Dissertations / Theses on the topic 'Tenor'
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1
Webb, Adam Michael. "Art songs for tenor : a pedagogical analysis of art songs for the tenor voice." Diss., University of Iowa, 2012. https://ir.uiowa.edu/etd/3401.
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The purpose of this project is to assist voice teachers in training tenors by selecting forty art songs that are pedagogically useful in the training of the tenor voice, and providing specific pedagogical strategies for the learning process of the selected repertoire. The list of repertoire consists of ten art songs from each of the four main Western singing languages: Italian, English, German, and French. These four languages have been selected because they represent the vast majority of standard art song repertoire for the typical undergraduate tenor. What is missing in current literature, and what this project addresses, is a pedagogically focused analysis of carefully chosen set of art song repertoire for the tenor voice.
This project aids teachers and young tenors in technique and repertoire selection by identifying technical issues in each song, explaining ways to approach those technique issues, and highlighting positive pedagogical results from learning each song. By following the strategies set forth in this project, the tenor and teacher will be better equipped to select appropriate art song repertoire beyond those songs presented in this project and address vocal technique through the song learning process.
The body of the dissertation begins with a discussion of pedagogical areas in which the tenor's technique is most distinct from other voice parts including: passaggio, vowel modification, appoggio, giro, chiaroscuro, tessitura, and agility. A brief introduction of each song will include stylistic information on the piece and analysis of the song including range, tessitura, level of difficulty, and vocal demands. I will then discuss specific examples of difficult melodic passages, or phrases that are of pedagogical value and offer specific exercises that can aid the tenor in the song learning process. The information discussed in each song provides a starting point for further repertoire selection beyond this project by introducing the teacher and tenor to composers, collections, or cycles that logically supplement the list of selected repertoire.
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Heras, i. Fortuny Lluís Maria. "El violó tenor en la música espanyola dels segles XVI al XIX." Doctoral thesis, Universitat Autònoma de Barcelona, 2021. http://hdl.handle.net/10803/671814.
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La present tesi, al voltant de l’existència del violó tenor i el seu paper en la música espanyola dels segles XVI al XIX, basa la recerca en dos àmbits principals: d’una banda, clarifica els aspectes etimològics del terme ‘violón’ tot determinant a quin instrument corresponia aquest terme en cada època i lloc. D’altra banda, aporta evidències que avalen l’existència, i ús, del violó tenor en la música espanyola d’aquest període.
La recerca sobre l’etimologia es basa en la consulta de documentació civil diversa: actes, diccionaris històrics, partitures, tractats, etc.. La recerca al voltant de violó tenor contempla diversos vessants: en primer lloc, inclou una base de dades d’aproximadament cinc-centes partitures (amb parts destacades de violó, en funcions diferents a les de l’acompanyament continu) procedents del buidat exhaustiu d’una trentena d’arxius espanyols. D’aquestes partitures s’analitzen detalladament setanta-sis obres que aporten dades objectives sobre clau, àmbit i nota mediana de la tessitura emprada, que són fonamentals per a determinar les característiques de l’instrument idoni per a interpretar cada una d’aquestes parts. En segon lloc, s’inclou una base de dades que cataloga violons espanyols dels segles XVII i XVIII, en la que es constata l’existència d’instruments amb característiques de violons tenors. Finalment, una darrera base de dades amb obres d’art hispàniques dels segles XVI al XVIII en les que hi ha representacions de violons que completen la informació sobre la diversitat organològica dels violons en aquella època. Aquesta recerca s’ha fet comparant els resultats obtinguts amb resultats d’estudis sobre casos