Acompanha anexo: Xerocópias das partituras das canções religiosas de Almeida Prado / Orientadores: Adriana Giarola Kayama, Mauricy Matos Martin / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-07-21T15:17:49Z (GMT). No. of bitstreams: 1 Hassan_MonicaFarid_M.pdf: 13810373 bytes, checksum: 351c2d6ae63f0248b564e3ffe9575a67 (MD5) Previous issue date: 1996 / Resumo: Este trabalho tem como objetivo o estudo das relações entre texto e música, com especial atenção à parte pianística, nas canções religiosas de Almeida Prado - especificamente as canções sobre textos bíblicos, orações da Igreja Católica Romana e textos e orações escritos por santos. Para isto foi necessária uma análise de diversos aspectos musicais (ritmo, altura, cor, textura e forma), a qual, além de possibilitar uma definição clara das relações entre texto e música, evidencia a importância expressiva do piano nessas canções e contribui para o aprimoramento da interpretação das mesmas e para a divulgação desta parcela da produção artística de Almeida Prado. Este trabalho contém ainda uma biografia do compositor e um catálogo de suas obras, bem como xerocópias das partituras das canções analisadas, as quais encontram-se em anexo no segundo volume / Abstract: The main objective of this Master's Thesis is to study the text/music relations - with special attention to the piano part - of the religious art songs of the Brazilian composer José Antônio Rezende de Almeida Prado. The texts of these songs are either Biblical, Roman Catholic Church Prayers, or texts and prayers written by Saints. To achieve this objective, an analysis of various musical aspects (rhythm, harmonic and melodic structures, color, texture and form) was done. Through the analysis of these aspects of each song, not only it was possible to clearly define the text/music relationship but also to demonstrate the expressive importance of the piano. The findings contribute to better understand the interpretation of these songs as well as divulge a portion of the artistic production of Almeida Prado. Included in this work are: 1) a biography of the composer; 2) a catalog of his compositions; 3) copies of alI the songs discussed (volume II of the Thesis) / Mestrado / Mestre em Artes

Submitted by Programa de P?s-Gradua??o Engenharia El?trica (ppgee@ifpb.edu.br) on 2018-04-17T17:04:37Z No. of bitstreams: 1 46- Anselmo de Vasconcelos Cavalcante - AN?LISE DOS EFEITOS DE CODECS DE ?UDIO NA AVALIA??O DE DESVIOS VOCAIS.pdf: 2426098 bytes, checksum: 4e9dc4ae38d3b0d367a6d38e535f9a00 (MD5) / Approved for entry into archive by Programa de P?s-Gradua??o Engenharia El?trica (ppgee@ifpb.edu.br) on 2018-04-17T17:05:40Z (GMT) No. of bitstreams: 1 46- Anselmo de Vasconcelos Cavalcante - AN?LISE DOS EFEITOS DE CODECS DE ?UDIO NA AVALIA??O DE DESVIOS VOCAIS.pdf: 2426098 bytes, checksum: 4e9dc4ae38d3b0d367a6d38e535f9a00 (MD5) / Made available in DSpace on 2018-04-17T17:05:40Z (GMT). No. of bitstreams: 1 46- Anselmo de Vasconcelos Cavalcante - AN?LISE DOS EFEITOS DE CODECS DE ?UDIO NA AVALIA??O DE DESVIOS VOCAIS.pdf: 2426098 bytes, checksum: 4e9dc4ae38d3b0d367a6d38e535f9a00 (MD5) Previous issue date: 2018-03-19 / Este trabalho apresenta um estudo sobre as implica??es no uso de diferentes codecs de ?udio na an?lise perceptiva e ac?stica da voz. Um cen?rio de transmiss?o baseado em VoIP foi criado, empregando o Asterisk e o softphone Microsip, para auxiliar no diagn?stico de desvios vocais ? dist?ncia. Para este prop?sito, foram utilizados 36 sinais de vozes sintetizadas e 36 sinais de vozes reais, classificados como normais, com o desvio rugosidade e com o desvio soprosidade. Cada sinal foi submetido a seis transmiss?es, cada uma delas utilizando um codec espec?fico (G.711 Lei A, Speex32, GSM Full Rate, LPCM16, Opus24 e SILK16). Antes e ap?s cada transmiss?o, um especialista em voz realizou a classifica??o dos sinais quanto ao tipo de desvio e, com aux?lio do software VoxMetria, extraiu-se as medidas ac?sticas frequ?ncia fundamental, jitter, shimmer, GNE e desvio padr?o da frequ?ncia fundamental. Observou-se que, dentre os codecs analisados, o Opus24 foi aquele se mostrou o mais promissor para avalia??o da qualidade vocal, por ter sido o ?nico a apresentar taxa de acur?cia acima de 70%, tanto para os sinais sintetizados quanto para os sinais reais analisados. Este codec conseguiu manter os desvios vocais inalterados para avalia??o em mais de 85% dos sinais reais.

