Dissertations / Theses on the topic 'Guitar; musical performance; expressivity'

Computer-generated musical performances are often criticised for being unable to match the expressivity found in performances by humans. Much research has been conducted in the past two decades in order to create computer technology able to perform a given piece music as expressively as humans, largely without success. Two approaches have been often adopted to research into modelling expressive music performance on computers. The first focuses on sound; that is, on modelling patterns of deviations between a recorded human performance and the music score. The second focuses on modelling the cognitive processes involved in a musical performance. Both approaches are valid and can complement each other. In this thesis we propose a third complementary approach, focusing on the guitar, which concerns the physical manipulation of the instrument by the performer: a biomechanical approach. The essence of this thesis is a study on capturing, analyzing and modelling information about motor and biomechanical processes of guitar performance. The focus is on speed, precision, and force of a guitarist's left-hand. The overarching questions behind our study are: 1) Do unintentional actions originating from motor and biomechanical functions during musical performance contribute a material "human feel" to the performance? 2) Would it be possible determine and quantify such unintentional actions? 3) Would it be possible to model and embed such information in a computer system? The contributionst o knowledgep ursued in this thesis include: a) An unprecedented study of guitar mechanics, ergonomics, and playability; b) A detailed study of how the human body performs actions when playing the guitar; c) A methodologyt o formally record quantifiable data about such actionsin performance; d) An approach to model such information, and e) A demonstration of how the above knowledge can be embeddedin a system for music performance.

A interpretação musical, enquanto campo de pesquisa, trava ainda importantes embates em torno da epistemologia. A sua auto-compreensão alterna-se entre posturas subjetivas e normatividades estanques, deixando em estado latente os pressupostos históricos que validam as possibilidades interpretativas. Como a hermenêutica estuda as condições de validade da interpretação, propusemo-nos apresentar uma formulação da interpretação musical baseada nessa vertente filosófica tal qual é elaborada por Hans-Georg Gadamer. A consciência hermeneuticamente formada propõe uma sistematização que visa tanto à obra quanto ao intérprete, no potencial de crítica e superação dos limites normativos que a discussão de sua estrutura prévia de compreensão permite. Dois estudos de caso exemplificam o ganho interpretativo que a abordagem hermenêutica oferece: um manual técnico de Andrés Segovia e uma obra de Domenico Scarlatti, transcrita para violão por Sérgio Abreu
Performance, as research field, takes an argumentation about epistemology. Its self-comprehension changes from a subjectivity to fixed normativities, letting hidden the historic pre-supositions that makes valid the statements of validly. Since hermeneutics, in the proposition of Hans-Georg Gadamer, studies the conditions of validly of interpretation, we propose think musical interpretation based on this philosophical approach. The conscience hermeneutically formed makes systematic study of the interpreter as well as the work, in the potential critics and overwhelming of the normativity limits that the discussion about the previous structure of comprehension allows. Two cases give the examples of the interpretative gain of hermeneutic offers: a manual of technics by Andrés Segovia, and a Domenico Scarlatti\'s work transcribed for guitar by Sérgio Abreu.

A sonoridade é um aspecto importante para a execução violonística. Esse trabalho tem por objetivo estudar a sonoridade com um elemento da execução musical, entender os seus aspectos formadores dentro do âmbito técnico, textual e perceptivo, utilizando-se como exemplo duas gravações das Quatro Peças Breves de Frank Martin. Os resultado são discutidos à luz do embasamento teórico, fazendo-se considerações a respeito das possibilidades de execução musical e como a sonoridade do violão atua nesse contexto.
Sound is an important aspect to guitar performance. The purpose of this work is to study the sound as an element of musical performance, understanding the aspects which form it as seen through technique, text and perception, using two recordings of the Frank Martin´s Quatre Pièces Brèves as example. The results were based on the theoretical framework considering the possibilities of musical performance and how the guitar sound works in this context.

Juan Francisco Acosta (1890-1968) was a prolific composer, band conductor, and educator from Puerto Rico who created 1,256 original compositions. Even though his activities and influence were integral to the musical life of Puerto Rico in the twentieth century, many details of his life and works remain unknown. This project centers on Acosta’s contribution to the Puerto Rican tradition of the danza—a dance-based genre originating in the nineteenth century—through the study and arrangement of five of Acosta's danzas. Although Acosta composed most danzas for piano, he adapted them for performances by the municipal bands that he led in various towns. This practice of modifying his works for different instruments, as well as the importance of the guitar in Latin America, underpins the author’s choice to arrange his piano music for varied types of guitar combinations, including solo, duo, trio, and quartet. The five works are Bajo la sombra de un pino, Mercedes, Eres una santa, Dulce María, and In memoriam. The guitar arrangements of these five danzas are preceded by important information on the composer within the Puerto Rican music world, with emphasis on the intersections of the band and danza traditions. To enhance the study of these works, this document discusses basic stylistic features, including a comparison of forms, rhythms, and dance characters, and relates Acosta's treatment of the danza puertorriqueña to approaches of his Puerto Rican contemporaries. This document also includes performance guidelines to introduce Acosta's danza style to student and professional players. Based on primary biographical and musical sources, this study presents a foundation for a clearer understanding of the life and works of Acosta upon which further research, analysis, and criticism can be conducted. The arrangements offer a fresh look at new guitar repertoire using the peculiarities of rhythms and traditions of Puerto Rican and Carribean heritage. The arrangements also serve a pedagogical purpose by adding to the existing repertoire of ensemble music for the classical guitar.

Esse trabalho apresenta um auto-relato da construção da performance da obra Changes (1983) para violão de Elliott Carter, com uma análise estrutural e sua relação com as dificuldades encontradas ao longo do processo de estudo. Foram utilizadas estratégias de estudo já conhecidas e novas foram criadas à medida do necessário. O trabalho oferece um plano para o estudo rítmico da peça, propondo exercícios direcionados para as dificuldades encontradas, as quais se relacionaram principalmente com as configurações de quiálteras de cinco e com as modulações métricas. A identificação de personagens musicais foi fundamental para a construção da interpretação de Changes. A sistematização do plano de estudo apresentado assim como as estratégias criadas poderão auxiliar a preparação dessa e outras obras.
This work presents a self-report concerning the construction of the performance of Changes (1983) for guitar, by Elliot Carter, with a structural analysis and its relationship towards the difficulties encountered during its preparation. Well-known learning strategies were applied and new ones were created when necessary. A plan for the study of the rhythmic complexities of the piece was elaborated with exercises that address the difficulties encountered, especially those pertaining to the quintuplets and metric modulation. The identification of musical characters was fundamental for the construction of the interpretation of the piece. The system organized as the study plan, as well as the learning strategies developed may help others in the preparation of this and other works.

