Diss.--Acconci bis Viola--Freiburg, 1995. / Bibliogr. p. 315-335.

Submitted by Pedro Barros (pedro.silvabarros@ufpe.br) on 2018-08-01T17:44:23Z No. of bitstreams: 2 license_rdf: 811 bytes, checksum: e39d27027a6cc9cb039ad269a5db8e34 (MD5) DISSERTAÇÃO Paloma Israely Barbosa de Sá.pdf: 2032769 bytes, checksum: 4b03c36131636270c63642fc7215d8f1 (MD5) / Approved for entry into archive by Alice Araujo (alice.caraujo@ufpe.br) on 2018-08-02T18:27:42Z (GMT) No. of bitstreams: 2 license_rdf: 811 bytes, checksum: e39d27027a6cc9cb039ad269a5db8e34 (MD5) DISSERTAÇÃO Paloma Israely Barbosa de Sá.pdf: 2032769 bytes, checksum: 4b03c36131636270c63642fc7215d8f1 (MD5) / Made available in DSpace on 2018-08-02T18:27:42Z (GMT). No. of bitstreams: 2 license_rdf: 811 bytes, checksum: e39d27027a6cc9cb039ad269a5db8e34 (MD5) DISSERTAÇÃO Paloma Israely Barbosa de Sá.pdf: 2032769 bytes, checksum: 4b03c36131636270c63642fc7215d8f1 (MD5) Previous issue date: 2017-02-21 / CAPES / Considera a cantoria de viola como elemento de disseminação de informação e registro de memória. Questiona de que forma a cantoria de viola se manifesta enquanto registro de memória e transmissão de informação, tendo como objetivos específicos: a) analisar junto à literatura da área de Ciência da Informação o conceito de memória (oral) e seus elementos constituintes, enquanto registro de cultura e tradição; b) caracterizar a criação e reprodução da cantoria de viola reconhecendo o registro oral de informação como elemento de memória da cultura da região do Cariri; c) verificar como se dá o processo de registro da cantoria de viola, enquanto forma de legitimar a produção coletiva. Realiza pesquisa bibliográfica, observação direta e entrevistas com os sujeitos da pesquisa, participantes dos eventos sediados na Região do Cariri cearense, sobretudo na cidade de Juazeiro do Norte-CE. Apresenta como resultados as seguintes considerações: que não há consenso quanto ao conceito de memória, sobretudo na literatura da Ciência da Informação que aproveita os estudos já fecundos em outras áreas; constata que a criação e a reprodução da cantoria de viola se dão de modo espontâneo e para desfrutá-la em sua totalidade é preciso estar presente no espetáculo e, conclui que os processos de registro e legitimação são importantes para a manifestação, mas os seus sujeitos praticantes não se preocupam com essas questões. / It considers the viola singing as element of information, dissemination and register of memory. It questions how the viola singing is manifested as a register of memory and transmission of information, being the specific objectives: a) to analyse in the literature of the Information Science area the (oral) concept of memory and its constituting elements, as register of culture and tradition; b) to characterize the creation and reproduction of the viola singing recognizing the oral register of information as memory element of the Cariri region culture; c) to verify how the process of viola singing register takes place, as a way of legitimating the collective production. It holds bibliographical research, direct observation and interviews with the subjects with the subjects of the research, participants of the events hosted in the region of Cariri cearense, mainly in the city of Juazeiro do Norte-CE. It presents as results the following considerations: there is not any consensus about the concept of memory, mainly in the literature of the Information Science which takes advantage from the fruitful studies of other majors; that the creation and reproduction of viola singing happen spontaneously and to fully enjoy it one must attend the spectacle, and, at last, that the processes of register and legitimation are important to the manifestation, but its practitioners are not concerned about these issues.

Orientador : Helena Jank / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-02T10:27:27Z (GMT). No. of bitstreams: 1 Augustin_Kristina_M.pdf: 7459733 bytes, checksum: 6566fee2f2ea6a18503d47cbe5d18d14 (MD5) Previous issue date: 2001 / Mestrado

Concertino for Jazz Clarinet. Electric viola and Symphonic Orchestra is a composition of approximately fifteen minutes' duration, and is scored for two flutes (second doubling piccolo), two oboes, two Bb clarinets, two bassoons, four F- horns, two Bb trumpets, three trombones (third bass), two percussionists, solo Bb clarinet, solo electric viola and strings. The piece is divided into two movements; Andante and Canon. Concepts derived from jazz music are employed in, for example, harmony and improvisation in the solo parts, whereas the orchestration is mainly traditional. The piece is written for two great Swedish instrumentalists; Putte Wickman, clarinet, and Henrik Frendin, viola. Stylistically this work is difficult in the orchestral parts, since it uses concepts from two different musical styles, jazz and classical. Influences originate from such wide-ranging composers as Mozart, Stravinsky, Shostakovich and Chick Corea.

The Concerto in F, Op. 4 (BI 549) by Alessandro Rolla (1757-1841) is a relatively unknown work that can serve as a complement for existing standard Classical repertoire for the viola, thus providing the means for greater stylistic education and technical foundation for viola study from this time period. In order to make the music from this lesser-known composer more readily available for future performers, a performance edition has been created from uncirculated sources using the notation software “Finale,” combining separate parts into a conductor’s full score, which did not exist before. This performance edition will provide greater access to Rolla’s music for viola performance and study. In addition to addressing the challenges to creating a performance edition, this lecture secondarily addresses Rolla’s biographical details relevant to the concerto and his stylistic influences.

I den här uppsatsen undersöktes hur violastämledare ur Sveriges professionella symfoniorkestrar bedömer Stamitz violakonsert i provspelningssituationer. Vilka faktorer väger in? Vilka misstag är ofta förekommande? För att komma underfund med detta intervjuades stämledare från sju professionella symfoniorkestrar skriftligen via mail. En slutsats som drogs är att det är viktigt att ha en god teknisk grund samt en övergripande, enhetlig musikalisk tolkning (oavsett vilken interpretation man väljer att ha) samt att inte glömma bort att visa sin spelglädje för juryn. Den sökande behöver ha god fokus på tekniska aspekter under förberedelserna och på hur musiken ska fraseras, samtidigt som den ska vara medveten om i vilket syfte provspelningen utförs: att bli anställd av en orkester, inte som solist! Medan många kvalitéer överlappar mellan dessa två, är det desto viktigare att förstå hur de skiljer sig åt. Undersökningen gav en översikt över vilka faktorer som bör beaktas när man förbereder sig inför en provspelning samt en inblick i hur man bör agera när man väl spelar upp.

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Det här arbetet undersöker olika metoder för att utveckla notläsningsförmågan som violast i syfte att snabbare kunna ta till sig noter och därmed underlätta livet som orkestermusiker. I arbetet presenteras det vad följande böcker inom området skriver om avistaläsning: Robert Spillman - Sight reading at the keyboard Lois Phillips - Can you sight read? Paul Harris - Improve your sight reading David Hickman - Music Speed reading for instrumentalists Hickmans metod genomfördes praktiskt. Innan det praktiska arbetet med Hickmans bok gjordes inspelningar av två etyder från boken. Ett år senare, efter arbetet med boken, gjordes inspelningar av samma etyder och resultatet jämfördes. Under processen fördes loggbok över hur Hickmans bok användes, reflektioner samt dokumenterade metronomtal. Då arbetet handlar om notläsning, som är en så pass grundläggande del av spelet redovisades arbetet klingande med en examenskonsert 29 maj 2024. Arbetet har lett till en ökad förmåga av notläsning och självkänsla som utöver övningarna även kan bero på mängdövning generellt sett.