Am 8. Dezember 1747 feierte die sächsische Kurfürstin und polnische Königin Maria Josepha (1699–1757) ihren 48. Geburtstag. Zu diesem Anlass verfasste ihre Schwiegertochter Maria Antonia Walpurgis den Text der Kantate »Che ti dirò Regina«. Die sächsische Kurprinzessin hatte den ältesten Sohn des Herrscherpaares, Friedrich Christian (1722–1763), im gleichen Jahr geheiratet und war im Juni nach Dresden gekommen.

Am 8. Dezember 1747 feierte die sächsische Kurfürstin und polnische Königin Maria Josepha (1699–1757) ihren 48. Geburtstag. Zu diesem Anlass verfasste ihre Schwiegertochter Maria Antonia Walpurgis den Text der Kantate »Che ti dirò Regina«. Die sächsische Kurprinzessin hatte den ältesten Sohn des Herrscherpaares, Friedrich Christian (1722–1763), im gleichen Jahr geheiratet und war im Juni nach Dresden gekommen.

Johann Gottlieb Naumann ist einer der wenigen Hofkapellmeister am kurfürstlich-sächsischen Hof, der auch aus Dresden stammt. Er wurde am 17. April 1741 in Blasewitz bei Dresden geboren. Nach einer entbehrungsreichen Jugend und frühzeitigen musikalischen Ausbildung in Italien übertrug die hochmusikalische Kurfürsten-Witwe Maria Antonia Walpurgis bereits dem 23jährigen Naumann das verantwortungsvolle Amt als Kirchen-Compositeur in einer desolaten Lage der musikalischen höfischen Kultur. Naumann hat den Text – die Arie des Arpago aus Metastasios »Ciro riconosciuto«, Wien 1736 – nochmals vertont. So sind mehrere Abschriften eines Duettes für zwei Soprane und Basso continuo in Venedig und Padua überliefert. Eine Datierung des Werkes ist ungewiss, es gibt aber zwei indirekte Hinweise auf eine mögliche Entstehungszeit. 1778 erschien die Canzonette »Ecco quel fiero istante« nach Metastasio für zwei Violinen, Sopran und Basso1, neben dem vorliegenden Werk die einzige Canzonette mit Begleitung mehrere Instrumente. Weitere Gesänge auf italienische Texte für Solostimme und ausschließlicher Klavierbegleitung gehen auf das Jahr 1769 zurück. Naumann war mit Johann Adolf Faustinus Weiss, dem Sohn von Silvius Leopold Weiss, befreundet, der seit 1763 bis zu seinem Tod 1814 als Kammerlautenist an der Dresdner Hofkapelle verpflichtet war. Er kann als Interpret infrage kommen.

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La aplicación del saber teórico-clínico psicoanalítico a las producciones culturales consiente profundizar el análisis de las creaciones intelectuales con relación al estudio de la intersubjetividad en el discurso social a partir de la representación simbólica de los lenguajes y los sedimentos específicos del imaginario (cine, teatro, literatura, videoarte y producciones multimedia). En el caso del psicoanálisis esta tarea implica la consideración añadida de los límites metodológicos impuestos ante los abusos interpretativos sobre un objeto de estudio pasivo (guion literario –televisivo–, en nuestro caso) “incapaz, como tal, de oponer un efecto de retorno sobre el análisis” (Chemama y Vandermersch, 2004) además de sobre cualquier abstracción conceptual de corte teórico sobre el objeto. Esta tesis investiga la dialéctica del sujeto del inconsciente (Lacan, 2009b) en el guion de la serie Los Soprano (1999-2007 EE.UU., emitida por H.B.O.: la secuencia sobre la psicoterapia del personaje protagonista). Tras haber presentado argumentalmente la obra, se abre el estudio introductorio sobre los antecedentes académicos que han analizado la producción televisiva, sus reversos narrativos y las caracterizaciones de los personajes principales. Se contemplan, especialmente, las observaciones de los autores (Greene e Vernezze, 2009; VV.AA., 2010; Zoller e Sepinwall, 2019) que se han detenido sobre la estética narrativa y sus reversos psicológicos o específicamente psicoanalíticos (Gabbard, 2004; Castro Flórez, in VV.AA., 2010), para pasar a la exposición del Marco Teórico (teoría de la subjetividad de la filosofía a la teoría social, junto al concepto psicoanalítico de sujeto del inconsciente planteado en el aparato teórico de Jacques Lacan –1901-1981–). Tras exponer el tratamiento de los principios básicos sobre el abordaje clínico psicoanalítico (teoría y técnica: Lacan, 2004, 2009; Etchegoyen, 2010; Cosenza, 2008) y un estudio retrospectivo etnográfico-lexical sobre los significantes ligados al substrato narrativo de la serie (criminalidad organizada), se pasa al análisis de los pasajes textuales de la secuencia clínica: las 106 escenas sobre la experiencia clínica psicoterapéutica del protagonista de Los Soprano. La tesis falsea mediante un procedimiento descriptivo los elementos de corte identitario contemplados en el capítulo III (datos etnográficos y psicosociológicos sobre la subjetividad de las organizaciones criminales en la forma de la mafia: Fiore, 2007; Lo Verso, 2002, 2017; Giordano y Lo Verso, 2013, 2014; Giunta y Lo Verso, 2011), y, ante la hipótesis de una posible dialéctica de efectos terapéuticos demuestra la escasez de las ocasiones reales de significación psicoanalítica en un sentido epistemológico que se oriente a la búsqueda clínica terapéutica del sujeto del inconsciente y a la realización del symptôme en el protagonista de la secuencia estudiada.