Os professores são profissionais da voz que vêm sendo amplamente estudados por pesquisadores nacionais e internacionais. Pesquisas apontam alta prevalência de alterações vocais dentre os docentes. Um dos critérios para o estabelecimento da prevalência de alteração vocal baseia-se na auto-percepção do professor, denominado de disfonia auto-referida. Conhecer o quanto a alteração vocal pode trazer conseqüências para a vida do professor e para o exercício de sua profissão está de acordo com o proposto pela Organização Mundial da Saúde que sugere avaliar o impacto de uma doença sob o ponto de vista do paciente e não do avaliador. O objetivo desta pesquisa foi comparar medidas de qualidade de vida e voz entre grupo de professores que referiu alteração vocal e grupo de professores que não referiu alteração vocal. Participaram deste estudo 97 professores de 11 escolas da rede municipal de Bauru. Todos os professores responderam a três protocolos psicométricos de qualidade de vida e voz (IDV, QVV, PPAV) além de um questionário para caracterização da amostra. Os resultados demonstraram que 39,8% dos professores reportaram alterações vocais no momento da realização da pesquisa. Quando se compararam medidas de qualidade de vida e voz, entre o grupo com alteração de voz e o grupo sem alteração vocal, diferenças estatisticamente significantes foram observadas: entre a pontuação total do IDV e nas três sub-áreas (orgânica, emocional e funcional); entre a pontuação total do QVV e na pontuação dos dois domínios (funcionalidade física e sócio-emocional) e entre a pontuação total do PPAV e nas cinco sessões (severidade do problema vocal, efeito no trabalho, efeito na comunicação diária, efeito na comunicação social e emoção). Também foi verificado que a dimensão orgânica do protocolo IDV tem mais impacto entre as dimensões deste protocolo, tanto para o grupo com alteração quanto para o grupo sem alteração vocal, indicando desconforto laríngeo e dificuldade ao falar. Com relação ao protocolo QVV, o domínio que apresentou mais alto escore foi o da funcionalidade física, também indicando desconforto laríngeo e impacto vocal na comunicação em professores com e sem alteração. Com relação ao PPAV nenhuma sessão prevaleceu sobre a outra no grupo sem alteração vocal. Para o grupo com alteração vocal, três sessões, comunicação diária, efeito no. trabalho e emoções têm maior impacto que a comunicação social. Os escores de limitação e de restrição foram calculados. Foi observado que a limitação da atividade é maior que a restrição das atividades tanto no grupo com queixa vocal quanto no grupo sem queixa vocal. Concluiu-se que os professores que referiram alteração vocal perceberam o impacto da alteração vocal em diferentes dimensões da qualidade de vida e voz e na realização de suas atividades diárias em maior proporção do que os professores que não referiram alteração vocal. / Teachers are voice professionals who have been widely studied by national and international researchers. Studies show a high prevalence of vocal alterations among teachers. One of the criteria for the establishment of vocal alteration prevalence, is based on teachers´ self-perception, termed as self-reported dysphonia (when the teacher him/herself reports the vocal alteration). To know the degree in which vocal alteration may affect a teacher´s life and his/her career, is consistent with that proposed by the World Health Organization, which suggests assessing the impact of a disease, taking into account the patient´s point of view and not the evaluator´s. This study aimed at comparing voice disordered quality of life (VQOL) measures between a group of teachers who reported vocal alteration and a group of teachers who did not, by verifying the teacher´s perception as for the impact of vocal alteration in the different dimensions of voice quality of life. Ninety-eight teachers, from 11 municipal schools of Bauru and in different grades (infantile and fundamental teaching and education of adolescents and adults), participated in this study. All teachers answered