Submitted by CAIO VICTOR DE OLIVEIRA LEMOS null (caiovictordeoliveira@gmail.com) on 2017-08-29T02:02:32Z No. of bitstreams: 1 CVOL-dissertacao-.pdf: 2668703 bytes, checksum: a51833e1eee4b33c2d448c1dc14f09f8 (MD5)
Approved for entry into archive by Luiz Galeffi (luizgaleffi@gmail.com) on 2017-08-29T18:14:34Z (GMT) No. of bitstreams: 1 lemos_cvo_me_ia.pdf: 2668703 bytes, checksum: a51833e1eee4b33c2d448c1dc14f09f8 (MD5)
Made available in DSpace on 2017-08-29T18:14:34Z (GMT). No. of bitstreams: 1 lemos_cvo_me_ia.pdf: 2668703 bytes, checksum: a51833e1eee4b33c2d448c1dc14f09f8 (MD5) Previous issue date: 2017-07-31
Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)
O presente trabalho investiga o estatuto do intérprete de violão. Partindo da hipótese de que o intérprete contribui para a construção de sentido em uma realização musical, constatou-se a insuficiência de um instrumental teórico que possibilitasse a averiguação de sua relevância enquanto instância participativa do fazer musical. A perspectiva de uma abordagem enunciativa mostrou-se oportuna para os propósitos deste trabalho, além de contribuir para a construção de uma cientificidade na área musical. A dissertação foi desenvolvida em quatro capítulos. O primeiro trata das principais designações atribuídas à atividade do intérprete e das consequências teóricas de cada assunção. No segundo, é traçado um paralelo entre linguística e música, apresentando a afinidade de problemáticas presentes em ambas as áreas, ao mesmo tempo em que desenha paulatinamente o panorama enunciativo sobre essas questões. No terceiro, foram apresentados os princípios da teoria enunciativa, basicamente: as categorias de pessoa, tempo e espaço; os mecanismos de instauração dessas categorias no enunciado; além dos conceitos de dialogismo, uso linguístico e contrato veridictório. Foram apontadas algumas possibilidades de transposição desses princípios e sua aplicação mostrou-se, assim, exequível na área musical. Por fim, no quarto capítulo, foram analisados, dentro de uma perspectiva enunciativa, dois enunciados musicais em vídeo de diferentes intérpretes —Paul Galbraith e Kazuhito Yamashita—tocando a mesma obra, Nocturnal op. 70 de Benjamin Britten. Concluiu-se que é possível atribuir um estatuto ao intérprete de violão por meio de uma abordagem enunciativa. As marcas da enunciação no enunciado nos permitiram depreender como se deu a construção de sentido, as estratégias discursivas, a imagem que o enunciador construiu de si mesmo, além da intencionalidade marcada, atribuindo assim um lugar central ao intérprete na construção do sentido musical.
This work investigates the status of the guitar performer. Starting from the hypothesis that the performer contributes to the construction of meaning in a musical performance, we have come across the insufficiency of the theoretical tools to ascertain his/her relevance as a participating instance in music making. The perspective of an enunciative approach has proven to be opportune for the purposes of this investigation, also contributing to the establishment of a more specific perspective in the music field. This Master’s thesis is divided into four chapters. The first one deals with the most prominent designations attributed to the performer’s activity and the theoretical consequences of each assumption. On the second one, a parallel is drawn between linguistics and music, presenting the kinship between the issues in both areas, at the same time progressively sketching an overview of the enunciation aspects related to them. On the third chapter, the principles of the enunciation theory were presented, in short: the categories of person, time, and space; the mechanism for the establishment of these categories on text/speech; as well as the concepts of dialogism, linguistic usage, and veridictory contract. Some possibilities of transposition of these principles were presented and thus their application has proven viable in the music domain. Finally, on the fourth chapter, two performances were analyzed from an enunciative perspective: videos of two different interpreters — Paul Galbraith and Kazuhito Yamashita — playing the same piece, Benjamin Britten’s Nocturnal op. 70. Our investigation and its application to concrete texts led us to conclude that a status can be attributed to the guitar performer through an enunciative approach. The enunciation marks inscribed on the text allowed us to capture the process of the construction of meaning, the discursive strategies, the image that the enunciator created for him/herself, as well as the intentionality outlined on the text, thus assigning a central role to the performer in the construction of musical meaning.

Submitted by Jos? Henrique Henrique (jose.neves@ufvjm.edu.br) on 2017-02-16T18:54:48Z No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) alexsander_vanzela.pdf: 3076411 bytes, checksum: bcf22cbcf49df868fdcb842f02de7ff5 (MD5)
Approved for entry into archive by Rodrigo Martins Cruz (rodrigo.cruz@ufvjm.edu.br) on 2017-03-06T11:47:54Z (GMT) No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) alexsander_vanzela.pdf: 3076411 bytes, checksum: bcf22cbcf49df868fdcb842f02de7ff5 (MD5)
Made available in DSpace on 2017-03-06T11:47:54Z (GMT). No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) alexsander_vanzela.pdf: 3076411 bytes, checksum: bcf22cbcf49df868fdcb842f02de7ff5 (MD5) Previous issue date: 2016
? comum deparar-se com um grande n?mero de pessoas que buscam aprender a tocar guitarra de forma r?pida, sem o aux?lio de um profissional qualificado, atrav?s de cursos livres e, ou outros meios dispon?veis na Internet. Na ?nsia deste aprendizado, o indiv?duo passa a receber informa??es fracionadas, n?o utilizando m?todos que aliem o uso de teoria musical ? pr?tica da guitarra, trazendo consigo uma defici?ncia te?rica musical. Para que isso n?o ocorra, existem institui??es que trabalham com o ensino musical, ? o caso do Conservat?rio Estadual de M?sica ?Lobo de Mesquita? de Diamantina, em Minas Gerais, que disponibiliza gratuitamente ? popula??o cursos de m?sica, buscando a forma??o de profissionais nesta ?rea, deixando-os aptos a ingressar em uma universidade ou a seguir uma carreira profissional. Um dos desafios neste processo do ensino trata-se da leitura e escrita musical, cujo aprendizado requer dedica??o e causa ansiedade por ser uma linguagem musical. A quest?o central que norteou esse trabalho foi se a aplica??o de recursos atuais poderia facilitar a leitura e a performance musical pelos estudantes de guitarra el?trica. A pesquisa foi desenvolvida no Conservat?rio Estadual de M?sica ?Lobo de Mesquita? com estudantes do curso inicial de guitarra el?trica e visou avaliar um m?todo de aprendizado em leitura de tablatura e partitura balizado pelas novas tecnologias dispon?veis, sem prescindir das tradicionais. Pretendeu-se proporcionar ao estudante de guitarra el?trica uma forma diferenciada de aprender e executar pe?as escritas em partitura e tablatura, reduzir sua ansiedade e melhorar a performance com o uso de tecnologia da informa??o atrav?s do software Guitar Pro 6. Foram estimuladas as habilidades de escuta musical, leitura em partitura e tablatura e pr?tica no instrumento musical a partir de exerc?cios propostos pelo professor, comparando-se o desempenho desenvolvido atrav?s do m?todo tradicional e o resultado do uso do software Guitar Pro 6. Al?m da avalia??o comparativa da t?cnica de execu??o desenvolvida pelos estudantes, foi analisada a ansiedade na performance musical inspirado na tabela Kenny Music Performance Anxiety Inventory (K-MPAI), cujo m?todo foi modificado para aplica??o a um p?blico diferente. Com a an?lise dos resultados foi poss?vel observar que o uso do software Guitar Pro 6 durante o curso de guitarra para alunos iniciantes influenciou positivamente o aprendizado, proporcionando aos mesmos uma melhora quanto ?s habilidades de leitura e execu??o a partir do registro em pauta e da leitura conjunta pauta/tablatura, contribuindo ainda para o aumento da autonomia e redu??o da ansiedade dos estudantes.
Disserta??o (Mestrado Profissional) ? Programa de P?s-Gradua??o em Sa?de, Sociedade e Ambiente, Universidade Federal dos Vales do Jequitinhonha e Mucuri, 2016.
It is common to came across a large number of people who seek a quick way of learning how to play the guitar, without the help of a qualified professional, by means of informal courses and/or by other ways available on the Internet. Longing for this learning, the individual ends up with receiving fractional information, and does not use methods that entail the music theory to the guitar practice, carrying along a theoretical musical deficiency. In order to avoid this, there are institutions that work with musical learning, like the Conservat?rio Estadual de M?sica ?Lobo de Mesquita?, in Minas Gerais, which offers to the population free musical courses, seeking to form professionals in this area, to qualify them either for joining a University or to follow a professional career. One of the challenges in the process of teaching is related to the music reading and writing, whose learning requires endeavor and causes anxiety due to the musical language. The central matter that guided this work was to verify if the use of current tools could turn easier the musical reading and performance by students of electric guitar. The research was developed in the Conservat?rio Estadual de M?sica ?Lobo de Mesquita? with students of the initial course of electric guitar, and it aimed to evaluate a method of learning how to read tablature and score, based on new available technologies, without excluding the traditional ones. The intention was to offer the students of electric guitar a differentiated way of learning and playing musical pieces written in score and tablature, to reduce the anxiety and to improve performance by means of informational technology with the use of the software Guitar Pro 6. Abilities of musical listening, reading of score and tablature, as well as practice in the musical instrument were stimulated with the use of exercises proposed by the teacher. The performance developed by means of the traditional method and results obtained by using the software Guitar Pro 6 were compared. Besides the comparative evaluation of the technique developed by students, it was analyzed the anxiety in musical performance with inspiration in the Kenny Music Performance Anxiety Inventory (K-MPAI) questionnaire, whose method was modified to be applied to a different public. Analyzing results, it was possible to verify that the use of the software Guitar Pro 6 during the guitar course for beginning students influenced the learning positively, providing the students an improvement in the abilities of learning and practicing from the score records, and in the combined reading from score/tablature, contributing to increase autonomy of students and to decrease anxiety.