Symphonic Prayers is a work for orchestra and soprano soloist in four movements. The work uses four poems from Rainer Maria Rilke's collection Das Stundenbuch (The Book of Hours), written between 1895 and 1903. Rilke was a Bohemian poet, mystic, traveler, and lover of art and nature. He narrates The Book of Hours through a fictional Russian monk who converses with God and reflects upon the nature of the world through the poetry. Rilke's poems delicately weave together the joys and struggles of a faith journey and of finding one's place in the world and in eternity. Equally striking is the beauty with which he utilizes the German language. There is an irresistible rhythm and nuance to his words. The four poems I chose each reflect a different category of prayer derived from the Christian faith tradition. A common prayer model utilized in the Protestant church is abbreviated by the acronym "ACTS," which stands for adoration, confession, thanksgiving and supplication. The ACTS prayers guide the worshipper through four methods of praying: expressing adoration for God, confessing sins and shortcomings, showing gratitude and thanksgiving, and asking for help for oneself and others. I modeled each movement of Symphonic Prayers after these categories and chose poems from Das Stundenbuch that mirrored the sentiments of each prayer. Adoration is a proclamation of faith, a statement of unrelenting praise and prayer. The narrator unapologetically declares that even if it begets arrogance, nothing will diminish his drive to reach out to God. Even through this bold statement, the poem maintains reverence and a sense of wonder toward its subject. Confession is a statement of the brokenness of the world, recounting how murder has ripped through God's call for us to love life, and how our attempts to atone for this brokenness fall short. Thanksgiving is a boisterous statement of praise to God. The speaker analogizes her praise to trumpet calls, her words to sweet wine, and her music to a northern spring day, each preparing the way for God. Supplication returns to the reverence of the first movement. The narrator contemplates her life that is ever circling around God. The accompanying monograph explains the ACTS prayers in the context of the Reformed Church of America, both historically and currently. It presents an analysis of the four Rilke poems selected to represent the ACTS prayers, including their narrative meaning, their relationship to Das Stundenbuch, their translations, and a close examination of their poetic features, such as prosody, meter, and rhyme. The discussion of the poems also required some background on Rilke's faith journey and artistic maturation. The monograph also addresses musical text setting in a broader sense by recounting some historical philosophies of textual and musical relationships and explaining where the composer's ideologies fall within the larger framework. Finally, it presents a musical analysis of Symphonic Prayers in relation to the text setting of the four poems, including an explanation of its harmonic structure, which is derived from Olivier Messiaen's modes of limited transposition. The compositional goal of Symphonic Prayers was to create a work that would honor the ACTS prayers through the elegant words of a mystic poet. The music reinforces the messages behind Rilke's honest conversations with God, and in doing so offers a new lens through which to experience the arc of the ACTS prayers. / Music Composition / Accompanied by one .pdf score: Symphonic Prayers for Orchestra and Soprano Soloist.

As it was established in its origins, the compositional form of the bolero consists of 32 measures divided into two sections of 16 measures. The melodies incorporate sequences of melodic lines that are usually 4 measures long and are easily accessible, helping students to practice musical memory and stimulating their ear-training development. The poetry in Spanish gives the student the opportunity to be trained to sing pure vowels that are essential for the unification of the registers and the development of a healthy singing technique. This dissertation discusses the teaching the Latin American bolero genre to undergraduate mezzo-sopranos, combining it with the bel canto approach, as found in four elements from the method of the famous pedagogue, Manuel Garcia (1805-1906). These four elements are the clean onset or coup de la glotte, the unification of the registers, legato, and expressive devices or bel canto idioms like timbre and tempo rubato. The guidelines used to choose the repertoire are range, tessitura, simple meter and rhythm, tonal melodic lines, and piece duration. The boleros chosen for this study are "Solamente una vez" by Agustín Lara (1897-1970), "La gloria eres tú" by José Antonio Méndez (1927-1989), "Bésame mucho" by Consuelo Velázquez (1916-2005), "Aquellos ojos verdes" by Nilo Menéndez (1902-1987), "La mentira" by Álvaro Carrillo (1921-1969), "Tú me acostumbraste" by Frank Domínguez (1927-2014), "Alma mía," and "Así" by María Grever (1885-1951).