Made available in DSpace on 2016-04-26T18:15:45Z (GMT). No. of bitstreams: 1 Tese Marcos Ribeiro de Moraes.pdf: 1232753 bytes, checksum: f8f1787d13dbd2e1e92985c317912afe (MD5) Previous issue date: 2003-04-08 / Most of the premises on which tonal music elementary theory is based are rooted in a secular historical process which consists of a literal description of the visual signs of music notation. Such notation tends to make us believe that its constitutive features are there, virtually raised to the position of the musical sign, representing musical features and properties of its object the musical sounds. Thus, the two main attributes or parameters of sound represented in the notation, i.e., pitch and duration, are then accepted inside the group pitch, intensity, tone color and duration as parameters of music. Thus, elementary music theory tends to recognize in the liaison sound-notation, music semiosis itself, which we are inclined to complete with the locus of the interpretant, which is often filled in with verbal narratives. Yet visual signs are extra-musical, thus being, strictly speaking, external to the scope of the investigation on the semiotic functioning of music. Once left with sound alone, we can recognize its status, not as an object, but as a sign (representamen), which demands an object for itself, in other words, something this sound stands for. Along these lines, it is claimed in this study that that which are called notes in a melody are signs of an indexical kind, which stand for time vs. space loci. It is these loci which are the objects in music semiosis. As for pitch, the sounds would have the semiotic property of indicating/representing specific vertices of an spatiality which, homologically, can be represented by a heptagonal form whose sides are proportional to 2-2-1-2-2-2-1, that is, the Diatonic Form. As for rhythm, we shall claim that the instant of the coming-into-being of, i.e., the inchoative gesture that initiates a sound not the duration of the sound has the semiotic property of indicating/representing a point (a when , not a how much ), within a field of temporality inaugurated by a hierarchic set of pulsations. Given the appropriate conditions, that complex of pulsations could be understood as that which accounts for the fundamental syntax of tonal music. / Muitas das premissas em que se apoia a teoria elementar da música tonal têm raízes num processo histórico já secular que consiste na descrição literal dos signos visuais constitutivos da notação musical. Como que alçada à posição de signo musical, tal notação tende a levar a crer que suas características constitutivas estão ali de fato representando as características e propriedades musicais de seu objeto: os sons musicais. Assim, os dois principais atributos ou parâmetros do som representados na notação , i.e., altura e duração, passam a ser aceitos no conjunto altura, intensidade, timbre e duração como parâmetros da música. Dessa forma, a teoria musical elementar tende a reconhecer no vínculo som-notação (objeto-representamen) a própria semiose musical, a qual somos propensos a completar com o lugar do interpretante, preenchido muitas vezes com narrativas verbais. No entanto, os signos visuais são extra-musicais, e assim, são, a rigor, externos ao escopo da investigação sobre o funcionamento sígnico da música. Reduzidos, assim, ao som, podemos reconhecer seu status não de objeto (objeto representado na notação), mas de signo (representamen), que exige para si um objeto, ou seja, algo que esse som representa (stands for). Nessa perspectiva, é postulado neste estudo que aquilo que chamamos de notas de uma melodia são signos do tipo indicial, que representam (stand for) localidades de tempo vs. espaço que, estas sim, constituem os objetos na semiose musical. No que se refere às alturas (pitch), os sons teriam a propriedade sígnica de indicar/representar vértices específicos de uma espacialidade que, por homologia, representa-se na forma heptagonal de lados proporcionais a 2-2-1-2-2-2-1, ou seja, a Forma Diatônica. No campo do ritmo, diremos que o instante do passar a ser , i.e., o gesto incoativo que inicia um som não a duração do som tem a propriedade sígnica de indicar/representar um ponto (um quando, não um quanto) num campo de temporalidade instaurado por um conjunto hierarquizado de pulsações. Dentro das condições adequadas, esse complexo hierarquizado de pulsações poderá ser entendido como aquilo que dá conta da sintaxe fundamental da música tonal.

A Child's life (symphony for band) is a work for concert band in three contrasting movements. It is programmatic and the movements are compositionally linked by a network of motives and a large-scale tonal plan. The piece gravitates around the pitch center C, branching out symmetrically within each movement to explore neighboring key areas. Though tonal, the piece incorporates much chromaticism and features techniques of contemporary and jazz composition. The total performance duration is approximately 22 minutes. / text

This thesis investigates the psychological implications of prolongation, a structural phenomenon of tonal music, which is described in the musicological literature as an elaborative process in which some pitch events - such as chords and notes - remain as if they were sounding even though they are not physically present.

