Orientador: Roberto Cesar Pires / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-16T18:29:32Z (GMT). No. of bitstreams: 1 Ronqui_PauloAdriano_D.pdf: 3859164 bytes, checksum: 420c2d572490cf1895bccf44bf668277 (MD5) Previous issue date: 2010 / Resumo: Ciente da necessidade e importância de trabalhos direcionados ao estudo do naipe de trompete em obras sinfônicas brasileiras, esta pesquisa se propôs a investigar a constituição do naipe de trompete e cornet nos Prelúdios e Sinfonias das óperas de Antônio Carlos Gomes. Com esse objetivo, estudou-se a contribuição instrumental de Carlos Gomes para a música brasileira e italiana no século XIX, além da evolução na construção dos trompetes de válvula na Europa e o uso precoce desses instrumentos por Gomes no Brasil. Por meio dessa investigação, comprovou-se a originalidade no emprego de diferentes conotações de naipe de trompete e cornet realizada em ambos os países pelo compositor campineiro. O trabalho de performance da pesquisa, deu-se através da reedição das partituras do naipe de trompete e cornet das obras estudadas, a partir dos manuscritos autógrafos. Completada a edição, selecionaram-se os trechos musicais mais relevantes para o naipe, às quais se propuseram sugestões interpretativas. Após esse trabalho, os excertos escolhidos foram gravados, a fim de oferecer referencial auditivo / Abstract: Aware of the need and importance of works aimed to study the trumpet section in brazilian symphonic works, this research intends to investigate the formation of trumpet and cornet section in the Preludes and Symphonies from Antonio Carlos Gomes' operas. For this purpose, was studied the instrumental contribution of Carlos Gomes for the Italian and Brazilian music in the nineteenth century, as well as the developments in the construction of the trumpet valve in Europe and the early use of these instruments by Gomes in Brazil. With this research, we can prove the originality of using of different connotations of the trumpet and the cornet section in both countries by the campineiro composer. The performance work of this research was made with the reedition of the trumpet and cornet section's score by using the autograph manuscripts. Completed the edition were selected the most relevant musical excerpts to the section, which were proposed interpretative suggestions. After this work the excerpts chosen were recorded in order to provide a hearing reference / Doutorado / Musica / Doutor em Música

Submitted by Erika Demachki (erikademachki@gmail.com) on 2015-10-13T19:40:34Z No. of bitstreams: 2 Dissertação - Alessandro da Costa - 2015.pdf: 5013826 bytes, checksum: 29d1729ef7e4247bb5d77b9f059c130a (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Approved for entry into archive by Erika Demachki (erikademachki@gmail.com) on 2015-10-13T19:41:57Z (GMT) No. of bitstreams: 2 Dissertação - Alessandro da Costa - 2015.pdf: 5013826 bytes, checksum: 29d1729ef7e4247bb5d77b9f059c130a (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Made available in DSpace on 2015-10-13T19:41:57Z (GMT). No. of bitstreams: 2 Dissertação - Alessandro da Costa - 2015.pdf: 5013826 bytes, checksum: 29d1729ef7e4247bb5d77b9f059c130a (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Previous issue date: 2015-03-25 / This paper, divided into Part A and Part B, investigates how dynamics influences the timbre in the Música para Trompete Solo by Estercio Marquez Cunha. The approach of the nuances of the timbre in this piece of music is not only directed towards what determines the recognition of the sound of the instrument, but also to its interpretation. To understand the relations between these two sound parameters in this piece, first, as explained in Part B, it is made one review of the literature about the timbre and the dynamic in a musical context. Then, there is a phenomenological analysis of Música para Trompete Solo with the intention of knowing the structure of the piece, and finally, the interpretative suggestions, the time which aim to verify how dynamic, interacting with other elements of composition, act in the configurations of the timbre in this piece by Estercio Marquez Cunha. The end result was the interpretation of the piece in two recitals, as shown in the programs contained in Part A. / Este trabalho, estruturado em Parte A e Parte B, investiga como a dinâmica influencia o timbre na Música para Trompete Solo, de Estercio Marquez Cunha. A abordagem das nuances tímbricas nessa obra não está direcionada apenas para o que determina o reconhecimento do som do instrumento, mas, também, à sua interpretação. Para compreender a relação desses dois parâmetros sonoros nessa obra, primeiramente, como exposto na Parte B, faz-se uma revisão de literatura sobre o timbre e a dinâmica no contexto musical. Em seguida, realiza-se uma análise fenomenológica da Música para Trompete Solo com a finalidade de conhecer a estrutura da obra e, por fim, as sugestões interpretativas, momento em que se objetiva verificar, na prática, como a dinâmica, em uma interação com outros elementos da composição, atua na configuração do timbre nessa obra de Estercio Marquez Cunha. O resultado final foi a interpretação da obra em dois recitais, conforme mostra os programas contidos na Parte A.

