Submitted by Morgana Silva (morgana_linhares@yahoo.com.br) on 2016-09-19T18:12:59Z No. of bitstreams: 1 arquivototal.pdf: 8141967 bytes, checksum: 7954c131b4c641394c45ef6bf6e2c8e6 (MD5) / Made available in DSpace on 2016-09-19T18:12:59Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 8141967 bytes, checksum: 7954c131b4c641394c45ef6bf6e2c8e6 (MD5) Previous issue date: 2016-07-18 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / Written during Siqueira‟s third compositional period the Recitativo, Ária e Fuga para violoncelo e orquestra de cordas (1972) combines neo-baroque elements with the sounds of northeastern Brazil. This research aims to present an approach about the aesthetic and interpretative dimensions of the work. Formulated from an extremely compact structure, in three movements, whose total duration does not reach nine minutes, the composer uses a series of 12 sounds generated by the superposition of ascending which is the fourths, main elements of the Recitativo. The Ária is marked by a chromatic bass line that continues throughout the movement. The work ends with a fugue whose subject and counter-subject are structured from motivic elements originated from previous movements, whose production comes from modal scales. This combination of compositional techniques comprise to a neo-baroque structure that can be seen as an expansion of the French Overture, as discussed in the text. This study is complemented with the edition of the work in more than one version edition of orchestral score, a piano reduction, and a performance edition which includes fingering and bowing suggestions that are defined by interpretative concepts originated from the analysis presented in this study as well as from the perfomances of the work during the Master‟s Program. / Escrito na terceira fase composicional de José Siqueira, o Recitativo, Ária e Fuga para violoncelo e orquestra de cordas (1972) combina elementos do neobarroco com sonoridades do nordeste do Brasil. O presente trabalho objetiva apresentar uma abordagem acerca das dimensões estéticas e interpretativas da obra. Elaborada a partir de uma estrutura extremamente compacta, disposta em três movimentos, cuja duração total não chega a nove minutos, o compositor utiliza uma série de 12 sons, gerado pela superposição de quartas ascendentes como elemento principal do Recitativo. A Ária é marcada por uma linha cromática do baixo que perdura por todo o movimento. A obra se encerra com uma fuga na qual sujeito e contra-sujeito são elaborados a partir de elementos motívicos oriundos dos movimentos anteriores, cuja elaboração advém de escalas modais. Esta combinação de técnicas composicionais se enclausura em uma estrutura neobarroca que pode ser vista como uma expansão da Abertura Francesa, conforme analisado no texto. O presente estudo se complementa com a edição da obra em mais de uma forma: editoração da grade orquestral, uma redução para violoncelo e piano, além de uma edição de performance com sugestão de dedilhados e arcadas definida pela concepção interpretativa gerada a partir das análises aqui apresentadas e das performances realizadas por esta autora.

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Master of Music / Department of Music / Frank C. Tracz / This document is comprised of research and analysis of the comprehensive examination of the graduate conducting recital of Shawn Michael Knopp. This recital was performed by the Smoky Valley High School Concert Band, on February 27, 2009, at the Century II Concert Hall in Wichita, Kansas. The examined repertoire for the recital includes Dance Sinfonia, by Dennis W. Fisher, Linden Lea, by Ralph Vaughan Williams, arranged by John W. Stout, Strawflower, by Ralph Hermann, Emperata Overture by Claude T. Smith, and Foshay Tower Washington Memorial March by John Philip Sousa, edited by Daniel Dorff. This document contains theoretical and historical analysis and outlines the method of planning and preparing a graduate conducting recital according to the Blocher, Miles and Tracz formats.