American composer David Kechley was profoundly impacted by a 1990 trip to the Ryoan-ji Temple in Kyoto, Japan. The composer describes the finely raked, small white stones in the midst of fifteen large rocks in the Japanese Zen garden as "planned randomness." Kechley's inaugural composition for saxophone-guitar duo, In the Dragon's Garden, reflects his experience at the Ryoan-ji Temple. The use of minimalistic compositional techniques without literal repetition in the work represents a departure from the first generation of Minimalist composers, such as LaMonte Young, Steve Reich, Phillip Glass, and John Adams. An analysis of minimalistic compositional elements, combined with an interview with the commissioning ensemble, the Ryoanji Duo, provides insights into the interpretation and preparation of this complex work. Furthermore, this document contains helpful information pertinent to the saxophone-guitar duo. Details on balance and amplification, orchestration, and collaboration with the composer will supply performers and composers with essential knowledge needed to participate in this growing musical medium.

Submitted by Cássia Santos (cassia.bcufg@gmail.com) on 2016-03-09T11:43:28Z No. of bitstreams: 3 Dissertação - Luciana Elisa Lozada Tenorio - 2013.pdf: 6025390 bytes, checksum: c85e7992dba08a147175d72bc0d1e33e (MD5) Anexos - Dissertação - Luciana Elisa Lozada Tenorio - 2013.pdf: 6073144 bytes, checksum: 5d694306bce845968feba1c999455ec2 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5)
Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2016-03-10T11:34:50Z (GMT) No. of bitstreams: 3 Dissertação - Luciana Elisa Lozada Tenorio - 2013.pdf: 6025390 bytes, checksum: c85e7992dba08a147175d72bc0d1e33e (MD5) Anexos - Dissertação - Luciana Elisa Lozada Tenorio - 2013.pdf: 6073144 bytes, checksum: 5d694306bce845968feba1c999455ec2 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5)
Made available in DSpace on 2016-03-10T11:34:50Z (GMT). No. of bitstreams: 3 Dissertação - Luciana Elisa Lozada Tenorio - 2013.pdf: 6025390 bytes, checksum: c85e7992dba08a147175d72bc0d1e33e (MD5) Anexos - Dissertação - Luciana Elisa Lozada Tenorio - 2013.pdf: 6073144 bytes, checksum: 5d694306bce845968feba1c999455ec2 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Previous issue date: 2013-03-27
This article is the result of the investigative work on the methods and criteria regarding XVI centry single voice and vihuela villancicos transcripts. The data was obtnaied through the bilbiographic research of articles, dissertations, Juan Bermudo's treatise on the subject (1555) and the comparative analysis of then villancicos transcriptions dated from the XVI century. The main goal in this project is to apply the studied procedures in transcribing eight villancicos form the Cancionero de Upsala for guitar single-voice, confirming that the knowledge gained through the study of past methods and procedures are applicable to contemporany music perfomance. The core of the work consistis of a study on the history and characteristics of the villancicos; a contextualization on the Italian, French, German, Englihs and Spanish transcribing methods for works regarding plucked string instruments and voice; a detailed analysis on Spanish transcription procedures of sixteenth century and the application of those methods on eight villancicos for voice and guitar.
O presente trabalho pretende investigar e registrar critérios e procedimentos de transcrição de villancicos para uma voz e vihuela utilizados no século XVI, por meio da análise bibliográfica do quarto livro, intitulado "De tañer vihuela",contido no tratado "Declaración de instrumentos musicales" (1555) de Juan Bermudo, além do estudo de artigos e dissertações, assim como da análise comparativa de dez entabulações de villancicos realizados na época e suas respectativas fontes vocais. O objetivo principal desta pesquisa consiste na aplicação destes procedimentos na transcrição de oito villancicos do Cancionero de Upsala para uma voz e violão, consubstanciando a assertiva de que os conhecimentos adquiridos através da investigação musicológica atuam como esteio à performance musical da contemporaneidade. O trabalho consta de um estudo sobre a história e características do villancico; uma contextualização sobre o processo de entabulação para uma voz e instrumento de cordas dedilhadas na Itália, Inglaterra, Alemanha, França e Espanha; uma análise dos procedimentos utilizados na entabulação de villancicos; na Espanha, século XVI e finalmente uma exposição e justificativa dos procedimentos de transcrição aplicados em oito villancicos para uma voz e violão.