The work grafted hymnologies, a piece for chamber orchestra, explores connections between twentieth century formalist compositional techniques and formalist techniques of pretonal music. This document, which accompanies the score for the piece, provides an analysis of the work that explains the various techniques and their application to the music. This piece is composed in five large sections. The work pairs compositional techniques associated with pre-tonal music from those of twentieth century modernist music. For example, the second section employs the Medieval idea of tropes-- each time the melody is repeated, new melodic material is added, in the style of the elaborations to the Gregorian repertory that were common as early as the tenth century. This is paired with a single pitch class drone that evolves by timbral modulation, a technique influenced in part by Schoenberg and carried out exactingly by Elliot Carter. Each section contains a similar pairings, which are explained in detail herein. That these kinds of pairings could co-exist in a single piece seems natural; certainly, the intricate formalism that appeared in some Western concert music before 1600 exhibits a certain degree of aesthetic concurrence with the formalist music of the early to mid- twentieth century. Artistically, reaching back to the past (both near and far) and creating something new is an interesting exploration of how history can inform the creative process. / text

No description available.

Esta pesquisa propõe, por intermédio da análise musical, evidenciar e avaliar a contribuição de Villa-Lobos a partir da utilização de uma linguagem musical pós-tonal em seu último período criativo (1948-1959), a partir da recorrência do uso de simetrias como elementos estruturais e cadenciais no primeiro movimento da Fantasia para saxofone soprano e pequena orquestra. No que tange ao transitar de Villa-Lobos entre a música de tradição clássica e outras linguagens, no Capítulo 2, é exposto e discutido um significativo paralelo com a obra Blue Rondo A La Turk, de D. Brubeck (1959), sugerindo uma possível troca de influências entre Villa-Lobos e o jazz estadunidense (cool jazz) das décadas de 1950-60. Propõe-se, também, sob a perspectiva contextual, como parte do escopo dessa pesquisa, a reflexão sobre qual seria a raiz para as motivações de Villa-Lobos ao incluir o saxofone em uma parte significativa de sua obra, a ponto de torná-lo um dos compositores brasileiros que mais escreveu para o instrumento no século XX. No que diz respeito às questões contextuais em torno da obra de Villa-Lobos, serviram-nos de base os estudos de Andrade (1972), Béhague (1994), Horta (1986), Kiefer (1981), Mariz (1989), Paz (2004), Peppercorn (2000), Soares (2001) e Silva (2011). Para as questões impossibilitadas de análise de acordo com os padrões tonais, utilizamos como referência a teoria dos conjuntos a partir dos estudos de Forte (1973) e Straus (2013). Em relação a simetrias, serviram de base os trabalhos de Salles (2009; 2016) e Visconti (2016). Referente à gestualidade cadencial, como base, os estudos de Dudeque (2013; 2017) e Salles (2010; 2016). Sobre as relações de Villa-Lobos com os elementos composicionais da música Pós-Tonal, serviram-nos de referência os estudos de Salles (2009; 2016), Piedade (2015), Antokoletz (1992), Albuquerque (2014), Nery Filho (2012), Kiefer (1981), Coelho de Souza (2010), Kostka (2006; 2012) e Wisnik (1997). Para a compreensão do processo de aproximação e apropriação dos elementos da música clássica, por compositores do jazz, utilizamos os estudos de Pinto (2011), Calado (1990), Carneiro (1986), Berendt (1987), Ramsey (1989), Race (1962), Schuller (1986; 1989) e Vanderheyden (2010). / This research proposes, through musical analysis, to evidence and evaluate the contribution of Villa-Lobos from the use of a post-tonal musical language in his last creative period (1948- 1959), from the recurrence of the use of symmetries as structural and cadential elements in the first movement of Fantasia for soprano saxophone and small orchestra. As for Villa-Lobos\'s transition from classical music to other languages, in Chapter 2, a significant parallel is exposed and discussed with the work Blue Rondo A La Turk of D. Brubeck (1959), suggesting a possible villalobian influence on American jazz (cool jazz) from the 1950s-60s. As part of the scope of this research, it is also proposed from a contextual perspective the reflection on what would be the root of Villa-Lobos\'s motivations by including the saxophone in a significant part of his work, to the point of making it one of the Brazilian composers who most wrote for this instrument in the 20th century. As far as the contextual issues surrounding Villa-Lobos\'s work are concerned, the studies of Andrade (1972), Béhague (1994), Horta (1986), Kiefer (1981), Mariz (1989), Paz (2004), Peppercorn (2000), Soares (2001) and Silva (2011) were our basis. For the questions that are impossible to analyze according to the tonal patterns, we used as a reference the set theory from the studies of Forte (1973) and Straus (2013). In relation to symmetries, the works of Salles (2009; 2016) and Visconti (2016) served as a basis. Regarding the cadential gestuality, as a basis, the studies of Dudeque (2013; 2017) and Salles (2010; 2016). On Villa-Lobos\'s relations with the compositional elements of Post-Tonal music, the studies of Salles (2009; 2016), Piedade (2015), Antokoletz (1992), Albuquerque (2014), Nery Filho (2012), Kiefer (1981), Coelho de Souza (2010), Kostka (2006; 2012) and Wisnik (1997) were used as a reference . For the understanding of the process of approximation and appropriation of the elements of classical music by jazz composers, we used the studies of Pinto (2011), Calado (1990), Carneiro (1986), Berendt (1987), Ramsey (1989), Race (1962), Schuller (1986, 1989) and Vanderheyden (2010).