three psychometric protocols of voice quality of life: Voice Handicap Index (VHI), Voice-Related Quality of Life (V-RQOL), and the Voice Activity Participation Profile (VAPP), besides a questionnaire for the characterization of the sample. The result shows that 39.8% of teachers reported vocal alteration. When comparing voice measures between the groups with and without vocal alteration, statistically significant differences were observed: the total score of VHI and its dimensions (physical, emotional and functional); total score of V-RQOL and its dimensions (physical and socio-emotional functioning), and total score of VAAP and its dimensions (severity of vocal problem, effect on work, effect on daily communication, effect on social communication and emotion). It was verified, too, that the physical dimension of VHI has a greater impact among the dimensions of this protocol, both for the group with complaint and the one without complaint, indicating a laryngeal discomfort and difficulty at speaking. As for VRQOL, the most striking dimension was the physical functioning domain, also indicating the laryngeal discomfort and the impact of voice on communication, in teachers with and with no complaint. As for VAAP, no domain prevailed over the others, in the group with no complaint. For teachers with complaint, three domains, i.e., daily communication, work and emotions have a greater impact than social communication. The limitation and restriction scores were calculated as well, and it was observed the limitation of activities is greater than the restriction of activities, both in the group with and the group without complaint. One may conclude that the teachers who reported vocal alterations, better realize the impact of voice in different dimensions of voice quality of life.

OBJETIVO: Comparar a voz de mulheres antes e depois de 60 e 90 minutos de prova de fala contínua, e após repouso de 15 minutos. MÉTODOS: Trinta e uma mulheres com idade entre 18 e 25 anos, foram submetidas à tarefa de resistência fonatória, utilizando-se da leitura de um texto padrão por 90 minutos, repetido até que o tempo se esgotasse. Antes da tarefa de fala contínua, após 60 minutos, após 90 minutos, e depois de 15 minutos de repouso vocal absoluto, aplicou-se questionário para conhecimento do bem estar vocal, registrou-se a emissão prolongada da vogal \"a\", para posterior extração das medidas acústicas e da análise perceptivo-auditiva com o uso da escala GIRBAS. A seguir, fez-se a mensuração das medidas do sistema aéreo fonatório, empregando os protocolos: capacidade vital pulmonar (CVP), tempo máximo de fonação (TMF) e a eficiência vocal (EV). A intensidade vocal foi registrada com decibelímetro e a auto-avaliação da percepção auditiva, tátil e cinestésica da voz com o uso de uma escala visual analógica de 100mm. RESULTADOS: Após 60 minutos de fala, aumentou a frequência fundamental (f0) de 215,4 para 220,2Hz (p<0,01), a ATRI (p=0,04) e a NHR (p=0,03), e com 90 minutos, a f0 variou de 215,4 para 223,6Hz (p<0,01), aumentando também a Fhi (p= 0,04) e a Flo (p= 0,02), e diminuindo a APQ (p=0,01) e a VTi (p=0,04). Comparando as medidas observadas na pré-prova e após o repouso, aumentaram f0 (p<0,01), Fhi (p=0,02) e Flo (p=0,03). Entre os tempos 60 minutos e após o repouso, houve aumento da PPQ (p=0,04), da ATRI (p=0,06) e da NHR (p=0,02). Para 90 minutos e repouso, a PPQ (p=0,03) e a Fatr (p=0,04) aumentaram. Vinte e sete participantes apresentaram grau geral da disfonia 1 tanto para 60 minutos, quanto para 90 minutos, e quatro passaram a apresentar grau 2 em 90 minutos (p=0,04). O parâmetro instabilidade alterou de grau 1, com 60 minutos, para grau 2, com 90 minutos de fala contínua (p=<0,01). A intensidade habitual aumentou (p<0,01) de 61,4 para 63,4dB após 90 minutos. Após o repouso, houve diminuição da intensidade (p=0,01), em relação ao pré-prova. Nas medidas observadas pelo sistema aéreo fonatório, o fluxo de ar expiratório diminuiu após 90 minutos de fala (p=0,04), aumentando depois do repouso (p=0,04). Após 90 minutos de fala a