Submitted by JÚLIO HEBER SILVA (julioheber@yahoo.com.br) on 2017-02-23T18:55:12Z No. of bitstreams: 13 Dissertaçao - Leonardo Luigi Perotto - 2007(1).pdf: 7292799 bytes, checksum: 81e1a290a22f39f789eb2e1c6e1b4644 (MD5) Dissertaçao - Leonardo Luigi Perotto - 2007(2).pdf: 3799962 bytes, checksum: 9002df5238bb43bd14327a893b5138f5 (MD5) Dissertação - Leonardo Luigi Perotto - 2007(3).pdf: 17049956 bytes, checksum: 3058215e026c9934a4fceeac22fd54e9 (MD5) Dissertação - Leonardo Luigi Perotto - 2007(4).pdf: 17369630 bytes, checksum: 2e1af250ce5548ebac4ef5b29ac23566 (MD5) Dissertação - Leonardo Luigi Perotto - 2007(5).pdf: 17961171 bytes, checksum: 1fe17e7de81b274aaa312bb82891d369 (MD5) Dissertação - Leonardo Luigi Perotto - 2007(6).pdf: 14868730 bytes, checksum: e07094cd37154c50b2dace827f3bd3e9 (MD5) Dissertação - Leonardo Luigi Perotto - 2007(7).pdf: 15784304 bytes, checksum: 454a1a3ced9219852825aa357e08c28a (MD5) Dissertação - Leonardo Luigi Perotto - 2007(8).pdf: 18855661 bytes, checksum: 8341ea954dbea47e6fe3cf4719369b39 (MD5) Dissertação - Leonardo Luigi Perotto - 2007(9).pdf: 15124124 bytes, checksum: bd4f3cc99356ed118f7ee1ea81735d9e (MD5) Dissertação - Leonardo Luigi Perotto - 2007(10).pdf: 17801393 bytes, checksum: 00d793e5d405a70c8b1e3839d4128baf (MD5) Dissertação - Leonardo Luigi Perotto - 2007(11).pdf: 17801393 bytes, checksum: 00d793e5d405a70c8b1e3839d4128baf (MD5) Dissertação - Leonardo Luigi Perotto - 2007(12).pdf: 18521837 bytes, checksum: ae2b9709ceadbb9e32fb905c1aa65e64 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5)
Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2017-02-24T10:50:26Z (GMT) No. of bitstreams: 13 Dissertaçao - Leonardo Luigi Perotto - 2007(1).pdf: 7292799 bytes, checksum: 81e1a290a22f39f789eb2e1c6e1b4644 (MD5) Dissertaçao - Leonardo Luigi Perotto - 2007(2).pdf: 3799962 bytes, checksum: 9002df5238bb43bd14327a893b5138f5 (MD5) Dissertação - Leonardo Luigi Perotto - 2007(3).pdf: 17049956 bytes, checksum: 3058215e026c9934a4fceeac22fd54e9 (MD5) Dissertação - Leonardo Luigi Perotto - 2007(4).pdf: 17369630 bytes, checksum: 2e1af250ce5548ebac4ef5b29ac23566 (MD5) Dissertação - Leonardo Luigi Perotto - 2007(5).pdf: 17961171 bytes, checksum: 1fe17e7de81b274aaa312bb82891d369 (MD5) Dissertação - Leonardo Luigi Perotto - 2007(6).pdf: 14868730 bytes, checksum: e07094cd37154c50b2dace827f3bd3e9 (MD5) Dissertação - Leonardo Luigi Perotto - 2007(7).pdf: 15784304 bytes, checksum: 454a1a3ced9219852825aa357e08c28a (MD5) Dissertação - Leonardo Luigi Perotto - 2007(8).pdf: 18855661 bytes, checksum: 8341ea954dbea47e6fe3cf4719369b39 (MD5) Dissertação - Leonardo Luigi Perotto - 2007(9).pdf: 15124124 bytes, checksum: bd4f3cc99356ed118f7ee1ea81735d9e (MD5) Dissertação - Leonardo Luigi Perotto - 2007(10).pdf: 17801393 bytes, checksum: 00d793e5d405a70c8b1e3839d4128baf (MD5) Dissertação - Leonardo Luigi Perotto - 2007(11).pdf: 17801393 bytes, checksum: 00d793e5d405a70c8b1e3839d4128baf (MD5) Dissertação - Leonardo Luigi Perotto - 2007(12).pdf: 18521837 bytes, checksum: ae2b9709ceadbb9e32fb905c1aa65e64 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5)
Made available in DSpace on 2017-02-24T10:50:26Z (GMT). No. of bitstreams: 13 Dissertaçao - Leonardo Luigi Perotto - 2007(1).pdf: 7292799 bytes, checksum: 81e1a290a22f39f789eb2e1c6e1b4644 (MD5) Dissertaçao - Leonardo Luigi Perotto - 2007(2).pdf: 3799962 bytes, checksum: 9002df5238bb43bd14327a893b5138f5 (MD5) Dissertação - Leonardo Luigi Perotto - 2007(3).pdf: 17049956 bytes, checksum: 3058215e026c9934a4fceeac22fd54e9 (MD5) Dissertação - Leonardo Luigi Perotto - 2007(4).pdf: 17369630 bytes, checksum: 2e1af250ce5548ebac4ef5b29ac23566 (MD5) Dissertação - Leonardo Luigi Perotto - 2007(5).pdf: 17961171 bytes, checksum: 1fe17e7de81b274aaa312bb82891d369 (MD5) Dissertação - Leonardo Luigi Perotto - 2007(6).pdf: 14868730 bytes, checksum: e07094cd37154c50b2dace827f3bd3e9 (MD5) Dissertação - Leonardo Luigi Perotto - 2007(7).pdf: 15784304 bytes, checksum: 454a1a3ced9219852825aa357e08c28a (MD5) Dissertação - Leonardo Luigi Perotto - 2007(8).pdf: 18855661 bytes, checksum: 8341ea954dbea47e6fe3cf4719369b39 (MD5) Dissertação - Leonardo Luigi Perotto - 2007(9).pdf: 15124124 bytes, checksum: bd4f3cc99356ed118f7ee1ea81735d9e (MD5) Dissertação - Leonardo Luigi Perotto - 2007(10).pdf: 17801393 bytes, checksum: 00d793e5d405a70c8b1e3839d4128baf (MD5) Dissertação - Leonardo Luigi Perotto - 2007(11).pdf: 17801393 bytes, checksum: 00d793e5d405a70c8b1e3839d4128baf (MD5) Dissertação - Leonardo Luigi Perotto - 2007(12).pdf: 18521837 bytes, checksum: ae2b9709ceadbb9e32fb905c1aa65e64 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2007-04-30
The proposal of this research is to investigate the process of creation of the Brazilian composer Pedro Cameron, mainly through the survey and analysis of his work, pointing out specific stylistic characteristics, his perception of the classical guitar idiomatism, and its influence on compositional solutions. In the beginning of the twentieth century, there was a significant growth in the number of works written for the classical guitar by composers of diverse musical backgrounds. These works consolidated a more reorganization both in the writing and the idiomatic absorption of the instrument. The musical works for classical guitar by Pedro Cameron is part of this context, creating an important investigative link for the Brazilian contemporary repertoire. The first part of this master thesis contextualizes this moment, presenting information about the classical guitar in Brazil and the world, and a brief biography of the composer. The second part presents an analytical inquiry of some Cameron's pieces, encompassing the period between the decade of 1970 and the present days. The theoretical framework is based on authors such as Spencer & Temko (1988), Hanslick (1992), Dudeque (1996), Schoenberg (1996), Oliveira (1998), Menezes (2002) e Zuben (2004). The last part evaluates the procedures of the composer through what was observed in the analyses, presenting compositional solutions and techniques he creatively used to incorporate significant elements of the classical guitar idiomatism, influencing the process of writing and his compositional style.
A proposta desta pesquisa é investigar o processo de criação do compositor paulista Pedro Cameron, principalmente através do levantamento e análise de sua obra, apontando características estilísticas em relação ao idiomatismo do violão e da influência do instrumento nas soluções composicionais. No princípio do século XX, observamos um significativo crescimento no número de obras escritas para o violão por compositores de diversas vertentes musicais, obras que consolidaram a absorção idiomática do instrumento. A obra musical para violão de Pedro Cameron se insere neste contexto, criando um elo investigativo importante sobre o repertório contemporâneo brasileiro atual. A primeira parte do trabalho contextualiza tal momento, apresentando tópicos sobre o violão no Brasil e no Mundo, além de uma breve biografia do compositor. A segunda parte apresenta uma investigação a partir das análises de algumas obras do compositor que compreendem o período entre a década de 1970 aos dias atuais, tendo como referencial teórico autores como Spencer & Temko (1988), Hanslick (1992), Dudeque (1996), Schoenberg (1996), Oliveira (1998), Menezes (2002) e Zuben (2004). A última parte visualiza os procedimentos do compositor através do que foi constatado nas análises, apresentando soluções composicionais e técnicas através das quais ele criativamente incorporou elementos do idiomatismo do violão à sua escrita.

