Orientador: Jorge Luiz Schroeder / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-26T08:52:08Z (GMT). No. of bitstreams: 1 Zafani_JoseTadeuDutra_M.pdf: 1521384 bytes, checksum: d4a69db7865b421e48a41970b8a89f5a (MD5) Previous issue date: 2014 / Resumo: Utilizando conceitos sociológicos de Pierre Bourdieu (1996,1998,2004) e Bernard Lahire (2002,2004,2010) e da sociologia da educação de Maria da graça Setton (2002, ,2007,2008, 2010, 2011,2012), o presente trabalho tem como objetivo esboçar o "retrato sociológico musical" de professores de guitarra, professores de violão e professores de ambos os instrumentos. Para isso, conectou-se o processo socializador pelo qual passou cada professor durante sua formação junto ao campo sociomusical em que atuam com suas formas particulares de agir, pensar, crer e perceber (disposições) os aspectos musicais no presente de seus respectivos trabalhos, tendo como principais eixos de investigação as respectivas práticas do ensino da guitarra e do violão e as possíveis relações didáticas entre os dois instrumentos e suas simultâneas atuações artísticas. Para obter as informações necessárias para a realização da pesquisa, foram realizadas entrevistas presenciais com doze professores, com qualquer trajetória musical, que se encaixaram no perfil da pesquisa. Observou-se que a forma de agir, pensar, crer e perceber o ensino de guitarra e violão se mostra como reflexo de uma construção social e musical através da qual os professores transitam, assim como a condição de emancipação e dependência didática, técnica ou artística da guitarra em relação ao violão aparece também como uma construção individual em busca de uma síntese pessoal das contradições entre os procedimentos específicos de cada instrumento, ou seja, a questão de dependência ou emancipação só se resolve intrinsecamente em cada indivíduo de forma única e pessoal e esta resolução é resultado de uma trajetória músico-social singular / Abstract: Using sociological concepts of Pierre Bourdieu (1996,1998,2004) and Bernard Lahire (2002,2004,2010) and concepts of sociology of education of Maria da Graça Setton (2002, ,2007,2008, 2010, 2011,2012), the present study aims outlining the "musical sociological portrait" of guitar teachers, eletric guitar teachers and teachers of both instruments. For this, it was connected the socializing process by which each teacher spent during his sociomusical field training in which they act, with their particular ways of acting, thinking, believing and perceiving (provisions) musical aspects of their work, having as main lines of investigation their practice of teaching acoustic guitar and eletric guitar and the relations between the two instruments and their artistic performances that may exist. To obtain the necessary information to conduct the survey, personal interviews were conducted with twelve teachers with any musical path and who matched the research profile. It was observed that the way we act, think, believe and realize teaching acoustic and eletric guitar is shown as a reflection of musical and social construction through which teachers transit, as well as the condition of didactical, technical or artistic emancipation and dependence of the electric guitar in relation to the acoustic guitar also appears as an individual construction in a search for a personal synthesis os contradictions between the especific procedures of each instrument. It equivalent to say that the question about the dependence or emancipation only is resolved inside each person in a unique and personal way and this resolution is the result of a singular musical and social trajectory / Mestrado / Fundamentos Teoricos / Mestre em Música