f0(Hz) aumentou 211,85 para 221,54 (p<0,01). A resistência aerodinâmica, impedância acústica e eficiência aerodinâmica aumentaram após 60 e após 90 minutos de fala. A auto avaliação perceptivo-auditiva e tátil-cinestésica da voz, observou que após 90 minutos de fala contínua todos os sintomas pioram, exceto a rouquidão e a voz grave. CONCLUSÃO: Houveram alterações das medidas acústicas após tarefa de fala contínua. O grau geral da disfonia e a instabilidade vocal aumentaram após 90 minutos de fala contínua. As medidas aerodinâmicas se comportaram de forma divergente entre os protocolos utilizados e os tempos de avaliação. A intensidade vocal habitual aumentou após 90 minutos de fala contínua e os sintomas perceptuais auditivos e tátil-cinestésicos aumentaram após a tarefa de fala contínua / PURPOSE: To compare the woman\'s voice before and after 60 and 90 minutes of continuous speech test, and after 15 break minutes. METHODS: Thirty-one women aged between 18 and 25 years, were submitted to phonation endurance task, using the reading of a standard text for 90 minutes repeating until the time was over. Before the continuous speech task after 60 minutes, after 90 minutes, and after 15 minutes of absolute voice rest, it was applied a questionnaire to knowledge of well-being vocal and was recorded the prolonged vowel \"a\", to take in a posterior time the acoustic measurements and perceptual analysis using the GIRBAS scale. Then, it was done the mensuration of measures phonation air system, using the protocols: lung vital capacity (LVC), maximum phonation time (MPT) and vocal efficiency (VE). The vocal intensity was recorded with a decibelimeter and self-assessment of auditory, tactile and kinesthetic perception of voice using a visual analog scale of 100mm. RESULTS: After 60 minutes of speech, increased the fundamental frequency (f0) of 215.4 for 220,2Hz (p <0.01), the ATRI (p = 0.04) and NHR (p = 0.03) with 90 minutes f0 ranged from 215.4 to 223,6Hz (p <0.01), also increasing FHI (p = 0.04), and Flo (p = 0.02) and decreasing APQ (p = 0.01) and VTi (p = 0.04). Comparing the measures observed in pre-test and after the break, increased f0 (p <0.01), FHI (p = 0.02) and Flo (p = 0.03). Between time of 60 minutes and after the break, was observed an increase in PPQ (p = 0.04) of ATRI (p = 0.06) and NHR (p = 0.02). For 90 minutes rest, PPQ (p = 0.03) and Fatr (p = 0.04) increased. Twentyseven subjects had overall grade of dysphonia 1 for both 60 minutes and for 90 minutes and began to show four grade 2 in 90 minutes (p = 0.04). The parameter of instability changed of step 1, with 60 minutes to 2 degree, with 90 minutes of continuous speech (p = <0.01). The usual intensity increased (p <0.01) 61.4 to 63,4dB after 90 minutes. After the break, there was a decrease in the intensity (p = 0.01), compared to the pre-test. In the measurements observed by phonation air system the flow of expiratory air decreased after 90 minutes of speech (p = 0.04) and raised after the rest (p = 0.04). After 90 minutes of speech f0 (Hz) to 221.54 211.85 increased (p <0.01). The aerodynamic resistance, acoustic impedance and aerodynamic efficiency increased after 60 and after 90 minutes of speech. Self perceptual assessment and tactile-kinesthetic voice, noted that after 90 minutes of continuous talk all the symptoms get worse, except for hoarseness and a deep voice. CONCLUSION: There were changes of acoustic measurements after continuous speech task. The overall degree of dysphonia and vocal instability increased after 90 minutes of continuous speech. The aerodynamic measures worked in different ways about the protocols used and the time evaluation. The usual voice intensity increased after 90 minutes of continuous speech and perceptual symptoms auditory and tactilekinesthetic increased after continuous speech task