Made available in DSpace on 2014-07-29T16:25:14Z (GMT). No. of bitstreams: 1 dissertacao_PART1.PDF: 154745 bytes, checksum: 62d12a4d5be968472b05662819b204d7 (MD5) Previous issue date: 2007-04-30
The proposal of this research is to investigate the process of creation of the Brazilian composer Pedro Cameron, mainly through the survey and analysis of his work, pointing out specific stylistic characteristics, his perception of the classical guitar idiomatism, and its influence on compositional solutions. In the beginning of the twentieth century, there was a significant growth in the number of works written for the classical guitar by composers of diverse musical backgrounds. These works consolidated a more reorganization both in the writing and the idiomatic absorption of the instrument. The musical works for classical guitar by Pedro Cameron is part of this context, creating an important investigative link for the Brazilian contemporary repertoire. The first part of this master thesis contextualizes this moment, presenting information about the classical guitar in Brazil and the world, and a brief biography of the composer. The second part presents an analytical inquiry of some Cameron's pieces, encompassing the period between the decade of 1970 and the present days. The theoretical framework is based on authors such as Spencer & Temko (1988), Hanslick (1992), Dudeque (1996), Schoenberg (1996), Oliveira (1998), Menezes (2002) e Zuben (2004). The last part evaluates the procedures of the composer through what was observed in the analyses, presenting compositional solutions and techniques he creatively used to incorporate significant elements of the classical guitar idiomatism, influencing the process of writing and his compositional style
A proposta desta pesquisa é investigar o processo de criação do compositor paulista Pedro Cameron, principalmente através do levantamento e análise de sua obra, apontando características estilísticas em relação ao idiomatismo do violão e da influência do instrumento nas soluções composicionais. No princípio do século XX, observamos um significativo crescimento no número de obras escritas para o violão por compositores de diversas vertentes musicais, obras que consolidaram a absorção idiomática do instrumento. A obra musical para violão de Pedro Cameron se insere neste contexto, criando um elo investigativo importante sobre o repertório contemporâneo brasileiro atual. A primeira parte do trabalho contextualiza tal momento, apresentando tópicos sobre o violão no Brasil e no Mundo, além de uma breve biografia do compositor. A segunda parte apresenta uma investigação a partir das análises de algumas obras do compositor que compreendem o período entre a década de 1970 aos dias atuais, tendo como referencial teórico autores como Spencer & Temko (1988), Hanslick (1992), Dudeque (1996), Schoenberg (1996), Oliveira (1998), Menezes (2002) e Zuben (2004). A última parte visualiza os procedimentos do compositor através do que foi constatado nas análises, apresentando soluções composicionais e técnicas através das quais ele criativamente incorporou elementos do idiomatismo do violão à sua escrita

Orientador: Marcos Siqueira Cavalcante
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-15T06:11:32Z (GMT). No. of bitstreams: 1 Almeida_MarcusV.S.R.M._M.pdf: 2978458 bytes, checksum: a34648b4e235af5bbc33e4ae82987edb (MD5) Previous issue date: 2009
Resumo: Esta pesquisa teve por finalidade analisar a música de João Bosco de Freitas Mucci, particularmente, a maneira de tocar violão desse arista. O objetivo, aqui, foi demonstrar alguns recursos técnicos e musicais, relacionando-os a um projeto artístico construído em parceria com Aldir Blanc. Para isso, foi levantada uma bibliografia que consistiu, principalmente, em entrevistas e reportagens sobre o músico. Além disso, foi realizada uma audição minuciosa de toda a discografia, o que contribuiu para a análise de elementos rítmicos, harmônicos e melódicos. Para analisar os recursos técnicos utilizados pelo violonista, foram feitas transcrições de passagens significativas desse material. Ao relacionar técnica, recursos musicais e projeto artístico, verificou-se que o virtuosismo violonístico de João Bosco alcança mais expressividade quando o músico se apresenta ao vivo e sem o acompanhamento de outros instrumentistas
Abstract: This research had for purpose to analyze the music of João Bosco de Freitas Mucci, particularly, the way this artist plays guitar. The objective of this work was to demonstrate some technicians and musicals resources, relating them to an artistic project constructed in partnership with Aldir Blanc. A bibliography was raised that consisted, mainly, in interviews and articles about the musician. Moreover, his discography was critically studied, that contributed for the analysis of rhythm, harmony and melody. Transcriptions of significant parts of this material had been made to analyze the resources technician used by the violonist. When relating technique, musical resources and artistic project, were verified that the guitar skills of João Bosco reaches more expressivity when the musician presents himself in a live show and without the accompaniment of others musicians
Mestrado
Musica
Mestre em Música

Continuing the discussion of interpreting J. S. Bach's lute music on the guitar, this dissertation seeks to demonstrate that Schenkerian analysis can assist the modern classical guitarist to better understand Bach's music. In particular, the Schenkerian approach provides an important methodology for studying Bach's music in depth, and then guiding performance practice on the guitar. Although there are many books and articles about transcribing, interpreting and performing Bach's music on the guitar, they do not apply Schenkerian analysis to guitar performance. This research will fill in the lacuna in this field, while promoting music scholarship and enhancing the performance practice of classical guitarists.