Submitted by Luciana Ferreira (lucgeral@gmail.com) on 2017-05-18T15:11:30Z No. of bitstreams: 2 Dissertação - Nivaldo Camargo de Moura Junior - 2017.pdf: 1466523 bytes, checksum: 80c9af280aa6ffe1182c1a3b7b33d6e9 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2017-05-18T15:12:01Z (GMT) No. of bitstreams: 2 Dissertação - Nivaldo Camargo de Moura Junior - 2017.pdf: 1466523 bytes, checksum: 80c9af280aa6ffe1182c1a3b7b33d6e9 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2017-05-18T15:12:01Z (GMT). No. of bitstreams: 2 Dissertação - Nivaldo Camargo de Moura Junior - 2017.pdf: 1466523 bytes, checksum: 80c9af280aa6ffe1182c1a3b7b33d6e9 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2017-04-01 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / Abstract: The present research was developed through the application of the Group of Notes, concept presented by James Morgan Thurmond (1991) in the book: Note Grouping: A Method for Achieving Expression and Style in Musical Performance, being used as tool for interpretative suggestion in the work Estudo Para Trompete em Dó, by the Brazilian composer Camargo Guarnieri. Initially a bibliographical survey was carried out on the research and repertoire productions related to the interpretive practices for solo trumpet in Brazil, as well as a historical and methodological linkage of musical expressiveness, approaching the pedagogy of musical expressiveness, the grouping of notes and finally the application of this concept as an interpretative suggestion in specific sections of the work, object of study researched. / Resumo: A presente pesquisa desenvolveu-se através da aplicação do Agrupamento de Notas, conceito apresentado por James Morgan Thurmond (1991) no livro: Note Grouping: A Method for Achieving Expression And Style in Musical Performance, utilizando-se como ferramenta para sugestão interpretativa na obra Estudo para trompete em Dó, do compositor brasileiro Camargo Guarnieri. Inicialmente realizou-se um levantamento bibliográfico sobre as produções de pesquisas e repertório relacionados às práticas interpretativas para trompete solo no Brasil, bem como uma vinculação histórica e metodológica da expressividade musical, abordando a pedagogia da expressividade musical, o agrupamento de notas e, por último, a aplicação deste conceito como sugestão interpretativa em trechos específicos da obra, objeto de estudo pesquisado.