similars en la música europea del mateix període. El resultat i la discussió de les dades obtingudes porten a concloure que el violó tenor, en les seves diverses versions, va tenir un espai propi, encara que minoritari, en la música espanyola entre els segles XVI i XIX.La presente tesis, acerca de la existencia del violón tenor y su papel en la música española de los siglos XVI al XIX, basa su investigación en dos áreas principales: en primer lugar, clarifica los aspectos etimológicos del término ‘violón’, determinando a qué instrumento correspondía este término en cada época y lugar. Por otro lado, aporta evidencias que avalan la existencia, y uso, del violón tenor en la música española de ese período. La investigación acerca de la etimología está basada en la consulta de documentación civil diversa: actas, diccionarios históricos, partituras, tratados, etc.. La investigación acerca del violón tenor contempla diversos aspectos: en primer lugar, incluye una base de datos de aproximadamente quinientas partituras (con partes destacadas de violón, en funciones distintas a las del acompañamiento continuo), provenientes del vaciado exhaustivo de una treintena de archivos españoles. De estas partituras se muestra un análisis detallado de setenta y seis obras que aportan datos objetivos sobre clave, ámbito y nota mediana de la tesitura empleada, que resultan fundamentales para determinar las características del instrumento ideal para interpretar cada una de esas partes. En segundo lugar, se incluye una base de datos que cataloga violones españoles de los siglos XVII y XVIII, en la que se constata la existencia de instrumentos con características de violones tenores. Finalmente, una última base de datos con obras de arte hispánicas de los siglos XVI al XVIII en las que se representan violones que completan la diversidad organológica de los violones de aquella época. Esta investigación se ha realizado comparando los resultados obtenidos con resultados de estudios sobre casos similares en la música europea del mismo período. El resultado y la discusión de los datos obtenidos llevan a la conclusión que el violón tenor, en sus distintas versiones, tuvo un espacio propio, aunque minoritario, en la música española entre los siglos XVI y XIX.
The present thesis, based on the existence of the tenor violin in the Spanish music between the 16th and 19th centuries, focuses the research on two main areas: on the one hand, it clarifies the etymological aspects of the term ‘violón’ by determining which instrument this term corresponded in each era and each place. On the other hand, it provides evidence to support the existence and use of the tenor violin in Spanish music in this period. The etymological research is based on the consultation of various civil documents: deeds, historical dictionaries, scores, treatises, etc. The research on the tenor violin examines several aspects: first, it includes a database of about five hundred scores (with prominent violón parts) from about thirty Spanish archives. Of these, seventy-six works are analyzed in detail to provide objective data on the keys, range and pitch median of the tessitura employed, which is fundamental for determining the characteristics of the ideal instrument for performance of each. Secondly, it includes a database cataloging Spanish stringed instruments from the 17th and 18th centuries, confirming the existence of instruments with the characteristics of tenor violins. Finally, it presents a final database of Hispanic artworks from the 16th to the 18th centuries in which the representation of stringed instruments completes the information on the organological diversity of stringed instruments at that time. This research was carried out by comparing the results with the results of other studies on similar cases in European music of the same period. The results and the subsequent discussion of the data lead to the conclusion that the tenor violin, in its various forms, had a place of its own, albeit a minority one, in Spanish music between the 16th and 19th centuries.
Universitat Autònoma de Barcelona. Programa de Doctorat en Història de l'Art i Musicologia
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Tanpradist, Tanapan. "Discretely monitored tenor varying exchange arrangements." Thesis, Imperial College London, 2006. http://hdl.handle.net/10044/1/1269.
