The concept of “creating tone” indicates the relationship that Beethoven wanted with his main instrument, the fortepiano, and symbolizes his desire for expression when performing on the instrument. The story of Beethoven’s evolving pianistic writing unfolds in tandem with his changing instrument preferences; there is a constant feedback loop between innovations in piano construction and his piano music. This study investigates how Beethoven “created” his own tone when faced with the new Erard and Streicher instrument models in the first decade of the nineteenth century. The first chapter outlines the context of Beethoven’s involvement with contemporary instruments up to the early nineteenth century. His progressive tendencies in relation to the Stein vs. Walter actions and his interest in the English school of playing demonstrate this perspective. His eventual purchase of an Erard instrument in 1803 is an example of his desire to be on the forefront of instrument building developments in his time. The influence of Beethoven’s Erard piano on his pianistic output is assessed in chapter two by examining several compositions written during this period that reflect characteristics of French pianism and instrument building. Many of Beethoven’s pianistic innovations can be understood in the context of this new model. Pianistic devices include the use of register as a compositional dimension; vocal melodic style; textural innovations to enhance the Harmonie of the instrument, such as the tremolo effect; and the use of multiple, colourful pedals. The link between Beethoven and the instruments of the Streicher firm is the subject of the third chapter. The resultant merging of Viennese, English, and French features in piano construction led to the creation of an instrument that was reported as fully “orchestral” in sonority. Pianistic devices of this period include the return to a rapid “Viennese” touch; sustained lyricism; and, in concerto writing, scoring for the piano as an equal to the orchestra. Many of the musical elements that we embrace as characteristically Beethovenian may have their origin in these organologically-inspired pianistic effects.

This study provides an Optimality-Theoretic analysis of the syllabification of word-initial biconsonantal clusters in the productions of Faifi Arabic and Asiri Arabic speakers. This study aimed at investigating the role of sonority in the syllabification of onset clusters. Two groups, each made up of 15 participants, were employed in this study to produce English nonwords, which had onsets composed of biconsonantal clusters with different sonority levels. The results of the study showed that the two groups had two different ways of treating the clusters. The Faifi group epenthesized a vowel before the onset clusters, forcing the second consonant in the cluster to become the onset of the following syllable. The Asiri group epenthesized a vowel between the consonants of onset clusters when the sonority slope equaled 2. When the sonority slope equaled 3, the cluster was produced intact. All of these differences were shown to be the result of different rankings of several markedness and faithfulness constraints.

This study examines the coda clusters in Classical Arabic and how Najdi speakers, modern inhabitants of the central area of Saudi Arabia, pronounce them. Fourteen Najdi participants were asked to read a list of thirty-one words that took into account falling, equal, and rising sonority clusters, consisting of obstruents, nasals, liquids, and glides. The instrument contained one, two, and three steps of sonority for each level of sonority (falling and rising) to determine the minimal sonority distance used in Najdi Arabic. Specifically, obstruent + nasal, nasal + liquid, and liquid + glide were included for falling sonority clusters of one step, obstruent + liquid and nasal + glide were used for falling sonority clusters of two steps, and only obstruent + glide for falling sonority clusters of three steps. To test the rising sonority clusters, the elements in the clusters were transposed for each combination; for example, instead of using obstruent + nasal, clusters of nasal + obstruent were considered. However, for equal sonority clusters, only obstruent + obstruent and nasal + nasal were examined. Obstruents were dealt with separately in the instrument at first to see whether they caused any difference in the results. The results showed that the subjects added epenthesis in the rising sonority clusters and equal sonority clusters containing sonorants. However, they did not add epenthesis in the falling sonority clusters or equal sonority clusters containing obstruents. Thus, no matter the distance in sonority between the two segments in the rising sonority clusters (one, two, or three steps), the participants always epenthesized them. In addition, no matter how many sonority steps there were between the two segments in the falling sonority clusters, the participants always produced them without modification. In case of equal sonority, when the two segments of the cluster were sonorants, the participants added epenthesis; however, when the two segments of the cluster were obstruents, the participants produced them without modification.