In the rally car racing there is a need for maximum power throughout the race. While this is not possible through the entire engine speed range, it is possible to manipulate the engine speed at which maximum power is obtained by changing the engine configuration. One of the most effective ways to do this is to modify the intake system to allow for more air into the engine, thus allowing for more fuel to be burnt and more power to be obtained. This dissertation focused on improving the inlet system of a high-performance rally car race engine by using computational fluid dynamics (CFD) and mathematical optimisation techniques, the combination of which is called a computational flow optimisation (CFO) system. Historically, designers have been aware of the importance of proper intake design and with improving technology and a better understating of wave theory, as applied to manifold flow, development moved at fast pace. The application of wave theory to intakes led to a more academic approach to engine tuning, where mathematical relationships were developed to describe the influence of certain engine parameters on air intake. Numerical methods used to solve for flow in intake systems have also developed due to the advances in computer capabilities and are used in the study in the form of CFD and 1-D gas dynamics (as implemented in the engine simulation code used in the study, namely EngMod4T). These are combined with optimisation to arrive at an improved design. The CFD simulations are transient in nature in order to capture the pulse interactions and their influence on the mass of air inducted by the intakes. The first case considered is that of a single intake exposed to atmosphere. To relate the results of the single intake simulation to a full-intake simulation, the mass of inducted air is assumed to be equal for all four intakes. This assumption was found to be flawed as shown by the simulation that followed that took into consideration all four intakes also open to atmosphere. The simulation showed that the intakes actually induct differing amounts of air and the total amount is less than for four single trumpets. A more comprehensive simulation was conducted where the airbox was included and the resulting total mass inducted showed that even less air is inducted by this setup. The results of the latter were used as the basis of the optimisation study that followed. Various airbox designs, obtained from the optimisation software LS-OPT, were simulated and resulted in an improved airbox design that inducts 6.2% more air than the original airbox. And since there is direct relationship between mass of air inducted and engine power produced, it is expected that the engine power would also increase by 6.2%. The study demonstrates the successful implementation of a CFO system to solve a complex industrial flow problem. With the increase of computing power and increasing affordability of such systems coupled with the ease-of-use of commercial CFD software, CFO should become more common in industrial application. / Dissertation (MEng (Mechanical Engineering))--University of Pretoria, 2007. / Mechanical and Aeronautical Engineering / unrestricted

Rares sont les musiciens de la famille des cuivres qui ignorent de nos jours le nom de Jean-Baptiste Arban (1825-1889). Son attachement au cornet à pistons et au Conservatoire de Paris a cependant relégué dans l’ombre ses autres activités : composition, enseignement, direction d’orchestre et entrepreneuriat. Afin de les faire mieux connaître, nous avons pu réunir une importante documentation issue d’archives, publiques et privées, ainsi que de la presse de son temps. Ces documents nous ont permis de mettre en évidence l’ensemble des faits relatifs à sa vie et à son œuvre, concernant tout un pan de la vie parisienne, de la monarchie de Juillet à la IIIe République. Comptant quelque 700 entrées, le catalogue d’œuvres que nous avons établi illustre aussi la richesse de sa production musicale, principalement liée à la danse et au divertissement. En retraçant le parcours atypique de cette célèbre figure musicale du XIXe siècle, de sa jeunesse passée à Lyon dans une famille d’artificiers à la direction des bals de l’Opéra, l’auteur de cette thèse espère apporter une contribution efficace à l’histoire de la société française de cette époque. / Few brass musicians today are not familiar with the name of Jean-Baptiste Arban (1825-1889). However, his commitment to the cornet as well as to the Conservatoire may have overshadowed his other activities: composition, musical education, conducting and entrepreneurial actions. In order to make them known, we have managed to collect substantial information from private and public archives and extracts of contemporary press. Such documents have allowed us to bring to the fore all the events connected with his life in Paris from the July Monarchy to the Third Republic. With about 700 entries, this catalogue illustrates how rich his musical production was (mainly linked to dance and entertainment). Thanks to such a review of the atypical career of this famous figure of music in the 19th century, going from his youth in a family of firework makers in Lyon to conducting dance at the Opera House, the writer of this thesis expects to make a significant contribution to the history of French society in those days.

Woody Shaw is one of the most influential jazz trumpet players of the past fifty years. Despite his importance, very few models exist that contextualize Shaw's improvisatory approach inside modern jazz pedagogy. Writers such as Rex Richardson, Eric O'Donnell, and Gavin Franklin have identified key elements of Shaw's style, and have begun a critical examination of Shaw's music. While extensive, these approaches do not take into consideration the impact free jazz had on Shaw's technique, nor do they provide a model for how to duplicate Shaw's style. This project examines four elements of Shaw's style as seen in three improvised solos on "The Moontrane." These solos are taken from early, middle, and late stages of Shaw's career. By studying scale choice, sequence and the sequential treatment of motifs, pentatonic approaches to harmonic sequence, and atypical rhythmic phrasing, this study is able to show (1) how these elements developed over the totality of Shaw's career, (2) provide a better understanding of Shaw's improvisational style, and (3) provide a basis for implementing these procedures in modern music.

