Thesis (M.M.)--Bowling Green State University, 2005. / Document formatted into pages; contains viii, 99 p. : ill., music. Includes bibliographical references.

The use of keyboard percussion instruments in choro, one of the earliest forms of Brazilian popular music, is a relatively recent phenomenon and its expansion into university music programs and relocation from small clubs and private homes to concert halls has changed the way that choro is learned and performed. For many Brazilians, this kind of innovation in a “traditional” genre represents a challenge to their notion of a Brazilian cultural identity. This study examines the dynamic relationship that Brazilians have with representations of their culture, especially in the area of popular music, through an in depth discussion of the use of keyboard percussion instruments within the genre of choro. I discuss the implications of using keyboard percussion in choro with a detailed description of its contemporary practice and a critical examination of the sociological and academic issues that surround choro historically and as practiced today. This includes an historical overview of choro and organology of keyboard percussion instruments in Brazil. I discuss multiple perspectives on the genre including a consideration of choro as part of the “world music” movement and choro’s ambiguous relationship to jazz. Through an examination of the typical instrumentation and performance conventions used in choro, I address the meanings and implications of the adaptation of those practices and of the various instrumental roles found in choro to keyboard percussion instruments. Solutions to problems relating to instrumental adaptation are offered, with particular attention to issues of notation, improvisation, rhythmic approach and the role of the cavaquinho. I also discuss the significance of rhythmic feel and suingue (swing) in relation to the concept of brasilidade (brazilianness) as informed by and expressed through Brazilian popular music.

The use of keyboard percussion instruments in choro, one of the earliest forms of Brazilian popular music, is a relatively recent phenomenon and its expansion into university music programs and relocation from small clubs and private homes to concert halls has changed the way that choro is learned and performed. For many Brazilians, this kind of innovation in a “traditional” genre represents a challenge to their notion of a Brazilian cultural identity. This study examines the dynamic relationship that Brazilians have with representations of their culture, especially in the area of popular music, through an in depth discussion of the use of keyboard percussion instruments within the genre of choro. I discuss the implications of using keyboard percussion in choro with a detailed description of its contemporary practice and a critical examination of the sociological and academic issues that surround choro historically and as practiced today. This includes an historical overview of choro and organology of keyboard percussion instruments in Brazil. I discuss multiple perspectives on the genre including a consideration of choro as part of the “world music” movement and choro’s ambiguous relationship to jazz. Through an examination of the typical instrumentation and performance conventions used in choro, I address the meanings and implications of the adaptation of those practices and of the various instrumental roles found in choro to keyboard percussion instruments. Solutions to problems relating to instrumental adaptation are offered, with particular attention to issues of notation, improvisation, rhythmic approach and the role of the cavaquinho. I also discuss the significance of rhythmic feel and suingue (swing) in relation to the concept of brasilidade (brazilianness) as informed by and expressed through Brazilian popular music.

Orientador: Fernando Augusto de Almeida Hashimoto / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-26T07:33:30Z (GMT). No. of bitstreams: 1 Mendes_HelvioMonteiro_M.pdf: 11326348 bytes, checksum: 8cd1192b5d05502160f2f87f1dfe4d6e (MD5) Previous issue date: 2014 / Resumo: A presente dissertação realizou um estudo interpretativo sobre a peça intitulada Suíte para Xilofone e Piano, composta em 1974 por Osvaldo Lacerda, sendo essa a primeira obra no Brasil que eleva o xilofone a um caráter de instrumento de destaque para além do plano orquestral, em duo com piano. Esse estudo interpretativo se baseia na linguagem estética da música nacionalista em que o compositor está atrelado, bem como em outros fatores ligados à análise dos elementos musicais da peça, e discute as decisões interpretativas tomadas e a solução de problemas técnicos instrumentais presentes na obra. Adicionalmente, o estudo sobre a obra serve como pano de fundo para a realização do levantamento histórico do xilofone no Brasil / Abstract: This work intends to perform an interpretative study on Suite for Xylophone and Piano, by Osvaldo Lacerda, composed in 1974. This piece is the first suite written for xylophone in Brazil that elevates this instrument from the orchestral role to a piano duo. The interpretative study is based in nationalist musical¿s aesthetics language, in which the composer was inserted, as well as the analysis of the musical elements of the work, and discusses the interpretative decisions and the solution of technical issues along the piece. In addition, this study serves as background for a historical survey about the xylophone in Brazil / Mestrado / Praticas Interpretativas / Mestre em Música

Policy goals stipulated by the Ministry of Education of the post-colonial government of Malawi advocate music education and inclusion of indigenous music in education. In spite of such stipulations, music education is non-practical and the integration of indigenous music in education is unsatisfactory. This thesis attempts to address these issues while focusing on the meaning and purpose of music to Malawians. The thesis begins by tracing the history of music in classroom education in Malawi from 1875 to the present with an attempt to investigate the factors that have contributed to the current crisis in music in schools. This historical-ethnographic study sets out to demonstrate that the ideals and practices of foreign religions as well as Western education denied indigenous music of Malawians a place in classroom education as well as inside and outside the church or the mosque. The thesis strives to portray the consequences of this denial on issues of purpose, outcome, content, methodology and support for music education; trends in indigenous music in ethnic societies; policy goals and statements of music education in the Malawian education; and attitude towards music and music education. Adopting the approaches of both musicology and ethnomusicology, the thesis discusses the role played by indigenous music in ethnic societies and the rationalised views of this music as provided by the musically informed native Malawian practitioners. This discussion further demonstrates how indigenous music structures reflect the social realities of Malawians such as the sharing of resources and theories of life. The thesis argues musical issues that would be the basis for remedying the crisis in music education. A philosophical proposition for modern music education, and the significance of indigenous music in classroom education are argued. An introduction to music education that promotes the use of indigenous music in study and performance is suggested. Sources relied on in the thesis include published and unpublished studies of music and music education; audio/video recordings; and field research undertaken to obtain information about existing indigenous music and their knowledge systems known in Malawian ethnic societies, but not yet covered by existing publications. / Thesis (DMus)--University of Pretoria, 2006. / Music / unrestricted