Orientadores: Maria Lucia Senna Machado Pascoal, Mauricy Matos Martin, / Acompanha 1 anexo / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-14T10:31:09Z (GMT). No. of bitstreams: 1 Souza_IraceleAparecidaVeraLiverode_D.pdf: 13645349 bytes, checksum: a62dc8da62242a0c20df019d5395a33f (MD5) Previous issue date: 2009 / Resumo: Este trabalho tem como principal objetivo realizar uma análise da obra para piano de Eunice Katunda (1915-1990), peças compostas no período de 1946 a 1982. Foi realizado o levantamento das peças, o estudo ao piano, a análise individual, bem como um exame das ferramentas analíticas mais adequadas e pertinentes, conforme características peculiares de cada uma. O estudo de análise investigou as técnicas e os procedimentos da composição, quanto a organização do material utilizado. A fim de contextualizar a compositora e sua obra, fez-se um levantamento biográfico e histórico, amparado por cartas, entrevistas e artigos de jornais obtidos em acervos públicos e particulares, entre os quais os da própria compositora. A conclusão reúne informações de maior interesse obtidas através da análise, identificando o material e as técnicas de composição empregadas o que contribui para a compreensão da linguagem da compositora. O trabalho tem como complementação a editoração destas peças, que se encontram em manuscritos e a gravação de duas peças executadas pela autora deste trabalho. A pesquisa visou ao estudo, à análise e à divulgação de uma compositora pouco estudada e conhecida na música contemporânea brasileira, pretendendo contribuir para mais uma fonte de estudos da música brasileira para piano do século XX. / Abstract: The main objective of this thesis is to analise Eunice Katunda's (1915-1990) piano works composed between 1946 and 1982. The analytical tools were chosen according to the peculiarities of each piece taking in consideration compositional procedures and techniques related to the organization of the musical material employed by the composer. In order to contextualize the composer and her output, a biographical study was made based on personal letters, interviews and newspaper articles obtained in her personal files in order to put into prospective the analyses. Information obtained by the analysis afforded a conclusion in respect to the material, the compositional techniques and idiom of the composer. Complementary to the thesis is added an edition of the pieces, which were previously in manuscript, as well as a recording of two pieces by this author. This research aims an analysis, the study and divulgation of a scarcely known and lesser studied Brazilian composer, as a contribution to the better comprehension of the twentieth-century Brazilian piano music. / Doutorado / Doutor em Artes (Música)

Lee Hyla (1952–2014) gehörte zu einer Generation von Komponist_innen, die nachhaltig prägende Einflüsse durch das Spielen in Rock Bands und das Hören von Rock, Punk, Jazz und anderen nicht-klassischen Genres empfingen. Hyla zählt zu den versiertesten Komponisten seiner Generation, doch ist sein Werk kaum erforscht. Die Einflüsse auf seine Musik, u. a. von James Brown, Captain Beefheart, Neil Young und Cecil Taylor, manifestieren sich in seiner Musik in einer Weise, die postmoderne Zitat- oder Verweistechniken überwindet und seinen Zugang zu Rhythmus, Metrum und Phrasierung beeinflusst. Diese Qualitäten sind von einzigartigem Interesse für Hörer_innen und stellen besondere Herausforderungen an die Ausführenden. In der Analyse von Dream of Innocent III (1987) für verstärktes Cello, Klavier und Percussion stelle ich mein analytisches Rahmenkonzept vor, das von Lerdahls and Jackendoffs generativer Theorie tonaler Musik und von Bruce Hayes’ Theorie metrischer Betonungen inspiriert ist. Meine Analyse basiert auf Rhythmus und Metrum und zeigt die Implikationen der Hyla beeinflussenden Musikformen auf die Performance von Phrasierung und Struktur. / Lee Hyla (1952–2014) belonged to a generation of composers whose formative musical experiences included playing in rock bands and listening to rock, punk, jazz, and other nonclassical genres. Hyla is among the most accomplished American composers of his generation, yet his work remains underexamined. His influences, particularly James Brown, Captain Beefheart, Neil Young, and Cecil Taylor, manifest in Hyla’s music in a manner that transcends postmodern quotation or mere reference and affect his approach to rhythm, meter, and phrasing. These qualities provide unique interest for the listener and specific challenges for the performer. Through an analysis of Dream of Innocent III (1987) for amplified cello, piano, and percussion, I present my analytical framework inspired by Lerdahl and Jackendoff’s generative theory of tonal music and Bruce Hayes’s metrical stress theory. My analysis, rooted in rhythm and meter, shows performative implications of Hyla’s influences as related to phrasing and structure.