A presente pesquisa tem como objetivo analisar a tessitura e a escrita para trompa observando três modelos que foram utilizados de forma brilhante pelos compositores que conseguiram, apesar das limitações de cada modelo, alçar a trompa da condição de instrumento de caça, nos tempos mais remotos, à categoria de instrumento solista e parte integrante da orquestra. Observamos que a trompa moderna é também utilizada para execução do repertório barroco e clássico, período em que as composições contemplavam a trompa de caça e a trompa natural. Acreditamos que uma visão acerca das funcionalidades da trompa de cada período nos traga subsídios para uma execução apropriada com um instrumento moderno. A trompa, devido a sua grande tessitura, foi desde o período clássico dividida em dois gêneros: trompa grave e trompa aguda. A partir do advento da trompa de válvulas na segunda metade do séc. XIX, as composições passam a requerer de um mesmo trompista igual habilidade em toda tessitura. Observamos que a especialização nos gêneros grave e agudo persiste, pois encontraremos passagens solísticas na tessitura grave ou aguda em que é requerida a especialização do trompista de cada gênero. / This research aims to analyze the range and writing for horn by observing three models that were used brilliantly by composers, who managed, despite the limitations of each model, create the conditions for the primitive hunting horn of ancient times to the level of a solo as well as an orchestral instrument. We will observe that the modern horn is well capacitated to perform Baroque and Classical repertoire, a period in which the compositions contemplated the use of the hunting horn and natural horn. We believe that a vision about the features of each period of the horn\'s development brings to light a proper execution with the modern instrument. Ever since the classical period, because of its extensive range, the horn was divided into two genres: high horn and low horn. After the invention of the valve horn in the second half of the 19th century, the compositions demanded of this new instrument the same ability as of its natural horn predecessor throughout its extensive range. We may note that with the newer 19th century valve horn, the perpetuation of the high and low horn tradition was maintained as may be observed in its extensive high and low range in solo passages, requiring the expertise of both high and low horn players of the time.

A presente pesquisa tem como objetivo analisar a tessitura e a escrita para trompa observando três modelos que foram utilizados de forma brilhante pelos compositores que conseguiram, apesar das limitações de cada modelo, alçar a trompa da condição de instrumento de caça, nos tempos mais remotos, à categoria de instrumento solista e parte integrante da orquestra. Observamos que a trompa moderna é também utilizada para execução do repertório barroco e clássico, período em que as composições contemplavam a trompa de caça e a trompa natural. Acreditamos que uma visão acerca das funcionalidades da trompa de cada período nos traga subsídios para uma execução apropriada com um instrumento moderno. A trompa, devido a sua grande tessitura, foi desde o período clássico dividida em dois gêneros: trompa grave e trompa aguda. A partir do advento da trompa de válvulas na segunda metade do séc. XIX, as composições passam a requerer de um mesmo trompista igual habilidade em toda tessitura. Observamos que a especialização nos gêneros grave e agudo persiste, pois encontraremos passagens solísticas na tessitura grave ou aguda em que é requerida a especialização do trompista de cada gênero. / This research aims to analyze the range and writing for horn by observing three models that were used brilliantly by composers, who managed, despite the limitations of each model, create the conditions for the primitive hunting horn of ancient times to the level of a solo as well as an orchestral instrument. We will observe that the modern horn is well capacitated to perform Baroque and Classical repertoire, a period in which the compositions contemplated the use of the hunting horn and natural horn. We believe that a vision about the features of each period of the horn\'s development brings to light a proper execution with the modern instrument. Ever since the classical period, because of its extensive range, the horn was divided into two genres: high horn and low horn. After the invention of the valve horn in the second half of the 19th century, the compositions demanded of this new instrument the same ability as of its natural horn predecessor throughout its extensive range. We may note that with the newer 19th century valve horn, the perpetuation of the high and low horn tradition was maintained as may be observed in its extensive high and low range in solo passages, requiring the expertise of both high and low horn players of the time.

Thesis (M.M.)--East Carolina University, 1998. / Submitted to the faculty of the School of Music. Includes bibliographical references (leaf 13).

The scores here collected represent all the music heard in the recital of 3 April, 1995 (programme on p. iii), save "Shimmering Reflections on a Dark Carrall Street Night." This is an electroacoustic piece which does, however, appear on the accompanying recording.