Les Bwaba du Burkina Faso montrent une grande prédilection, dans leur expression orale, pour un recours à l’implicite consistant à dissimuler la parole au moyen des sons de leurs xylophones. Cette dissimulation s’exerce principalement à propos des identités individuelles et collectives. C’est là une façon, pour eux, de masquer leur pensée tout en la dévoilant, afin de susciter à tout moment chez leurs auditeurs l’éveil de l’esprit, le questionnement, la curiosité. Ils disposent à cet effet de deux genres musicaux différenciés, tous deux dévolus à la louange, dont chacun forme un corpus spécifique : les devises senké et les chants bassé. Le recensement, la description et l’analyse de cette manière d’être, de dire et de faire constituent l’objet de la présente thèse.Le plus souvent sans recours aux paroles verbalisées, ces musiques de louange offrent un exemple hautement élaboré de transmission des signifiés. L’étude s’applique en priorité à ces modalités instrumentales pour interroger les processus de transposition de la parole à la musique, qui nourrissent cette société dans son quotidien et dans ses fêtes. Enoncer de façon voilée, par les sons du xylophone, le nom d’un groupe ou d’un individu permet de faire montre d’une grande maîtrise du langage musical, comme de la gestion des relations sociales et des possibilités de communication entre les membres de la communauté. Cette étude ambitionne de démontrer que « la parole du xylophone » témoigne, chez les Bwaba, d’une exceptionnelle mise en cohérence de l’intelligence productive et de l’intelligence perceptive / The Bwaba from Burkina Faso are very partial to using implicitness in their oral communication, i.e. to conceal speech within the sounds of their xylophones. This concealment applies mostly to individual and collective identities. It is for them a way to mask their thoughts, while unveiling them at the same time, in order to create an awakening of spirit, and arouse questioning and curiosity among their audience. In order to achieve that, they can use two differentiated musical genres, both meant for praise and with a specific corpus each: mottos or senké, and songs or bassé. The object of this PhD is to make an inventory, to describe and analyse this way of being, of saying and of doing.The musics of praise, which most of the time do not use any verbal speech, give a highly elaborate example of transmission of the signified. This study first of all applies to instrumental modalities, in order to question the process of transposition of speech into music, a process which nurtures the Bwaba society in its daily life and holy days and feasts. Enunciating in a veiled way the name of a group or a person, through the sounds of xylophone, enables them to show their great skills in musical language, and also in the management of social relationships and in communication possibilities among members of the community. The present study wishes to demonstrate that "xylophone speech" shows, for the Bwaba, an exceptional setting into coherence of the productive and perceptive intelligence.

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Time for Bee consists of a series of ten original musical/theatrical compositions created between September 1992 and January 1994, first performed on the evening of January 28, 1994 in the Recital Hall of the University of British Columbia. While each of the works can be performed individually, it was the composer’s intent to create a recital which is logical in its progression. This should suggest that in some way the pieces belong together as a larger whole. The concept of “waiting” circulates throughout all the works, in the sense that the actual material is either minimalist (and so one is forced to “wait” for changes), or the philosophy behind a given piece is similarly based, but may not be evident in the sounding music. The studies in the music machine, for example, try to incorporate necessary stage changes between pieces (and the waiting the audience goes through) into musical events about such waiting. A secondary interest concerns the concept of contradiction. The majority of the works are, for example, based upon high-sounding textures (flute, violin, clarinet, high piano and mallets, etc). The studies in the music machine attempt to introduce low-sounding textures as a contrast, however, and throughout the recital a timpani and a bass drum sit off to the side of the stage, unplayed. These ideas, and others, are meant to serve as a contradiction to the unified high-sounding textures of the majority of the recital. Individual pieces are similarly based upon concepts of contradiction and waiting. Memory, as a concept, plays a prominent role in several pieces as well.

Time for Bee consists of a series of ten original musical/theatrical compositions created between September 1992 and January 1994, first performed on the evening of January 28, 1994 in the Recital Hall of the University of British Columbia. While each of the works can be performed individually, it was the composer’s intent to create a recital which is logical in its progression. This should suggest that in some way the pieces belong together as a larger whole. The concept of “waiting” circulates throughout all the works, in the sense that the actual material is either minimalist (and so one is forced to “wait” for changes), or the philosophy behind a given piece is similarly based, but may not be evident in the sounding music. The studies in the music machine, for example, try to incorporate necessary stage changes between pieces (and the waiting the audience goes through) into musical events about such waiting. A secondary interest concerns the concept of contradiction. The majority of the works are, for example, based upon high-sounding textures (flute, violin, clarinet, high piano and mallets, etc). The studies in the music machine attempt to introduce low-sounding textures as a contrast, however, and throughout the recital a timpani and a bass drum sit off to the side of the stage, unplayed. These ideas, and others, are meant to serve as a contradiction to the unified high-sounding textures of the majority of the recital. Individual pieces are similarly based upon concepts of contradiction and waiting. Memory, as a concept, plays a prominent role in several pieces as well. / Arts, Faculty of / Music, School of / Includes 1 sound cassette / Graduate