Abstract¡G The Grass Mountain Memory is a Sextet for Flute, Oboe, two Violins, Cello and Piano, in the period form 1999 to early 2000. It consists of three sections which are:¡qThe Secret Garden¡r,¡qNight of Towering Peak¡r, and¡qThe Fireworks¡r. The subtitles represent the composer's vivid recollections of the particular mountain. The three sections are tightly linked together with related musical elements, yet distinguished with their specific features. My realization and beautiful experience to the Grass Mountain (Known as Yangming Mountain today, located on the north outskirt of Taipei) are interwoven in the time and space of recollection, and manifested in music through the responses of the intellect and sentiment. This piece does not present the landscape by means of mimicking the sounds of nature, but created with the visual, hearing and all feelings out of the composer's personal aesthetic experience with the natural landscape. The effects are different from that of representational simulations of natural environment done traditionally. The core of the creation lies with personal understanding of nature, and expressed via music.

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O Sexteto - Seis prelúdios e um enigma de Francisco Mignone foi selecionado como tema por ser uma obra pouco conhecida e que merece ser resgatada. Uma edição digitalizada foi realizada com o intuito de facilitar sua difusão. A obra está em linguagem atonal, mas faz uso também do cromatismo e de algumas incursões modais. As novas linguagens surgidas desde o começo do século XX requerem outras premissas do intérprete. O contorno de superfície será investigado utilizando a Teoria do Contorno de Michael Friedmann, com o intuito de produzir inteligibilidade na linha, bem como a possibilidade de inter-relacionar o material estudado, algo fundamental na estruturação de uma performance. O intérprete deve usar seu conhecimento e técnicas analíticas adequadas que permitam buscar elementos potencialmente significativos, com a finalidade de construir uma performance, assim como os aspectos inerentes da análise tradicional que contribuem para edificar uma performance expressiva e alicerçada nos elementos estruturais da obra. Os diálogos entre análise e performance contribuíram sobremaneira para o entendimento do processo. A adoção de uma nova ferramenta, como a Teoria do Contorno, ajudou-me como intérprete a identificar na estrutura eventos que pareciam desconexos. Alguns parâmetros não são identificáveis sem a teoria, com isso ela passa a representar uma ferramenta prática para o intérprete. A análise criteriosa e seletiva voltada para a performance e a investigação da biografia e das influências de escrita proporcionaram um entendimento abrangente da obra. / The Sextet - Seis prelúdios e um enigma [six preludes and a enigma] by Francisco Mignone was selected as theme because it is a work that is not well known and deserves to be rescued. A digitalized version was realized in order to diffuse it. The work is in atonal language, but also uses chromaticism, and sometimes modal language. The new vocabulary that emerged since the beginning of the 20th century requires specific premises of the interpreter. The surface contour will be investigated using Michael Friedmann\'s Contour Theory in order to produce melodic intelligibility as well as the ability to interrelate the studied material, which is fundamental in structuring a performance. Interpreters must use their knowledge and appropriate analytical techniques that allow for searching potentially significant elements for the purpose of constructing a performance, as well as aspects of traditional analysis which contribute to building a meaningful and grounded performance in respect to the structural elements of the work. The dialogues between analysis and performance contributed greatly to the understanding of the process. The adoption of a new tool such as Contour Theory helped me as an interpreter to identify events that seemed unrelated in the structure. Some parameters are not identifiable without the theory; theory represents a practical tool for the interpreter. A careful and selective analysis focused on performance and the research of biography and writing influences provided a comprehensive understanding of the work

O Sexteto - Seis prelúdios e um enigma de Francisco Mignone foi selecionado como tema por ser uma obra pouco conhecida e que merece ser resgatada. Uma edição digitalizada foi realizada com o intuito de facilitar sua difusão. A obra está em linguagem atonal, mas faz uso também do cromatismo e de algumas incursões modais. As novas linguagens surgidas desde o começo do século XX requerem outras premissas do intérprete. O contorno de superfície será investigado utilizando a Teoria do Contorno de Michael Friedmann, com o intuito de produzir inteligibilidade na linha, bem como a possibilidade de inter-relacionar o material estudado, algo fundamental na estruturação de uma performance. O intérprete deve usar seu conhecimento e técnicas analíticas adequadas que permitam buscar elementos potencialmente significativos, com a finalidade de construir uma performance, assim como os aspectos inerentes da análise tradicional que contribuem para edificar uma performance expressiva e alicerçada nos elementos estruturais da obra. Os diálogos entre análise e performance contribuíram sobremaneira para o entendimento do processo. A adoção de uma nova ferramenta, como a Teoria do Contorno, ajudou-me como intérprete a identificar na estrutura eventos que pareciam desconexos. Alguns parâmetros não são identificáveis sem a teoria, com isso ela passa a representar uma ferramenta prática para o intérprete. A análise criteriosa e seletiva voltada para a performance e a investigação da biografia e das influências de escrita proporcionaram um entendimento abrangente da obra. / The Sextet - Seis prelúdios e um enigma [six preludes and a enigma] by Francisco Mignone was selected as theme because it is a work that is not well known and deserves to be rescued. A digitalized version was realized in order to diffuse it. The work is in atonal language, but also uses chromaticism, and sometimes modal language. The new vocabulary that emerged since the beginning of the 20th century requires specific premises of the interpreter. The surface contour will be investigated using Michael Friedmann\'s Contour Theory in order to produce melodic intelligibility as well as the ability to interrelate the studied material, which is fundamental in structuring a performance. Interpreters must use their knowledge and appropriate analytical techniques that allow for searching potentially significant elements for the purpose of constructing a performance, as well as aspects of traditional analysis which contribute to building a meaningful and grounded performance in respect to the structural elements of the work. The dialogues between analysis and performance contributed greatly to the understanding of the process. The adoption of a new tool such as Contour Theory helped me as an interpreter to identify events that seemed unrelated in the structure. Some parameters are not identifiable without the theory; theory represents a practical tool for the interpreter. A careful and selective analysis focused on performance and the research of biography and writing influences provided a comprehensive understanding of the work