Submitted by Kenia Bernini (kenia.bernini@ufpel.edu.br) on 2018-03-01T20:43:40Z No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Andressa_Porto_Pereira_Dissertação.pdf: 4539055 bytes, checksum: 289dc7ee04bf73137c99c1f4119318f8 (MD5) / Approved for entry into archive by Aline Batista (alinehb.ufpel@gmail.com) on 2018-03-05T21:39:00Z (GMT) No. of bitstreams: 2 Andressa_Porto_Pereira_Dissertação.pdf: 4539055 bytes, checksum: 289dc7ee04bf73137c99c1f4119318f8 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Aline Batista (alinehb.ufpel@gmail.com) on 2018-03-05T21:39:07Z (GMT) No. of bitstreams: 2 Andressa_Porto_Pereira_Dissertação.pdf: 4539055 bytes, checksum: 289dc7ee04bf73137c99c1f4119318f8 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2018-03-05T21:39:15Z (GMT). No. of bitstreams: 2 Andressa_Porto_Pereira_Dissertação.pdf: 4539055 bytes, checksum: 289dc7ee04bf73137c99c1f4119318f8 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2017-08-17 / Sem bolsa / Esta pesquisa desenvolve uma etnografia sobre a sonoridade do trem, visando compreender como ela se integra à cidade de Pelotas/RS. Esta cidade acompanhou o nascimento, o auge e o sucateamento da rede ferroviária do Estado, atualmente entregue à empresa privada e restrita ao transporte de carga. O contato com os interlocutores se deu através da apresentação de áudios da sonoridade do trem. Ao realizar essa abordagem com moradores de diferentes faixas etárias e localidades da cidade, é discutida a diversidade de percepções quanto a essa expressão sonora. Dessa forma, foram considerados tanto segmentos sociais que ignoram a relevância histórica deste transporte para a região, quanto aqueles que guardam na memória uma época em que ele era vital para a manutenção das famílias ferroviárias, assim como para a circulação de passageiros e mercadorias. A etnografia concentra-se principalmente no bairro Simões Lopes, antigo bairro ferroviário, onde o som do trem afeta seus moradores, mas também em outros lugares, acionando diferentes sensações e memórias / This research develops an ethnography about the sonority of the train, aiming to understand how it integrates in the city of Pelotas / RS. This city followed the birth, the peak and the scrapping of the State rail network, currently delivered to the private company and restricted to freight transportation. The contact with the interlocutors happened through the presentation of the audio of the sonority of the train. This approach with residents of the city in different age groups, I discussed the diversity of perceptions regarding this sound. In this way, It´s contemplate both social segments, the ones that ignore the historical relevance of this transport to the region and those who keep in mind a time when it was vital for the maintenance of the railway families, as well as for the movement of passengers and goods. The ethnography is mainly concentrated in the neighborhood of Simões Lopes, an old railway neighborhood, where the sound of the train affects the residents, but also in other places, triggering different sensations and memories

Esta tese de doutorado apresenta como objetivo analisar a transformação que ocorre, no período clássico e no moderno, das formas: balada, canção, ode e soneto, da poesia em Língua Portuguesa, considerando os conceitos estabelecidos pela tradição poética. Essa transformação é observada sob o aspecto fonoestilístico, com ênfase na sonoridade que compõe os poemas: traços fonológicos, rimas, ritmo e metro. Destaque-se ainda que o foco será o estudo dessas características sonoras, a sua expressividade e como se desenvolve a combinação desses elementos, na constituição do(s) sentido(s), no interior dos poemas. / The present PhD thesis aims at analyzing the changes that occur in the classical and modern periods on some forms such as: ballade, song, ode and sonnet of the poetry in Portuguese. For this it was taken into consideration the established concepts which guide the poetry tradition. The transformation mentioned above is seen from the phonostylistics point of view with emphasis in the following sonority features, which constitute the poems: phonological traces, rhymes, rhythm and meter. It is relevant to mention that the focus given will be the study of such sonority features, the expressiveness presented by them and how the combinations of these elements are developed so as to achieve the constitution of the meaning(s) within the poems.