Este trabalho tem como objetivo compreender os processos composicionais contidos no Op. 199, Les Guitares bien Tempérés, de Mario Castelnuovo-Tedesco (1895-1968). Este ciclo de 24 prelúdios e fugas é a maior obra original para duo de violões e, vindo de um compositor não-violonista, contextualizam-se, aqui, pontos importantes de sua formação, de seus intérpretes e de seu período. Algumas perguntas se destacam no percurso da pesquisa: quem foi este compositor? Quais foram os fatos mais marcantes de sua formação musical? Por que esta obra é tão importante para a formação de duo de violões? Qual é o perfil bibliográfico que se encontra para a produção deste trabalho? E, principalmente, como se pode descrever o estilo desta obra? Fundamentando-se em referenciais teórico-metodológicos (STEBLIN, 1982; LARUE, 1992; OTERO, 1999; entre outros), o trabalho parte dos sentidos tradicionais do Prelúdio e da Fuga e de como o compositor se relaciona com eles. Mostra como resultados da pesquisa os parâmetros musicais, que permeiam a obra como um todo (macroestrutura) e dialogam entre as partes (média e microestrutura), entrecruzando os elementos contribuintes (som, harmonia, melodia e ritmo) e outros desdobramentos (tonalidades, texturas, intensidades, harmonias, melodias, andamentos, expressões e afetos/humores). Desse modo, a pesquisa levou à compressão de diversos processos composicionais contidos na obra.
The aim of this work is to understand the compositional techniques employed by Mario Castelnuovo-Tedesco (1895-1968) in his Op. 199, Les Guitares bien Tempérés. This cycle of 24 Preludes and Fugues for two guitars is known as the largest original work for guitar duo and, coming from a non-guitarist composer, elucidates various aspects of his background and the performance of his works. Some of the most important questions addressed include: Who is Castelnuovo-Tedesco? What were the highlights of his musical training? Why is this work so important to the guitar duo ensemble? What kind of bibliographic references are available on this work? And, most importantly, how can the style of this work be described? This work in based on theoretical-methodological references (STEBLIN, 1982; LARUE, 1992; OTERO, 1999; among others), it begins with a discussion of the composer\'s approach to the traditional definitions of Prelude and Fugue. The results of this research highlight the musical guidelines that permeate the work both as a whole (macrostructure) and in parts (middle and microstructure), crossing contributing elements (sound, harmony, melody and rhythm), and other details (keys, textures, dynamics, harmonies, tempos, expressions and affections/humor). Thus, this research has led to the understanding of multiple compositional processes contained in the work.

Made available in DSpace on 2014-07-29T16:25:13Z (GMT). No. of bitstreams: 1 Artigo - Mestrado UFG - KAMINSKI.pdf: 1811459 bytes, checksum: bbbd1d2e408d2284e4bf7b52161a4530 (MD5) Previous issue date: 2012-04-03
This paper presents the preparation and planning for the performance of a piece for solo guitar. For this purpose, the guitarist used pre-selected teaching and instrumental materials over the course this investigation. The criteria used to choose the piece were that it should reflect the technical and musical aspects of the repertoire commonly involved in academic training of guitar students. The piece Homenagem a Villa-Lobos op.46 by the composer Marlos Nobre was chosen. The preparation of this piece was divided into four stages: 1) Definition of goals and objectives; 2) scheduling, planning the construction of the performance ; 3) Choice of the fingering; 4) Solution of motor difficulties; 5) musical memorization. The accomplishment of these steps in this investigation was based on the theoretical references chosen. This end-of-course article is divided into two main parts. The first part contains materials from the literature search and selected during the research. Finally, a report about the preparation of the musical work was prepared, in which the steps and processes of choices are described on the basis of the previously established literature for the preparation of an instrumental work.
Este trabalho apresenta a preparação e planejamento da performance em uma obra para violão solo. Para isso, o violonista utilizou materiais didáticos e instrumentais previamente estabelecidos, no decorrer da presente investigação. Os critérios utilizados para a escolha da obra foram de que esta deveria refletir aspectos técnicos e musicais do repertório comumente abordados na formação acadêmica dos estudantes de violão. Para isso foi eleita a Homenagem a Villa-Lobos op.46 do compositor Marlos Nobre. Para a realização do processo de preparação da peça musical em questão, foram escolhidas algumas etapas que nortearam a presente investigação, dentre elas: 1) definição de metas e objetivos; 2) agendamento, planejamento da construção da performance; 3) escolha das digitações; 4) resolução das dificuldades motoras; 5) memorização musical. A realização dessas etapas na presente investigação foram subsidiadas pelos referenciais teóricos escolhidos. Este artigo de conclusão de curso está dividido em duas partes principais. Na parte inicial são apresentados os materiais extraídos e selecionados durante pesquisa bibliográfica. Por último, há um relatório sobre a preparação da obra musical, na qual estão discriminadas as etapas e processos de escolhas acerca da literatura previamente estabelecida.

Esta pesquisa teve por objetivo investigar empiricamente as decisões interpretativas quanto ao timing e dinâmica de quatro execuções do primeiro movimento da Sonata para piano n.1 de Francisco Mignone. Por meio da comparação de gravações, foram identificadas estratégias expressivas adotadas pelos intérpretes em relação ao timing, dinâmica e articulação, evidenciando assim o direcionamento expressivo do discurso musical em determinados trechos da obra. Tendo em vista os eventos musicais característicos de cada seção da Sonata, foi realizada uma análise da organização rítmica que apoiou a análise das gravações.
This research aimed at empirically investigating the interpretative decisions regarding timing and dynamics of four recorded performances of the first movement of Sonata n.1 for piano by Francisco Mignone. The comparison identified the expressive strategies adopted by the chosen interpreters in relation to articulation and dynamics thus bringing out the temporal profiles of predetermined spans. Issues such as background and organizational planning of the Sonata were taken into account in view of the musical events characteristic of each section. Theories of rhythmic organization supported the analyses of recordings.

Submitted by Jaqueline Silva (jtas29@gmail.com) on 2014-09-15T20:41:09Z No. of bitstreams: 2 license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Pieter Rahmeier.pdf: 12711400 bytes, checksum: a3b6201c9b1893bc5d066c80b62aa70a (MD5)
Approved for entry into archive by Jaqueline Silva (jtas29@gmail.com) on 2014-09-15T20:41:20Z (GMT) No. of bitstreams: 2 license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Pieter Rahmeier.pdf: 12711400 bytes, checksum: a3b6201c9b1893bc5d066c80b62aa70a (MD5)
Made available in DSpace on 2014-09-15T20:41:20Z (GMT). No. of bitstreams: 2 license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Pieter Rahmeier.pdf: 12711400 bytes, checksum: a3b6201c9b1893bc5d066c80b62aa70a (MD5) Previous issue date: 2014-05-23
Ernst Mahle (1929) is a german composer naturalized brazilian who has in his catalogue over 200 pieces written for all orchestra instruments. For guitar he wrote solo pieces, chamber music and concerts. This work has the purpose to develop a critical and a performance edition of the Suite (1975) for guitar solo, by Ernst Mahle, taking as a source of research the digitalized version of the Suite made by the composer himself and the manuscript of the piece. In the following research was made a stylistic technical and idiomatic analysis of his mainly works for the guitar, as well as an interview with the composer about the Suite and his works for the instrument. Furthermore, it was achieved a succinct biography of the composer due the scanty material about him. The construction of a Critical and Performance Edition of the Suite was the result of questions made about the interpretation of the piece, the rigorous comparison between the sources and the talk with the composer (interview), all of that aiming at to provide a comprehensive approach of this piece for the guitarists who wish to play it.
Ernst Mahle (1929) é um compositor alemão naturalizado brasileiro que tem em seu catálogo mais de 200 obras escritas para todos os instrumentos da orquestra sinfônica. Para violão escreveu peças solo, música de câmara e concertos. O objetivo principal deste trabalho foi desenvolver uma edição crítica e de performance da Suíte (1975) para Violão Solo de Ernst Mahle, tomando como fonte de pesquisa a versão digitalizada da Suíte, feita pelo próprio compositor, e o manuscrito da obra. Na pesquisa em questão foi realizada uma análise estilística, técnica e idiomática de suas principais obras para violão, bem como uma entrevista com o compositor sobre a Suíte e suas obras para o instrumento. Além disso, foi levantado uma breve biografia do compositor pelo fato de haver escasso material que trate do assunto. A construção de uma Edição Crítica e de Performance da Suíte foi o resultado das questões levantadas acerca da interpretação da peça, da comparação minuciosa entre as fontes e da discussão com o compositor (entrevista), isso tudo visando fornecer uma abordagem compreensiva da obra aos violonistas que desejarem executá-la.