O objetivo principal desta pesquisa é o aprimoramento de ferramentas teóricas desenvolvidas para a análise harmônica de obras de vanguarda do início do século XX e afins (incluindo algumas obras de Villa-Lobos), destacando a utilização da simetria intervalar como fator de coerência em amostras de músicas deste período e correlacionadas. Observaremos principalmente aspectos relacionados a presença de padrões intervalares simétricos por reflexão inerentes ao sistema cromático. Procurando estabelecer um arcabouço teórico consistente que contemplasse as demandas circunscritas nas músicas pós-tonais analisadas, buscamos entender a importância da simetria entre alturas em níveis estruturais mais profundos supondo que a proporcionalidade intervalar pudesse corroborar no delineamento harmônico das obras escolhidas. Nossa proposta de estudo é calcada em fundamentos e conceitos desenvolvidos por teóricos ligados às pesquisas sobre a teoria dos conjuntos, com destaque para os textos de Joseph Straus (2005). Em outra esfera, elencamos ferramentas teóricas de uma segunda abordagem metodológica que cada vez mais ganha destaque entre musicólogos que atuam no campo da análise de obras pós-tonais - a teoria neorriemanniana - em particular observando os conceitos apresentados por David Lewin (1982; 1987) e os seus desdobramentos discutidos por Richard Cohn (1998; 2012), autor em torno do qual gravita a vertente secundária conhecida como teoria transformacional. A partir da intersecção entre estas duas correntes teóricas pós-tonais escolhidas, desenvolvemos uma terceira proposta metodológica aparentemente inédita - que chamaremos neste trabalho de teoria da inversão - um desdobramento decorrente do aperfeiçoamento de conceitos da teoria neorriemanniana de David Lewin e Brian Hyer que envolvem a reflexão intervalar de conjuntos de alturas, parâmetros não contemplados pela recente teoria transformacional de Dmitri Tymoczko (2007; 2011) e Richard Cohn (1998; 2012). No âmbito desta proposição, seguindo a suposição levantada por Robert Morris (2007) de que existem aspectos fundamentais em comum entre as principais correntes teóricas dedicadas à música pós-tonal, exploramos alguns apontamentos deste autor que nos direcionaram à apropriação de ferramentas pertencentes à teoria dos grupos - campo de conhecimento oriundo da matemática, especializada no estudo de simetria utilizando estruturas algébricas conhecidas como matrizes. Deste processo surge a descoberta de um conglomerado de classes de conjuntos que podem ser alinhados em uma mesma rede de projeções por inversão. Avaliando os aspectos inerentes a este sistema apresentado, identificamos a construção de toda uma estrutura em disposição espelhada, revelando a existência de uma simetria transversal que abrange um grande número de conjuntos de alturas inerentes ao universo das doze alturas, confirmando a hipótese levantada por Robert Morris. Verificamos ainda outras correlações entre os conjuntos correspondentes presentes nesta rede de projeções por inversão - relações por multiplicação pelo fator M5 e M7 e invariância entre entradas de vetores intervalares (RAHN, 1980; OLIVEIRA, 2007) - que corroboram a constatação desta dimensão simétrica envolvendo o campo harmônico cromático. Outra proposta neste trabalho foi a ampliação na gama de possibilidades de utilização de redes de alturas (Tonnetze) - ferramenta emblemática da teoria neorriemanniana - apresentando outras opções de conjuntos para os desdobramentos por inversões, indo além dos convencionais conjuntos 3-11 (tricorde Maior e menor) e 4-27 (tetracordes Maior 7 e meio diminuto) recorrentes em formatações tradicionais. Seguindo neste propósito, desenvolvemos aprofundamentos abrangendo a remota rede de alturas de Euler com o tetracorde 4-20 e o Tonnetz tridimensional de Gollin (1998), alinhando esta pesquisa também aos resultados encontrados por Henri Pousseur ([1968], 2009) em suas \"redes harmônicas\" e aos conceitos desenvolvidos por George Perle (1977) e sua \"teoria dos ciclos intervalares\". / The main objective of this research is to improve the theoretical tools developed for the harmonic analysis of the early works of the early 20th century and related works (including some works by Villa-Lobos), highlighting the use of interval symmetry as a coherence factor in samples of pieces from this period and correlated. We will mainly observe aspects related to the presence of symmetrical interval patterns by reflection inherent to the chromatic system. We will mainly observe aspects related to the presence of symmetrical interval patterns by reflection inherent to the chromatic system. In order to establish a consistent theoretical framework that contemplates the circumscribed demands in the analyzed post-tonal pieces, we