How do non-vocal practices function within sequences? This thesis addresses silence and gesture in the context of social interaction involving human participants through the framework of conversation analysis (CA) to answer this question. Although it is certainly possible, and indeed common, for gestures and other non-vocal practices to occur during talk, this thesis focuses on those that occur without accompanying talk. In order to understand the role of non-vocal practices in this environment, we must first understand the role of silence (or the absence of talk) in participants’ interactions. How does silence function within the sequential environment? How does context affect how silence and nonvocal practices are treated by participants? If one organisation (or aspect of an organisation) is affected, are all organisations (or aspects of that organisation) affected? I draw on psychological, sociological, and linguistic literature to show why silence and gesture are related in interactional research and how this affects conversation analytic methodology. The work that forms this thesis brings together cross-cultural perspectives and technical advances with respect to silence and non-vocal practices both individually and when they occur together (i.e. non-vocal practices without accompanying talk). I begin with a broad overview of research and theories of gesture and silence before discussing CA as a method and its relationship to silence and non-vocal practices. The empirical studies begin with silence in relation to culture and context and issues in analysing and transcribing silence. I then examine how one sequential environment, in which psychotherapy clients are obligated to respond by orienting to the therapeutic agenda, has a preference structure that is very different from ordinary conversation. In this sequential environment, silence and elaboration are marks of preferred responses rather than dispreferred. The preference structure is made particularly visible through accountability that becomes relevant when a client’s response is produced promptly following the therapist’s overtly therapeutic action. Silence in this environment contributes Inaction and Silent Action in Interaction 3 to clients’ performance of sincerity and participation in the psychotherapeutic process, and non-vocal practices during longer silences can show that the client remains engaged with the sequence. Many authors have accounted for silences that are not treated by participants as problematic by applying constructs such as ‘continuing states of incipient talk’. This construct, however, is variably used and has not been developed through empirical examination. It does not adequately explain interactions that involve silence or gesture, as I show through a content analysis and systematic review. After recommending that researchers engage with participant orientations in environments that differ from canonical conversations, I describe an environment that is commonly thought of as constituting a ‘continuing state of incipient talk’ – television-watching. I show that contrary to some claims about ‘incipient talk’ environments, although response relevance is relaxed, both sequence organisation and turn-taking are strongly oriented to by participants. Compared to ordinary conversation, television-watching also involves more gestures and other nonvocal practices without accompanying talk. I examine how non-vocal practices without accompanying talk are used in interaction. As responsive actions, gestures can be used without accompanying talk as a resource for doing sensitive interactional work, particularly in places where giving offence might be a concern. Non-vocal practices can also be used in other situations to accomplish sequential actions that could otherwise be spoken. These uses of non-vocal practices create methodological questions for conversation analysis, which has traditionally focused on the talk of participants. By clearly distinguishing between actions and turns (two classic CA concepts) and examining the timing of non-vocal practices, I show that non-vocal practices can have a clearly defined role in sequence organisation. CA can thus be a useful method for examining the entire situation of social interaction, including non-vocal practices.