<p>The local wind band in Lilla Edet, <em>Lilla Edets Musikförening</em>, springs from work and activities in the late 19:th century. Since then, the band has developed from a brass sextet to mixed wind band. It has been an appreciated contribution to the society on festive occasions. Yet, it seems like the band more and more has lost it´s useful purpose. Also, the recruiting of new members has ceased, as the music school has trouble with attracting pupils to learn to play wind instruments.</p><p>The reasons for this reduced interest are more then one. One aspect can be lack of atten-tion to the genre in music education, both in the music school and in the regular school. It may also be due to the media not showing enough of the wind music. That this genre, in many purposes, has been replaced by today´s popular music also makes the average Swede unaware of it´s qualities.</p><p>There are, however, places where the wind music tradition is stronger. This can, for example, come from special wind instrument education at an early age. It can also be due to the local band playing a prominent part in the society.</p><p>To help a languishing band activity, the band itself must cooperate with the music school and the society. All parts must do what they can to make sure the business stays alive.</p> / <p>Lilla Edets Musikförening har sitt ursprung ur föreningslivet i slutet av 1800-talet. Musik-kåren har sedan dess utvecklats från mässingssextett till blandad blåsorkester. Den har uppskattats och haft sin givna plats vid högtider i, och i många fall utanför, kommunen. Dock har musikföreningens funktion i samhället med åren successivt blivit mindre befintlig. Därtill har rekryteringen av nya medlemmar avstannat, i takt med att musikskolan lockar färre och färre elever till att spela blåsinstrument.</p><p>Anledningarna till detta minskande blåsmusikintresse kan dels vara brist på uppmärksamhet på genren i musikundervisningen, både i musikskolan och i den vanliga skolan, dels kan det vara att blåsmusiken syns för lite i media. Att blåsmusiken, som underhållnings- och funktionsmusik, ersatts av dagens populärmusik, gör också att kunskapen om blåsmusiken är liten hos medelsvensken.</p><p>Dock finns platser där blåsmusiktraditionen är starkare. Detta kan t.ex. komma sig av att man satsar på särskild blåsundervisning i tidig ålder, eller att musikkårsverksamheten har en väldigt framträdande och självklar roll i samhället.</p><p>För att en tynande musikkårsverksamhet ska överleva krävs insatser från både musikkåren själv, musikskolan och kommunen. Alla parter måste samverka och vara beredda att satsa för att trygga verksamhetens framtid.</p>

The local wind band in Lilla Edet, Lilla Edets Musikförening, springs from work and activities in the late 19:th century. Since then, the band has developed from a brass sextet to mixed wind band. It has been an appreciated contribution to the society on festive occasions. Yet, it seems like the band more and more has lost it´s useful purpose. Also, the recruiting of new members has ceased, as the music school has trouble with attracting pupils to learn to play wind instruments. The reasons for this reduced interest are more then one. One aspect can be lack of atten-tion to the genre in music education, both in the music school and in the regular school. It may also be due to the media not showing enough of the wind music. That this genre, in many purposes, has been replaced by today´s popular music also makes the average Swede unaware of it´s qualities. There are, however, places where the wind music tradition is stronger. This can, for example, come from special wind instrument education at an early age. It can also be due to the local band playing a prominent part in the society. To help a languishing band activity, the band itself must cooperate with the music school and the society. All parts must do what they can to make sure the business stays alive. / Lilla Edets Musikförening har sitt ursprung ur föreningslivet i slutet av 1800-talet. Musik-kåren har sedan dess utvecklats från mässingssextett till blandad blåsorkester. Den har uppskattats och haft sin givna plats vid högtider i, och i många fall utanför, kommunen. Dock har musikföreningens funktion i samhället med åren successivt blivit mindre befintlig. Därtill har rekryteringen av nya medlemmar avstannat, i takt med att musikskolan lockar färre och färre elever till att spela blåsinstrument. Anledningarna till detta minskande blåsmusikintresse kan dels vara brist på uppmärksamhet på genren i musikundervisningen, både i musikskolan och i den vanliga skolan, dels kan det vara att blåsmusiken syns för lite i media. Att blåsmusiken, som underhållnings- och funktionsmusik, ersatts av dagens populärmusik, gör också att kunskapen om blåsmusiken är liten hos medelsvensken. Dock finns platser där blåsmusiktraditionen är starkare. Detta kan t.ex. komma sig av att man satsar på särskild blåsundervisning i tidig ålder, eller att musikkårsverksamheten har en väldigt framträdande och självklar roll i samhället. För att en tynande musikkårsverksamhet ska överleva krävs insatser från både musikkåren själv, musikskolan och kommunen. Alla parter måste samverka och vara beredda att satsa för att trygga verksamhetens framtid.

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