
These are: the creation of a meta-theoretical and meta-jurisprudential model of law
analysis; the clarification of the discussions between legal formalism and interpretive
skepticism; criticisms of moral objectivism; the analytical separation between text
and standard; critical reflection on the traditional model of separation of powers and
the notions and concepts of system, decision, weighting and discretion as limitations
of the politicization of the judiciary.
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Redefining a Gendered Genre: Representations of Masculinity in Contemporary Italian Teen FilmPaul, Daniel E. 02 October 2019 (has links)
No description available.
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LO SVILUPPO E LA DIFFERENZIAZIONE DELLE COMUNITA' PER MINORI IN ITALIA. ANALISI PEDAGOGICA DEI PRINCIPI E DEI MODELLI / Development and differentiation of educative communities for younger in Italy. Pedagogical analysis of principles and forms.TIBOLLO, ALESSANDRA 05 March 2012 (has links)
L’obiettivo della ricerca è valorizzare il senso delle comunità per minori oggi come dispositivo adatto all’accoglienza, alla luce delle evoluzioni legislative in Italia.
Il lavoro di tesi si svilupperà intorno ai seguenti temi:
I. ricostruzione storica dei servizi educativi, dei servizi sociali, con riferimento al quadro legislativo;
II. analisi dell’attuale differenziazione delle comunità per minori attraverso la lettura del monitoraggio effettuato dall’Istituto degli Innocenti di Firenze (2009);
III. rilettura pedagogica dello strumento di comunità attraverso la valenza formativa del dispositivo;
IV. ricerca di un “modello base”: una mappa di possibili principi per consentire una risposta unitaria e convincente all’allontanamento dei minori. / The purpose of this research project is to underline the sense of educative communities for younger people today as a tool suitable for the reception, taking into account all the legislative evolutions in Italy.
In this thesis work the attention will be focused on the following topics:
I. historical reconstruction of educative services and social services, with a reference to the legislative scenario;
II. analysis of the current educative communities differentiation through the analysis of the monitoring realised by the “Institutes of the Innocents” in Florence (2009);
III. pedagogical re-reading of the community framework thought the “device”’s formative merit;
IV. research on a “base model”: a map of possible principles for a persuasive answer to the younger removals.
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Understanding the Lirico-Spinto Soprano Voice through the Repertoire of Giovane Scuola ComposersHartgraves, Youna Jang 08 1900 (has links)
As lirico-spinto soprano commonly indicates a soprano with a heavier voice than lyric soprano and a lighter voice than dramatic soprano, there are many problems in the assessment of the voice type. Lirico-spinto soprano is characterized differently by various scholars and sources offer contrasting and insufficient definitions. It is commonly understood as a pushed voice, as many interpret spingere as ‘to push.' This dissertation shows that the meaning of spingere does not mean pushed in this context, but extended, thus making the voice type a hybrid of lyric soprano voice type that has qualities of extended temperament, timbre, color, and volume. This dissertation indicates that the lack of published anthologies on lirico-spinto soprano arias is a significant reason for the insufficient understanding of the lirico-spinto soprano voice. The post-Verdi Italian group of composers, giovane scuola, composed operas that required lirico-spinto soprano voices. These giovane scuola composers include Alfredo Catalani (1854 –1893), Umberto Giordano (1867 –1948), Pietro Mascagni (1863 –1945), Giacomo Puccini (1858 –1924), and Riccardo Zandonai (1883 –1944). Descriptions of the soprano voices that premiered these roles are included in this document to determine the suitability of the lirico-spinto soprano voice for each role.
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