This thesis gives a comprehensive account of the vocal music performed in Edinburgh between 1750 and 1800. One of its aims is to highlight the importance of vocal music to a contemporary audience, an area which has hitherto been neglected in investigations into the musical culture of the city in the eighteenth century. It also attempts to place the Edinburgh Musical Society in the wider context of the vibrant concert and musical culture which developed through the second half of the century. The study attempts to demonstrate the importance of singing, not just within concerts, but as an integral part of many other social and cultural aspects of life, including: gentlemen’s clubs, schools, and the city’s churches. The careers of singers, as impresarios and teachers, and the influence they held over prevailing tastes and culture are examined. In addition to discussing the many foreign musicians active in the city this investigation also traces the impact of native born singers and teachers. It calls into question the assertions made by previous studies which suggested the primacy of instrumental music over vocal music and it attempts to demonstrate that the interest in, consumption of, and participation in vocal music grew over the course of the century. It also attempts to show that vocal music became a dominant influence following the demise of the Musical Society. The information contained in this account has been drawn from previously neglected newspapers and other archival sources, such as diaries, personal letters, the archives of the Musical Society preserved by Gilbert Innes, the Sederunt Books of the Musical Society, the repertoire of the Harmonical Society and published works on music, culture and history. The repertory itself has also been closely examined. By means of this work it has been possible to examine and expand the whole spectrum of musical life in the Scottish capital and thus establish the thriving vocal musical culture which existed at the time.

... I understand the word 'Art' as meaning the faculty of presenting a thought in the clearest, simplest form, that is, the most "graspable" form ... That is my view of art. And that is why I have never understood the meaning of 'Classical', 'Romantic1 and the rest, and I have never placed myself in opposition to the masters of the past but have always tried to do just like them: to say what it is given to me to say with the utmost clarity … Anton Webern / Arts, Faculty of / Music, School of / Graduate

Beethoven’s vocal works are often neglected or overshadowed as a result of his prominent involvement with large-scale instrumental genres such as sonata, symphony, or string quartet. Nevertheless, he sustained throughout his life a significant interest in literature and poetry; his personal library, as well as his letters, Tagebuch, and conversation books all document this by way of numerous direct quotations from—and indirect references to—the literary materials that interested him. The numerous vocal works he produced between 1783 and 1826 are one relevant manifestation of this interest and engagement with words. Beethoven produced a significant body of vocal works, the majority of which have not received the same intensity of analytical treatment as the instrumental works. Specifically, this study examines the relationship between words and music in the solo songs and other vocal works of Beethoven. The points of intersection between literary and musical expression are evaluated within four aspects of text setting: structure, rhythm, meaning, and narrative. Firstly, elements of derivation and deviation are explored to determine the diverse ways that he deliberately constructed musical structures in response to the poetic (and semantic) structures of each source text. Secondly, and by extension, rhythm and metre—and varying degrees of derivation, deviation, and manipulation—are assessed so as to demonstrate how these works illustrate Beethoven’s awareness of the expressive possibilities for adhering to or altering the relationship between poetic and musical metre. Thirdly, various types of musical rhetoric—including Beethoven’s implementation of the conventions for affective tonality, as well as the reliance on both conventional and uniquely-Beethovenian depictive idioms and gestures—illustrate his response to various levels of semantic content. Fourthly, his response to individual (though interrelated) aspects of narrative in his selected texts are evaluated. Drawing concepts from key figures of narrative theory—including Gérard Genette, Roland Barthes, Mieke Bal, and others—this study assesses the narrative content in selected texts as a means by which to gauge Beethoven’s compositional response to aspects of temporality, focalisation, spatiality, and so forth, both individually and in combination. Ultimately, this study demonstrates that—contrary to frequently voiced opinions—Beethoven responded quite closely and deliberately to the expressive implications of his selected texts, while aspects of poetic and musical structure, rhythm, syntax, imagery, and layers of meaning coalesce within complex narrative processes. Beethoven was aware of the inherent musicality of poetic texts and the significance of forging a close compositional relationship between words and music; thus he consistently demonstrated in composing these works his ideology that within vocal works ‘words and music form a unit’.