Esta tese de doutorado apresenta como objetivo analisar a transformação que ocorre, no período clássico e no moderno, das formas: balada, canção, ode e soneto, da poesia em Língua Portuguesa, considerando os conceitos estabelecidos pela tradição poética. Essa transformação é observada sob o aspecto fonoestilístico, com ênfase na sonoridade que compõe os poemas: traços fonológicos, rimas, ritmo e metro. Destaque-se ainda que o foco será o estudo dessas características sonoras, a sua expressividade e como se desenvolve a combinação desses elementos, na constituição do(s) sentido(s), no interior dos poemas. / The present PhD thesis aims at analyzing the changes that occur in the classical and modern periods on some forms such as: ballade, song, ode and sonnet of the poetry in Portuguese. For this it was taken into consideration the established concepts which guide the poetry tradition. The transformation mentioned above is seen from the phonostylistics point of view with emphasis in the following sonority features, which constitute the poems: phonological traces, rhymes, rhythm and meter. It is relevant to mention that the focus given will be the study of such sonority features, the expressiveness presented by them and how the combinations of these elements are developed so as to achieve the constitution of the meaning(s) within the poems.

This study examines the role of voiceless and voiced fricatives as the first consonant in word-initial true consonant clusters and adjunct clusters. Specifically, this study sought evidence to determine whether the lack of voiced fricatives, such as /z/ and /v/, in English word-initial true and adjunct clusters is due to an active ban or an accidental gap in the language's phonotactics. This study also looked into whether the voiceless alveolar fricative /s/ is the only fricative that can play the role of adjunct segment in word-initial adjunct clusters, or whether other fricatives, such as the voiced alveolar fricative /z/, or the voiceless and voiced labiodental fricatives /f/ and /v/ could also be adjunct segments in word-initial adjunct clusters. Fourteen native English speakers were asked to pronounce a list of non-words containing word-initial clusters with /s/, /f/, /z/, and /v/ as the first consonant and /r/, /l/, /n/, /k/, and /g/ as the second consonant. The clusters were chosen to represent different voicing statuses and places of articulation for the first consonant in the cluster, in addition to differing sonority distances between the first consonant and the second consonant of the word-initial cluster. The native English speaker productions were recorded and acoustically analyzed in order to determine the exact pronunciations each speaker used for each target cluster. The results were then statistically analyzed to reveal patterns. Results showed that the lack of voiced fricatives as the first consonant in word-initial position of true clusters in English is due to an accidental gap, due to the relatively numerous correct productions of such clusters. The the lack of voiced fricatives as the first consonant in word-initial position of adjunct clusters in English, however, is due to an active ban, due to the difficulty that the native English speakers had in correctly producing such clusters. This study also concluded that while /s/ is the only adjunct segment in English, /f/ could also play that role.

Submitted by Daniela Soares (dmeireles2@gmail.com) on 2017-06-22T15:28:20Z No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) DISSERTAÇÃO_REVISÃO_final_correção final ok!.pdf: 3832344 bytes, checksum: 359292f6dec4d686b2da0dbb1a608a48 (MD5) / Approved for entry into archive by Divisão de Documentação/BC Biblioteca Central (ddbc@ufam.edu.br) on 2017-06-23T12:53:04Z (GMT) No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) DISSERTAÇÃO_REVISÃO_final_correção final ok!.pdf: 3832344 bytes, checksum: 359292f6dec4d686b2da0dbb1a608a48 (MD5) / Made available in DSpace on 2017-06-23T12:53:04Z (GMT). No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) DISSERTAÇÃO_REVISÃO_final_correção final ok!.pdf: 3832344 bytes, checksum: 359292f6dec4d686b2da0dbb1a608a48 (MD5) Previous issue date: 2017-01-24 / The present research discusses the sonority of the Raízes Caboclas Group since 1982 to 2007 and its formation and musical development in the course of these years, since its begin in Benjamin Constant and its change to Manaus in 1989 In search of visibility and space in the artistic environment This investigation envolves three moments: the beginning of the Raizes Caboclas and its poetic-musical proposal; The analysis of the songs and its themes and the sale of discs and the acceptance of the Raízes Caboclas proposal by the public and the amazonian media. This study tries to understand the sonority produced by the musicians in singing the rivers, the forests, the legends and the myths of the region, emphasizing the valorization of the man from Amazon hinterlands (the caboclo) and the indigenous peoples, to point the idea of preservation in its letters. The use of bioinstruments, the constant search of sounds offered by the forest in its compositions and the original performances in concerts complete the sound research that we intend to develop. / A presente pesquisa discute a sonoridade do grupo amazonense Raízes Caboclas no período de 1982 a 2007, sua formação e desenvolvimento musical no decorrer desses anos, desde sua origem em Benjamin Constant e sua mudança para Manaus em 1989 em busca de visibilidade e espaço no meio artístico. A investigação compreende três momentos: o início do Grupo e sua proposta poético-musical; a análise das canções, temáticas trabalhadas e vendagem de discos; e a acolhida à proposta do Raízes por parte do público e da mídia amazonense. O estudo procura compreender a sonoridade produzida pelos músicos em cantar os rios, as matas, as lendas e mitos da região, primando pela valorização do homem do interior da Amazônia (o caboclo) e dos povos indígenas procurando trazer, com isso, uma conotação de preservação em suas letras. A utilização de bioinstrumentos, a pesquisa constante de sons que a floresta oferece com a finalidade de serem utilizados nas composições e as performances em shows completam a pesquisa sonora que pretendemos desenvolver