Orientador: Ricardo Goldemberg / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-27T13:54:34Z (GMT). No. of bitstreams: 1 Solti_Endre_M.pdf: 1385908 bytes, checksum: 8837f9ad693b4254e16313c234d43d49 (MD5) Previous issue date: 2015 / Resumo: O objetivo deste trabalho é avaliar o ensino dos instrumentos guitarra elétrica e violão popular nas disciplinas de instrumento da licenciatura em música com habilitação em instrumento - modalidade à distância, oferecida pela Universidade Vale do Rio Verde (UninCor). Para isso, foi utilizado um estudo de caso, cuja finalidade foi fazer um levantamento de dados referentes ao ensino dos conteúdos improvisação e linguagem jazzística nas referidas disciplinas. Após a coleta dos dados, foi feita uma avaliação comparativa entre as gravações dos improvisos dos alunos enquanto cursavam o primeiro semestre com gravações dos improvisos desses mesmos alunos enquanto cursavam o último semestre. Apesar de os resultados terem sido satisfatórios quanto à evolução, uma análise mais profunda apontou para dificuldades maiores de aprendizagem de elementos musicais rítmicos ou de linguagem. Para explicar esses resultados, recorremos ao pressuposto teórico de John Anderson (1981), que divide a forma de assimilação de conteúdos em dois tipos de conhecimentos, os conhecimentos declarativo e processual, e ao pressuposto teórico de John Kratus (1996), que divide os níveis de improvisação que um músico improvisador pode alcançar em sete níveis. Através da teoria de Kratus, conseguimos entender que os resultados de dificuldade podem ser considerados como uma das etapas iniciais da apreensão de conteúdos, enquanto que resultados positivos são considerados como uma etapa final ou maturação desses mesmos conteúdos. Através da teoria de Anderson (1981), conseguimos entender que os conteúdos calcados no conhecimento processual apresentam maior dificuldade de assimilação, exatamente pelo fato de ser de difícil verbalização. Após o confronto da análise dos dados coletados com as teorias de apoio, concluímos que as dificuldades de aprendizagem estão presentes em ambas as modalidades, presencial e a distância, mas que se apresentam mais evidentes quando conteúdos práticos são ministrados via EaD. Mesmo assim, consideramos válido o ensino musical instrumental a distância, principalmente para a formação de professores, onde as exigências de ordem prático-instrumental podem ser menores se for previsto pelo curso alguma proficiência instrumental, ou se aproveitados os momentos presenciais obrigatórios da modalidade para atividades que privilegiem a prática de um instrumento musical / Abstract: The objective of this study is to evaluate the teaching of instruments and electric guitar popular guitar in the degree of instrument disciplines in music with instrument qualification - distance mode, offered by the University Vale do Rio Verde (UNINCOR). For this, a case study was used, whose purpose was to make a data collection for the teaching of improvisation and jazz language content in these disciplines. After collecting the data, it made a comparative evaluation between the recordings of the improvisations of the students were enrolled as the first half with recordings of the improvisations of these same students as were enrolled in last semester. Although the results were satisfactory with regard to evolution, a deeper analysis pointed to greater difficulty in learning rhythmic musical elements or language. To explain these results, we turn to the theoretical assumption of John Anderson (1981), which divides the form of assimilation of content in two types of knowledge, declarative and procedural knowledge and the theoretical assumption Kratus John (1996), which divides improvisation levels that an improvising musician can reach into seven levels. By Kratus theory, we understand that the results of difficulty can be considered as one of the initial stages of apprehension contents, while positive results are considered as a final step or maturation of these same contents. By Anderson's theory (1981), we understand that the footwear content on procedural knowledge are more difficult to assimilate, just because it is difficult to verbalize. After analysis of the data collected confrontation with the theories of support, we conclude that learning difficulties are present in both modes, face and the distance, but that present more evident when practical contents are taught via distance education. Still, we consider valid the instrumental music distance learning, particularly for teacher training, where the demands of practical-instrumental order may be lower if provided by the course some instrumental proficiency, or if harnessed the mandatory personal moments of the sport for activities that favor the practice of a musical instrument / Mestrado / Música, Teoria, Criação e Prática / Mestre em Música