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Die hoofdoel van hierdie studie was om Dansrapsodie – ʼn Afrika-stad van Stefans Grové en Fanfare Festival Overture van Jeanne Zaidel-Rudolph ten opsigte van struktuur, melodie, ritme en instrumentasie te ontleed en sodoende vas te stel watter Afrika-etniese elemente gebruik word en hoe dit toegepas is. ʼn Vergelykende studie is gedoen om vas te stel of daar enige ooreenkomste of verskille tussen die twee werke is. Verskeie skripsies, verhandelings en proefskrifte oor werke van Grové en Zaidel- Rudolph is geraadpleeg. Die skrywer kon nie gepubliseerde weergawes van Dansrapsodie – ʼn Afrika-stad en Fanfare Festival Overture opspoor nie, daarom is die ontleding met behulp van afskrifte van die handgeskrewe manuskripte onderneem. Daar is gereeld na die CD-opnames van albei werke (op die Claremont GSE-etiket) geluister. Die verhandeling bestaan uit ses hoofstukke. In die eerste hoofstuk word die agtergrond en motivering vir die studie uiteengesit en Hoofstuk 2 bevat kort biografieë van Grové en Zaidel-Rudolph. Grové se Dansrapsodie – ʼn Afrika-stad word in Hoofstuk 3 ontleed en verskillende Afrika-etniese elemente word beskryf soos wat dit van toepassing op die analise is. Zaidel-Rudolph se Fanfare Festival Overture word in Hoofstuk 4 op dieselfde wyse as Dansrapsodie – ʼn Afrika-stad ontleed. Die laaste twee hoofstukke (Hoofstuk 5 en 6) bevat ʼn vergelyking tussen die aanwending van Afrika-etniese elemente in die twee komposisies, asook gevolgtrekkings en voorstelle vir verdere studie. Die belangrikste gevolgtrekkings is die volgende: <ul> <li> Afrika-etniese elemente word in albei werke op só ʼn manier aangewend dat die komposisie vir ʼn Westerse orkes toeganklik is.</li> <li> In albei werke se struktuur word die roep-en-antwoord-beginsel en herhalende melodieë wat tydens elke herhaling effens gewysig word (permutasie) aangewend. Die melodiese inhoud word deur die mineur terts (ʼn interval van die pentatoniese toonleer) en twyfelagtige tonaliteite oorheers. Ritmiese ostinaatpatrone, die 12/8-metrum en poliritmiek in die Afrika-deel van Zaidel-Rudolph se komposisie bewerkstellig onmiddellik Afrika-etniese assosiasies. Die bongo-tromme en marimba kom in albei komposisies as Afrika-instrumente voor.</li> <li>Grové en Zaidel-Rudolph benader die aanwending van Afrika-etniese elemente in Westerse musiek op verskillende maniere.</li></ul> ENGLISH : The main objective of this study was to analyse the structure, melody, rhythm and instrumentation of Stefans Grové’s Dansrapsodie – ʼn Afrika-stad and Jeanne Zaidel- Rudolph’s Fanfare Festival Overture in order to determine which African ethnic elements are used in the two compositions and how these elements are applied. A comparative study was done to determine what the similarities and differences are between the two works. Several mini-dissertations, dissertations and theses about works by Grové and Zaidel-Rudolph were consulted. The author could not find published versions of Dansrapsodie – ʼn Afrika-stad and Fanfare Festival Overture, therefore the analysis was done with copies of the hand-written manuscripts. The author frequently listened to CD recordings (Claremont GSE label) of both works. The dissertation consists of six chapters. In the first chapter the author explains the background and motivation for the study and Chapter 2 contains short biographies of Grové and Zaidel-Rudolph. Grové’s Dansrapsodie – ʼn Afrika-stad is analysed in Chapter 3 and the different African ethnic elements that apply to this work are described. Zaidel-Rudolph’s Fanfare Festival Overture is analysed in Chapter 4, in the same way as Grové’s Dansrapsodie – ʼn Afrika-stad. The last two chapters (Chapter 5 and 6) include a comparison between the application of African ethnic elements in the two compositions, as well as conclusions and suggestions of topics for future studies. The most important conclusions are the following: <ul> <li> African ethnic elements are applied in such a way that both compositions are accessible for Western (“art music”) orchestras.</li> <li> In both compositions’ structure the call-and-response principle and repeated melodies (that are modified during each repeat) are applied. Both works’melodic content is dominated by the interval of a minor 3rd (an interval from the pentatonic scale) and an ambiguous tonality. Rhythmic ostinatos, the 12/8 metre and polyrhythm in the African part of Zaidel-Rudolph’s Fanfare Festival Overture immediately bring about African ethnic associations. The bongos and marimba as African instruments can be found in both works.</li> <li> Grové and Zaidel-Rudolph approach the application of African ethnic elements in Western art music in different ways.</li></ul> Copyright / Dissertation (MMus)--University of Pretoria, 2010. / Music / unrestricted