Modern scholars have suggested various approaches to the analysis of the pretonal repertory. However, if we consider the question of how the individual voice parts interact in a Renaissance polyphonic composition to create coherence for the movement as a whole, we find that there are no tools available to undertake such a task. We may be able to speak generally of the arrival of certain moments as relatively accented or unaccented; we may even be able to dissect a complete melodic line with some segmentation process to highlight motivic structure, phrase development or contour-articulated pitch events. But there are no analytic strategies available yet which are capable of disclosing the structures of independent voice parts and their interaction as timepoint-accenting elements capable of creating formal, rhythmic and pitch-class patterns. This study outlines a methodology that has been developed to deal with these specific issues. The analytic strategy is based on the perception of accents in individual voices of polyphonic works. The types of accents germane to Renaissance polyphony include durational, leap, contour, cadential and beginning-accents. The study proposes a simple, bipartite classification of accentual strength—strong or weak. Each voice part in a work is then analyzed, with every pitch attack represented as strongly or weakly accented through special notation developed for the analysis. The methodology affords a picture of the most strongly- accented timepoints in the individual melodies of three- and four-voice cantus firmus masses of the mid- to late fifteenth century. The relative strengths of these accents, along with their synchronization in the multi-voice aggregate, are disclosed through the notation. After renotating scores with this special notational symbology, we extract points of coincident strong accents in three or more voices to create accent profiles for each section of a movement. We then compare profiles of same-texted works by different composers in order to disclose normative formal and pitch-class procedures in some Renaissance compositions. / Arts, Faculty of / Music, School of / Graduate

The concert arias of Mozart actually include not only arias written specifically for concert but also interpolations which subsequently assumed the character of concert arias. Those in the following study were written for Aloysia Weber, Mozart's first love and, later, his sister-in-law. These arias are interesting for a number of reasons: First, the fact that they are seldom performed today raises questions about singing technique in the late eighteenth century. Second, the musical requirements which fostered this technique must have been grounded in a tradition of embellishment--a subject worthy of investigation. Third, the concert arias are an example of the close connection between melody and instrument in this period; what was the nature of the voice for which they were written? Fourth, these arias were fully notated at a time when the singer was generally expected to improvise. They are a written record of Classical ornamentation and are therefore a good choice for the study. The method used is as follows: The singing tradition according to which Weber and Mozart were trained is examined. After this discussion follows a chapter on the tradition of ornamentation, which influenced Mozart's melodic writing. Mozart's approach to composition and notation is then described. Finally, the melodies are analyzed through the process of de-ornamentation. A per-formable edition of a concert aria from which all ornamentation has been removed is included. The thesis yields the following conclusions: First, tastes in singing style change from century to century, and these preferences affect the aspects of pedagogy which are emphasized in any given age. Second, the pieces reflect a preference for bright, florid melodies and high, flexible voices. Third, Mozart was complete in his notation for a number of reasons: 1) orchestral accompaniment is necessary in the sections of free ornamentation; 2) Mozart wrote the arias for Aloysia Weber and for particular performances in most instances; 3) by creating a fine composition Mozart showed himself to best advantage over the Italian musicians with whom he felt an intense rivalry. Fourth, late eighteenth-century ornamentation can be divided into two groups--specific ornaments and free ornamentation. Classical ornamentation differs from Baroque in two important respects: 1) in Baroque melodies ornaments are mere frills, but Classical ornaments are so organic to the style that most Mozart melodies would be unthinkable without them; 2) whereas Baroque free ornamentation usually fills in spaces between chord tones, Classical embellishment reinforces structural points. The performable edition mentioned above resembles a simple nineteenth-century cantabile aria, illustrating the basic difference between the later style and that of Mozart. / Arts, Faculty of / Music, School of / Graduate