El presente trabajo de investigación se basa en una propuesta de negocio en la industria de accesorios musicales dirigida a personas que toquen guitarra y bajo, y que se encuentren entre los NSE A, B y C en Lima Metropolitana. Para investigar y validar varios supuestos, se ha creado la marca “Mallku”, una empresa que diseña uno de los accesorios más conocidos, pero, a la vez, difícil de encontrar en el mercado, el pedalboard. Este accesorio sirve como una herramienta que ordena los pedales que usan guitarristas y bajistas, y permiten ahorrar tiempo al poder llevarlos ya armados a una grabación o al escenario. A partir de las primeras investigaciones, se validó que hay un gran potencial para desarrollar este producto, que el consumidor valora los artículos artesanales, y que aprecia que se utilice madera como insumo principal. Por otro lado, se pudo validar la aceptación del producto a través de las ventas realizadas en redes sociales, llegando a vender estos accesorios a miembros de bandas que están en crecimiento y que ya son relevantes para la escena local. Para la realización del proyecto se hicieron diversos análisis de la industria, los cuales involucran al consumidor, insights, competidores y otros factores externos que permitieron elaborar diferentes planes y determinar una estructura organizacional favorable para la viabilidad del mismo. Como resultado, bajo una inversión inicial de S/. 39,227.00, se obtiene una utilidad neta de S/. 31,158.00 para el primer año, S/. 24,077.00 para el segundo y S/. 23,105.00 para el tercero. / This research work is based on a business proposal in the musical accessories industry aimed at people who play guitar and bass, and who are between socioeconomic levels A, B and C in Lima Metropolitana. To investigate and validate many hypothesis, we have created “Mallku”, a business that designs one of the best known products in the industry, the pedalboard. This accessory works by helping organize the pedals that guitar and bass players use, and allows to save time when the users need to record or give a concert. From the first investigations, it was validated that there is great potential to develop this product, that the consumer values ​handmade items, and that appreciates that wood is used as the main input. On the other hand, it was possible to validate the acceptance of the product through sales made in social networks, selling these accessories to members of bands that are growing and that are already relevant to the local scene. For the realization of the project, various analyzes of the industry were made, which involve the consumer, insights, competitors and other external factors that allowed developing different plans and determining a favorable organizational structure for its viability. As a result, under an initial investment of S /. 39,227.00, we expect to obtain a net profit of S /. 31,158.00 for the first year, S /. 24,077.00 for the second and S /. 23,105.00 for the third. / Trabajo de investigación

Migrations and technological advances in California following World War II, spurred radical changes in the production and development of popular music, most notably rock and roll. California largely lacked the entrenched traditions of the American Northeast, and in many ways its exploding population translated into the growth of a culture built around embracing newer methodologies, whether technological innovations or radical artistic departures. In large part owing to its increasing ethnic diversity during the economic expansion, California was uniquely poised to become a center of incredible postwar dynamism, especially when seen in the production, consumption, and stylistic development of music. Nevertheless, many of the radical departures in American music were contingent upon the contributions of a small group of inter-connected musical equipment manufacturers and musicians in California from the 1940s through the 1960s. As the United States experienced dramatic changes during the awesome postwar boom, Californian artists, merchants, and equipment makers exploited opportunities, making the Golden State the national trendsetter in musical developments both technological and stylistic. In particular, the invention, development, and further refinement of solid bodied electric guitars and basses in Southern California permanently changed how music would be made. The transformation of West Coast music would produce differing reactions nationally, while foreign developments would impact California, challenging its hegemony.

此作品集提供有一篇文章介紹72-TET記譜法及七首音樂作品。音樂作品採用不同編寫，包括樂團三首，室內樂作品三首，藝術歌曲一首。 / Seven works (three orchestral, three chamber, and one vocal) written and performed in the last three years constitute this portfolio, along with an introductory essay discussing a common feature in many, a form of 72-TET notation. For all of these pieces, microtones are employed; for some, this is fundamental to the technical construction of the piece, while, for others, microtones function as ornamental devices. / The variety of compositional goals enabled through microtonal notation is reflected in the differing technical approaches to the works: East Cathedral for full orchestra requires a representation of 19 just intonation overtone pitches (as high as the 125th harmonic) which enable a shifting timbral palette, sometimes orchestrating closely defined intervals otherwise impossible to approximate using conventional notation. A similar approach is found in ON/OFF which retunes five electric guitars to certain overtones between the eighth and 39th harmonics but which accomplishes much higher partials by employing a violin bow. Suite for string orchestra with sheng employs traditional diatonic harmonies employing simple just thirds juxtaposed with natural harmonic clusters in the low strings and at other times leading to untraditional diatonic clusters or extended collisions of microtonal comma values. Study and Variation on an Extended Pythagorean Tuning for violin, cello, and guzheng employs a collection of pitches selected from a spiral of perfect fifths, while Hymn to Morning, on the classic hymn text of Thomas Ken, uses quarter tones in the vocal part only, constructing modes outside of the established diatonic system. Duo: in cerca for violin and viola uses quartertones and glissandos to contribute to its wide range of techniques approximating dramatic dialogue between the instrumentalists, employing pitch “bending and characteristics of vocal portamento, while, similarly, Déjà vu for solo violin, harp, piano, and string orchestra also includes quartertone notation and glissandos to help lead the listener into a series of interludes at odds with the melodic statements of the soloist. / East Cathedral : for full orchestra -- Déjà vu : for solo violin, harp, piano, and string orchestra -- Suite : for string orchestra with sheng -- Study and variation on an extended Pythagorean tuning : for violin, cello, and guzheng -- Duo : in cerca : for violin and viola -- Hymn for morning : for voice and piano -- ON\OFF : for five electric guitars. / Detailed summary in vernacular field only. / Marshall, Eli Matthew Bakaley. / Thesis (D.Mus.) Chinese University of Hong Kong, 2014. / Includes bibliographical references (leaves xxxiii-xxxvi). / Abstract also in Chinese.