sought to understand the importance of symmetry by comparing pitches at deeper structural levels, assuming that the interval proportionality could corroborate the harmonic delineation of the chosen works. Our proposal is based on fundamentals and concepts developed by theorists related to research on pitch-class set theory, especially the texts of Joseph Straus (2005). Our study proposal is based on fundamentals and concepts developed by theorists related to research on pitch-class set theory, especially the texts of Joseph Straus (2005). In another sphere, we have ellipped theoretical tools of a second methodological approach that is increasingly prominent among musicologists working in the field of post-tonal analysis - neo-Riemannian theory - in particular, observing the concepts presented by David Lewin (1982, 1987) and its ramifications discussed by Richard Cohn (1998, 2012), author around which gravitates the secondary slope known as transformational theory. From the intersection between these two post-tonal theoretical currents chosen, we have developed a third methodological proposal that is apparently unpublished - which we will call inversional pitch-class set theory - an unfolding resulting from the refinement of David Lewin and Brian Hyer\'s concepts of neo-Riemannian theory involving interval analysis of sets of pitch-class sets, parameters not contemplated by the recent transformational theory of Dmitri Tymoczko (2007; 2011) and Richard Cohn (1998, 2012). In this context, following the assumption made by Robert Morris (2007) that there are fundamental aspects in common among the main theoretical currents dedicated to post-tonal music, we explore some notes of this author that have directed us to the appropriation of tools belonging to the theory of groups - field of knowledge from mathematics, specialized in the study of symmetry using algebraic structures known as matrices. From this process comes the discovery of a conglomeration of pitch-class sets that can be aligned in the same inversional pitch-class set network. Evaluating the inherent aspects of this system, we identified the construction of a whole structure in a mirrored arrangement, revealing the existence of a transversal symmetry that covers a substantial number of pitch-class sets inherent to the universe of the twelve pitches, confirming the hypothesis raised by Robert Morris. We also verified other correlations between the corresponding sets in this inversional pitch-class set network - relations by multiplication by the factor M5 and M7 and invariance between interval vectors (RAHN, 1980; OLIVEIRA, 2007) - which corroborate the observation of this symmetrical dimension involving the chromatic harmonic field. Another proposal in this work was the expansion of the range of possibilities of use of pitch-classes networks (Tonnetze) - emblematic tool of the neo-Riemannian theory - presenting other options of sets for the inversion unfolding, going beyond the conventional sets 3-11 (Major and minor chord) and 4-27 (Major 7th and half-diminished 7th chords) recurrent in traditional formatting. Following this, we developed deepening studies covering the remote pitch-class network of Euler with the tetrachord 4-20 and Gollin\'s three-dimensional Tonnetz (1998), aligning this research also with the results found by Henri Pousseur ([1968], 2009) about his harmonic networks and the concepts developed by George Perle (1977) and his \"interval cycles theory\".

‘Richte mich, Gott' exemplifies Jaakko Mäntyjärvi's pluralistic compositional approach through an interlaced organization of tonal and non-tonal pitch content. The development of ideas in the text of Psalm 43 and the concluding doxology is depicted across both layers of pitch organization and governed by specific structural pitch collections: (0145) and (0257). Moreover, the organic transformation of these structural pitch collections' intervallic content emerges as a fundamental means of progression throughout the work, in turn influencing the intervallic content of surrounding tonal material. This process of transformation and its relationship to the text is revealed through tonal and pitch-class analysis; a flexible approach to segmentation; and an exploration of two-way and three-way symmetry, and the disruption thereof, in pitch space and pitch-class space. An understanding of the interrelationship between pitch material from the tonal and non-tonal layers of pitch organization can aid singers, conductors, and analysts in the efficacy of their study, preparation, and performance of the psalm. The accompanying appendix of targeted choral warm-ups in this document offers choirs a practical method for studying, internalizing, and performing the non-tonal pitch content in the work.