Esse trabalho se situa numa zona de convergência entre composição e pesquisa. O intento é investigar, compreender e compartilhar meu próprio processo criativo num exercício de autoanálise, onde pesquisadora e compositora precisam negociar um olhar conjunto. Para tanto, selecionei como objeto de estudo um conjunto de três peças compostas no contexto do doutorado: LAN (2011), A menina que virou chuva (2013) e I am [where?], making a personal trajectory of listening (2015). A partir de LAN busco delinear o universo conceitual que atravessa minhas reflexões e minha prática artística, criando um emaranhado de assuntos ligados aos temas forma, tempo e sonoridade. Em A menina que virou chuva aprofundo o trabalho de análise musical exemplificando alguns procedimentos mais técnicos e específicos de construção e elaboração musical. Por fim, em I am [where?] apresento uma espécie de diário/relato de bordo de composição, recuperando a genealogia da peça e explicitando um pouco mais meu modo de trabalho. Ainda que não seja abordado mais diretamente no plano conceitual, o tema espaço também perpassa essa pesquisa. / This work is located in a convergence zone between composition and research. The intent is to investigate, understand and share my own creative process in an exercise of self-analysis where researcher and composer need to negotiate a common view. Therefore, I selected as object of study a set of three pieces composed in the context of my PhD project: LAN (2011), A menina que virou chuva (2013) and I am [where?], making a personal trajectory of listening (2015). From LAN I seek to outline the conceptual universe that runs through my thoughts and my artistic practice, creating a tangle of issues related to the themes form, time and sonority. In A menina que virou chuva I delve into the work of musical analysis exemplifying some more technical and specific procedures of musical construction and elaboration. Finally, in I am in [where?] I present a kind of diary/board report of composition, recovering the genealogy of the piece and showing a bit more my way of working. Although it is not addressed more directly at the conceptual level, the subject space also runs through this research.

Made available in DSpace on 2016-08-10T10:37:10Z (GMT). No. of bitstreams: 1 EDSONINA JOSEFA DE CARVALHO.pdf: 12443970 bytes, checksum: a9729d2c98834ada236e8b6e4c144d89 (MD5) Previous issue date: 2009-06-30 / This study has two objectives. The first consists in analyzing the history and the development of Folia de Reis Estrela do Oriente, a folk festival which originated in the rural area of Itaberaí, Goiás, in the early 20th century. It was transferred to Goiânia in 1962 and revived in Aparecida de Goiânia in 2004. In 2008, the festival was temporarily transferred to Setor Pedro Ludovico, in Goiânia. The second objective focuses on the festival s songs based on the repertoire of songs expressing arrival, alms-begging, acknowledgements, and departure, as well as on table blessings and rosary chants. By using verse scores and lyrics, the festival s musical expression was analyzed via systems from Goiás and Minas Gerais. / Este trabalho tem um duplo objetivo. No primeiro momento procura-se estudar a história e o desenvolvimento da Folia de Reis Estrela do Oriente que se originou na zona rural, no município de Itaberaí, Goiás, no início do século XX. Em 1962 a folia foi transferida para Goiânia, sendo reanimada em 2004, com sede em Aparecida de Goiânia. Em 2008, a sede foi transferida para o setor Pedro Ludovico, em Goiânia, em caráter provisório. No segundo momento serão analisadas as cantorias, a partir do repertório das cantorias de chegada, de pedido de esmolas, de agradecimentos, de saída; dos benditos de mesa ou agradecimento; e os cantos do terço. Por meio de partituras e letras dos versos se analisará a forma de expressão musical da folia em estudo, a partir de dois sistemas: Goiano e Mineiro.