Examines the use of vernacular, country guitar styles in an electro-acoustic environment. Special attention is given to performance practices and explanation of techniques. Electro-acoustic techniques-including sound design and spatialization-are given with sonogram analyses and excerpts from the score. Compositional considerations are contrasted with those of Mario Davidovsky and Jean-Claude Risset with special emphasis on electro-acoustic approaches. Contextualization of the piece in reference to other contemporary, electric guitar music is shown with reference to George Crumb and Chiel Meijering.

I det här självständiga arbetet framkommer det att notläsning inte alltid ses som någonting nödvändigt av elgitarrelever på gymnasiet, men det finns vissa tillfällen de värderar det högt. I det här självständiga arbetet undersöks diskursiva uppfattningar och diskursivt innehåll i gymnasieelevers utsagor kring notläsning på elgitarr. Fokusgrupper har använts för att samla in data till analysen. Det teoretiska perspektivet i arbetets analys är diskurspsykologi, vilket används för att tolka hur bakomliggande föreställningar, normer och värderingar formar en diskurs. Att förstå någonting diskursivt innebär att ta hänsyn till att det inom olika kulturella, historiska och andra sammanhang finns olika faktorer som formar vad som anses vara det normativa. Arbetets frågeställningar är ”Hur samtalar gymnasieelever om notläsning på elgitarr?” och ”Hur kan gymnasieelevers förhållande till notläsning på elgitarr förstås diskursivt?”. Resultatet visar på två diskursiva uppfattningar kring notläsning på elgitarr: notläsning och självförverkligande samt notläsning som svårt att lära sig men nyttigt. Resultatet visar att gymnasieelever tycker det är viktigt med notläsning i olika sammanhang. De pedagogiska implikationerna är att anpassa notläsningsundervisning efter elevernas nivå samt att främja motivation och engagemang. / In this study, it is evident that sight reading is not always considered necessary by high school electric guitar students. However, there are certain occasions when they highly appreciate it. This study examines discursive perceptions and discursive content in high school students' statements about reading sheet music on the electric guitar. Focus groups have been used to collect data for the analysis. The theoretical perspective in the analysis of this work is discursive psychology, which is used to interpret how underlying assumptions, norms, and values shape a discourse. Understanding something discursively involves considering that within different cultural, historical, and other contexts, there are various factors shaping what is considered normative. The research questions are "How do high school students discuss reading sheet music on the electric guitar?" and "How can high school students' relationship to reading sheet music on the electric guitar be understood discursively?". The results indicate two discursive perceptions regarding reading sheet music on the electric guitar: sheet music and self-realization, as well as sheet music as difficult to learn but useful. The findings show that high school students find sheet music important in various contexts. The pedagogical implications are to tailor sheet music instruction to the students' level and to promote motivation and engagement.