A performance coral requer que o regente faça uma série de escolhas técnicas e interpretativas. Um dos elementos a respeito dos quais o regente faz escolhas é a dicção do texto cantado, visto que a notação musical ocidental não especifica o exato instante de articulação, a duração ou a dinâmica de vogais e consoantes. Manuais de regência coral geralmente discutem a dicção em termos de uniformidade de pronúncia e clareza de enunciação, ou também de sua relação com a homogeneidade do timbre coral e/ou com uma linha legato. Entretanto, são poucos os escritos sobre regência coral que explicitam possíveis durações, dinâmicas e/ou instantes de articulação de vogais e consoantes, e ainda mais raros aqueles que exemplificam como tais escolhas podem contribuir para uma performance expressiva. Nas últimas décadas, houve um aumento de pesquisas sobre a expressividade na performance, contudo poucas mencionam que a maneira como o texto é pronunciado pode colaborar com a expressividade. Ademais, pouco se sabe sobre os efeitos expressivos da dicção em performances especificamente corais. Neste trabalho, estudamos as escolhas interpretativas de regentes quanto à dicção do texto em obras corais cantadas em alemão, visando a observar os efeitos dessas escolhas na expressividade da performance coral. Para isso, utilizamos um conjunto de métodos e técnicas que incluem estudos bibliográficos e estudos de caso, entrevistas, análises de partituras, assim como análises de gravações feitas com o software Sonic Visualiser. A primeira parte apresenta os pontos de partida da pesquisa, que se referem às questões de escolhas e de expressividade na performance. A segunda parte apresenta os estudos bibliográficos, que incluem uma análise de escritos sobre regência coral e também dados coletados nas entrevistas que fizemos com seis regentes. Nessa parte, discutimos a pronúncia do alemão para o canto, as sugestões de regentes quanto à dicção do texto (principalmente em relação à duração, à dinâmica e ao instante de articulação de vogais e consoantes), as relações entre a articulação do texto e a articulação musical, e as possibilidades expressivas da dicção. A terceira parte apresenta os estudos de caso, nos quais analisamos partituras e gravações de obras corais de J. S. Bach, F. Schubert e J. Brahms e descrevemos os efeitos de diferentes escolhas relativas à dicção. A quarta e última parte confronta os dados apresentados nos estudos bibliográficos e nos estudos de caso. Nela, discutimos as relações entre as gravações e a literatura pesquisada em termos das escolhas interpretativas relacionadas à dicção, da influência da articulação do texto sobre articulação musical, e do papel da dicção na expressividade da performance coral. Os resultados sugerem que, em situações específicas, a dicção pode ter um papel central na expressividade da performance, sendo eventualmente tão ou mais significativa que aspectos mais comumente analisados, como variações de andamento, portamento ou vibrato. Por fim, sugerimos dois elementos relacionados à dicção que podem contribuir para compreender a experiência de escuta de uma performance expressiva: um sentido de que os músicos são parte da música e um sentido de estar no momento presente.
Choral performance requires several interpretative and technical choices by the conductor. One of the elements about which the conductor makes choices is the diction of the sung text, since Western musical notation does not specify the precise instant of articulation, the duration or the dynamic of vowels and consonants. Choral conducting handbooks generally discuss diction in terms of uniformity of pronunciation and clearness of enunciation, or also in terms of its relationship with choral blend and/or with a legato line. However, few writings on choral conducting are explicit in relation to possible durations, dynamics and/or instants of articulation of vowels and consonants, and even rarer are those which exemplify how these choices may contribute to an expressive performance. In the last decades, researches on expressivity in music performance have increased, yet few of such researches mention that the way one pronounces a text may play a part in expressivity. Moreover, little is known about the effects of an expressive diction specifically in choral performances. In this research, I investigate conductors\' interpretative choices regarding text diction in choral music sung in German, aiming to identify the effects of these choices on the expressivity of choral performance. My research uses mixed methods and techniques, which include bibliographical studies, case studies, interviews, score analyses, as well as recording analyses made with the software Sonic Visualiser. The first part presents the research\'s starting points, which refer to questions on choices in performance and on expressivity in performance. The second part presents the bibliographical studies, which include an analysis of writings about choral conducting and data collected in the interviews I did with six conductors. In this part I discuss German diction for singing, conductor\'s suggestions with respect to text diction (especially as regards the duration, the dynamic and the instant of articulation of vowels and consonants), the relationships between text articulation and musical articulation, and the expressive possibilities of diction. The third part presents the case studies, in which I analyse scores and recordings of choral works by J. S. Bach, F. Schubert and J. Brahms, and describe the effects of different choices related to diction. The fourth and last part compares data presented in the bibliographical studies and in the case studies. In this final part, I discuss the relationships between the recordings and the researched literature in terms of the interpretative choices regarding text diction, the influence of text articulation on musical articulation, and the role of diction in the expressivity of choral performance. Results suggest that in particular situations text diction can play a central role in performance expressivity, eventually being as significant as (or perhaps even more than) aspects more commonly analysed in researches, such as variations in tempo, portamento or vibrato. Finally, I suggest two elements concerning text diction that may contribute to an understanding of the experience of listening to an expressive performance: a sense that the musicians are part of the music, as well as a sense of being in the present moment.

A constantly growing corpus of interdisciplinary studies support the idea that music is a complex multimodal medium that is experienced not only by means of sounds but also through body movement. From this perspective, musical instruments can be seen as technological objects coupled with a repertoire of performance gestures. This repertoire is part of an ecological knowledge shared by musicians and listeners alike. It is part of the engine that guides musical experience and has a considerable expressive potential. This thesis explores technical and conceptual issues related to the analysis and creative use of music-related body movements in instrumental music performance. The complexity of this subject required an interdisciplinary approach, which includes the review of multiple theoretical accounts, quantitative and qualitative analysis of data collected in motion capture laboratories, the development and implementation of technologies for the interpretation and interactive use of motion data, and the creation of short musical pieces that actively employ the movement of the performers as an expressive musical feature. The theoretical framework is informed by embodied and enactive accounts of music cognition as well as by systematic studies of music-related movement and expressive music performance. The assumption that the movements of a musician are part of a shared knowledge is empirically explored through an experiment aimed at analysing the motion capture data of a violinist performing a selection of short musical excerpts. A group of subjects with no prior experience playing the violin is then asked to mime a performance following the audio excerpts recorded by the violinist. Motion data is recorded, analysed, and compared with the expert’s data. This is done both quantitatively through data analysis xii as well as qualitatively by relating the motion data to other high-level features and structures of the musical excerpts. Solutions to issues regarding capturing and storing movement data and its use in real-time scenarios are proposed. For the interactive use of motion-sensing technologies in music performance, various wearable sensors have been employed, along with different approaches for mapping control data to sound synthesis and signal processing parameters. In particular, novel approaches for the extraction of meaningful features from raw sensor data and the use of machine learning techniques for mapping movement to live electronics are described. To complete the framework, an essential element of this research project is the com- position and performance of études that explore the creative use of body movement in instrumental music from a Practice-as-Research perspective. This works as a test bed for the proposed concepts and techniques. Mapping concepts and technologies are challenged in a scenario constrained by the use of musical instruments, and different mapping ap- proaches are implemented and compared. In addition, techniques for notating movement in the score, and the impact of interactive motion sensor systems in instrumental music practice from the performer’s perspective are discussed. Finally, the chapter concluding the part of the thesis dedicated to practical implementations describes a novel method for mapping movement data to sound synthesis. This technique is based on the analysis of multimodal motion data collected from multiple subjects and its design draws from the theoretical, analytical, and practical works described throughout the dissertation. Overall, the parts and the diverse approaches that constitute this thesis work in synergy, contributing to the ongoing discourses on the study of musical gestures and the design of interactive music systems from multiple angles.