Syftet med studien är att utforska min relation till min gitarr utifrån ett livsvärldsperspektiv. Mina frågeställningar är: Hur upplever jag min relation till min gitarr? och Vad sker med relationen under en period av utforskande? Studien utgår från ett fenomenologiskt livsvärldsperspektiv och metoden bygger på observationer av loggboksanteckningar. I resultatet presenteras teman som: En livsvärld tyngd av känslor och tankar, Att ta hand om min gitarr och vår relation, Om hur jag vill att det ska vara och om hur jag vill att det ska kännas med min gitarr, Min egen relation till gitarren och min relation till andra genom gitarren och Livsvärlden förändras. I sista kapitlet diskuteras resultatet utifrån reflektioner över teman som Om att ha kul med sitt instrument och Det kärleksfulla lugnet. / The purpose of the study is to explore my relationship with my guitar from a life-world perspective. The research questions are: How do I experience my relationship with my guitar? and What happens with the relationship for a period of exploration? Theoretical perspective is phenomenological life-world perspective and the method is observations of logbooks writings. The result is presented with the themes A life-world heavy of emotions and thoughts, Taking care of my guitar and our relationship, How I want it to be and how I want it to feel with my guitar, My own relationship to the guitar and my relationship to others through the guitar and The life-world is changing. In the last chapter, I discuss my results with the help of the themes About having fun with your instrument and Loving serenity.

O presente trabalho tem a intenção de, primeiramente, estudar a guitarra elétrica como interface de composição e improvisação através da utilização de novas tecnologias digitais na música experimental; em um segundo momento, propõe uma composição musical utilizando alguns aparatos tecnológicos acoplados à guitarra. Essas ferramentas foram escolhidas após um extensivo mapeamento individual e através de experimentações de suas potencialidades do processamento sonoro quando abordadas com o instrumento. O material composicional foi posteriormente construído a partir de observações e reflexões do autor sobre o uso do instrumento enquanto interface no diálogo com as novas tecnologias digitais presentes na computação móvel. O trabalho traz também o registro autoetnográfico do período de pesquisa de algumas das ferramentas digitais selecionadas quando em uso com a guitarra elétrica e o processo de composição e registro da peça proposta, além de sua posterior análise. Em sua conclusão, são apresentadas, portanto, as observações e reflexões desta interação do instrumento e suas novas formas de instrumenticidade quando acoplado ao computador. / This work intends to, first, study the electric guitar as composition and improvisation interface through the use of new technology in experimental music; in a second moment, proposes a composition using some technological devices attached to the electric guitar. These tools were chosen after an extensive mapping individual trial and through its sound processing capabilities when addressed with the instrument. The compositional material was subsequently constructed from observations and author\'s reflections on the use of the instrument as an interface in dialogue with the new technologies available in mobile computing. The work also brings an auto-ethnography record of the research period of a few digital tools selected when in use with the electric guitar and the writing process and recording of the piece proposed, and its subsequent analysis. In its conclusion, therefore presents the observations and reflections from this interaction of the instrument and its new forms of instrumentness when attached to the computer.

O presente trabalho tem a intenção de, primeiramente, estudar a guitarra elétrica como interface de composição e improvisação através da utilização de novas tecnologias digitais na música experimental; em um segundo momento, propõe uma composição musical utilizando alguns aparatos tecnológicos acoplados à guitarra. Essas ferramentas foram escolhidas após um extensivo mapeamento individual e através de experimentações de suas potencialidades do processamento sonoro quando abordadas com o instrumento. O material composicional foi posteriormente construído a partir de observações e reflexões do autor sobre o uso do instrumento enquanto interface no diálogo com as novas tecnologias digitais presentes na computação móvel. O trabalho traz também o registro autoetnográfico do período de pesquisa de algumas das ferramentas digitais selecionadas quando em uso com a guitarra elétrica e o processo de composição e registro da peça proposta, além de sua posterior análise. Em sua conclusão, são apresentadas, portanto, as observações e reflexões desta interação do instrumento e suas novas formas de instrumenticidade quando acoplado ao computador. / This work intends to, first, study the electric guitar as composition and improvisation interface through the use of new technology in experimental music; in a second moment, proposes a composition using some technological devices attached to the electric guitar. These tools were chosen after an extensive mapping individual trial and through its sound processing capabilities when addressed with the instrument. The compositional material was subsequently constructed from observations and author\'s reflections on the use of the instrument as an interface in dialogue with the new technologies available in mobile computing. The work also brings an auto-ethnography record of the research period of a few digital tools selected when in use with the electric guitar and the writing process and recording of the piece proposed, and its subsequent analysis. In its conclusion, therefore presents the observations and reflections from this interaction of the instrument and its new forms of instrumentness when attached to the computer.