This submission for the degree of Master of Music at the Elder Conservatorium of Music explores, through the medium of performance, ways in which classical guitarists can enhance the expressive nuances in their playing. In the twentieth century, despite the numerous refinements in guitar technique [particularly in areas regarding speed and volume), the high degree of 'polish' in classical guitar performance practice is such that some of the subtleties of expression have been diminished. Through an exploration of recordings from leading classical guitarists, and subsequent analysis of their use of expressive techniques, I have found ways to apply them in my own performance. Within this portfolio of two CD recordings [the first of which contains Spanish Nationalist/Romantic repertoire and the second works by Dowland, Bach and BrittenJ and supporting exegesis, I explore the effectiveness of various technical and musical tools that the guitarist may employ for greater expressivity. The most significant observations from aural analysis, both of my own and others' recordings, are that the most 'expressive' interpretations result when a combination of several techniques are used simultaneously, and that slower tempi and a greater length of time preparing the work allow for more expressive possibilities.
Thesis (M.Mus.) -- University of Adelaide, Elder Conservatorium of Music, 2012

Most guitarists would agree that fingering lies at the heart of classical guitar performance. It is a process that eventually becomes intuitive in experienced performers, but one which requires years of playing, analysis and practice to develop. Despite its being a fundamental aspect of guitar playing, and an often critical inclusion in notated scores, guitar fingering nevertheless remains significantly under-represented in literature on guitar technique. Didactic methods for example, where notated fingering instructions are often abundant, mostly tend to reinforce the all-too-common conception that fingering denotes a rudimentary series of numbers and letters on a score that direct a player to employ a particular finger in the realisation of a given note. This observation is all the more startling when one considers how important fingering in guitar music can be; on an instrument where nearly any given pitch can be played in multiple positions and on different strings, fingering is surely an influential and significant factor of guitar technique that warrants research and discussion. This thesis considers aspects of guitar fingering that bear a decisive influence on the end musical product (i.e. the music that is heard). This study suggests that guitar fingering is a procedural activity that connects the act of interpreting music for performance with the process of writing the music itself. In doing so, this thesis provides a contextual framework to allow the performer to add breadth to his or her interpretive outcomes. This study also provides practical advice to non-guitarist-composers who wish to explore the highly interactive nature of guitar fingering on substantive musical attributes such as articulation, accentuation, phrasing and sonority. These considerations of guitar fingering are the products of practice-led research. Findings and conclusions arise from the author's experiential research as a performer and composer/arranger. Case studies of selected works from the guitar repertoire provide deep analysis of issues arising from guitar fingering as it relates to performance interpretation. A further case study of an original arrangement facilitates the exploration of fingering in the process of writing guitar music. This thesis is accompanied by a full-length CD recital that provides a broad contextual demonstration of the research findings. Additionally, short audio samples accompany the dissertation text to illuminate issues arising from guitar fingering that are illustrated through notated score excerpts. In addition to providing a substantial contribution to guitar literature on the subject of fingering, this study also makes a significant contribution to the relatively new area of practice-led research, where in the present thesis the empirical observation of creative practices generates new insights into the procedural activity of guitar fingering.

abstract: The purpose of this project is to introduce Bryan Johanson's composition for two guitars, 13 Ways of Looking at 12 Strings, and present an authoritative recording appropriate for publishing. This fifty-minute piece represents a fascinating suite in thirteen movements. The author of this project performed both guitar parts, recorded them separately in a music studio, then mixed them together into one recording. This document focuses on the critical investigation and description of the piece with a brief theoretical analysis, a discussion of performance difficulties, and guitar preparation. The composer approved the use and the scope of this project. Bryan Johanson is one of the leading contemporary composers for the guitar today. 13 Ways of Looking at 12 Strings is a unique guitar dictionary that takes us from Bach to Hendrix and highlights the unique capabilities of the instrument. It utilizes encoded messages, glass slides, metal mutes, explosive "riffs," rhythmic propulsion, improvisation, percussion, fugual writing, and much more. It has a great potential to make the classical guitar attractive to wider audiences, not limited only to guitarists and musicians. The main resources employed in researching this document are existing recordings of Johanson's other compositions and documentation of his personal views and ideas. This written document uses the composer's prolific and eclectic compositional output in order to draw conclusions and trace motifs. This project is a significant and original contribution in expanding the guitar's repertoire, and it uniquely contributes to bringing forth a significant piece of music.
Dissertation/Thesis
Recording of movement 1: Toccataesque mp3
Recording of movement 2: Bad Egg Cafe mp3
Recording of movement 6: Strings Etouffee mp3
Recording of movement 7: Steel Pans mp3
Recording of movement 8: Slide Rule mp3
Recording of movement 10: EGAD! mp3
Recording of movement 13: Jammus Vulgaris mp3
D.M.A. Music 2011

abstract: Guitar repertoire from the Baroque period consists primarily of transcriptions, which suggests that modern performers may explore more sources to identify eligible works to transcribe. The Musikalischer Parnassus, a collection of dance suites for harpsichord by Johann Kaspar Ferdinand Fischer (1656-1746), is worthy of such a transcription. This collection has high artistic value and possesses a range and texture that make much of it playable on the guitar. The purpose of this research project is to introduce Fischer and his works to the classical guitar community, and also to explore the artistic qualities of Musikalischer Parnassus that qualify it for transcription for guitar. This document addresses the transcription process of two selected suites: VI, Euterpe and VIII, Polymnia by Fischer. The outcome is an edition for guitar and a performance guide, which includes interpretations and stylistic considerations for each movement.
Dissertation/Thesis
it is the appendix for the dissertation
D.M.A. Music 2013

This dissertation is intended as a supportive document for the five-part suite for ten-piece jazz ensemble entitled Real Talk. It is divided into six chapters, four of which are analytical and cover the following topics: Form, Melody, Harmony, and Other Compositional Techniques. Subcategories are used within these chapters to draw attention to specific compositional components relevant to the construction of the piece; illustrative tables and examples have been provided to assist in describing these components. The ultimate purpose of this document is to describe in detail my technical approach to the composition.
text