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Our subject area of research is Mathematical Finance. In this thesis, we price a novel form of barrier structure which is closely related to a swaption having a continuous time log-normal model, which is the underlying dynamic of the asset, a forward par swap rate. The new feature is where the barrier is monitored before and during the swap period. It is called ”Tenor Varying Barrier Swaption”. It means that even though the exercise date of the swaption is fixed at time t0, the length of the swap may vary according to when the barrier is breached. The pay-off function of the barrier structure is the summation of pay-offs of all possible situations that swap contract can last. In pricing a standard barrier option, the essential part is to calculate the joint probability distribution of Brownian Motion and its running maximum at the fixed time point. However, in our case, the running maximum is measured at the later time beyond the point which we measure Brownian Motion. The novelty in the Mathematics is then in obtaining the probability distribution of Brownian Motion and its running maximum at random distinct time points. The price of Tenor Varying Barrier Swaption is finally obtained via the aid of numerical integration. In addition to that, practically, in the financial market, most barrier structures are monitored discretely. The problem arises when we have to price a discretely monitored barrier swap having a continuous time model as an underlying model of the swap rate dynamic. By modifying the approximation method of Broadie, Glassermann and Kou, we can price of the discretely monitored tenor varying barrier structure successfully. This gives an approximated solution to a new type of interest rate security, which can protect both an investor’s and a writer’s benefits.
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Tripp, Scott T. "Selected Repertoire for the Tenor Voice." FIU Digital Commons, 2012. http://digitalcommons.fiu.edu/etd/629.
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This thesis presents extended program notes for a seventy-minute vocal graduate recital consisting of the following repertoire for tenor: Johann Sebastian Bach’s cantata Ich armer Mensch ich Sündenknecht; two songs from the eighteenth-century Spanish collection Tonadillas Escénicas; Gaetano Donizetti's song La derniére nuit d'un novice; Francis Poulenc's song cycle Tel jour telle nuit; Jake Heggie's song cycle Friendly Persuasions; and John Corigliano's Three Irish Folk Songs for Flute and Tenor. Spanning four centuries of music and representing four different language traditions, these works are sufficiently representative of the tenor repertoire. The content of this thesis features detailed information on these works through historical study, and musical analysis.
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Elezovic, Ivan. "Echoes : [for] tenor, chamber ensemble & computer." Thesis, McGill University, 2000. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=33369.
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Echoes is an interactive composition for amplified chamber ensemble and computer. The entire research that led to this piece was based on the exploration of the evolution of the sound produced initially by the acoustic instruments and then interpreted by the computer. Why "Echoes"?As a sonic phenomenon the echo has several fairly distinct dimensions. These are commonly understood to include the following: the repetition of a sound by reflection of sound waves from a surface; any repetition or imitation of words, style or ideas; the sympathetic sound response; and, in music, a soft repetition of a phrase. Note that these standard definitions include the figurative dimensions, as in the 'imitation of style or ideas.' This is no coincidence, since I am very much intrigued by the idea of a computer first imitating the actual instrument and then expanding that instrument's possibilities far beyond its timbre.
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Tao, Weilong. "From Baritone to Tenor: Making the Switch." The Ohio State University, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=osu1531744006052136.
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Farías, Castillo Diego. "Grisácea — Para dúo de saxofones barítono y tenor." Tesis, Universidad de Chile, 2009. http://repositorio.uchile.cl/handle/2250/101473.
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Esta pieza para dúo de saxofones, Tenor y Barítono, se compone de un sólo
movimiento el que se divide en diferentes secciones. Estas secciones se definen de
acuerdo al comportamiento de los materiales utilizados. Este comportamiento consiste
principalmente en su reutilización para ejercer diferentes funciones y crear nuevos
materiales. En cuanto a los materiales podemos definirlos desde el terreno de las alturas y
la gestualidad. Las alturas en esta pieza se determinan principalmente por ámbitos
abiertos y cerrados. Algunos de los materiales principales son: células motivicas, nota
larga, loops, escalas cromáticas, multifónicos, stacattos, acciacaturas y nota repetida.
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Joo, Kwan Kyun. "An Anthology of Tenor Arias from Korean Operas." Thesis, University of North Texas, 2020. https://digital.library.unt.edu/ark:/67531/metadc1752385/.
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The first Western opera to be performed in Korea was Verdi's La Traviata on January 16, 1948, by the Joseon Opera Company. The first Korean opera, Chunhyangjeon by Jae Myung Hyun, premiered at the Korean National Theater in May 1950, just before the outbreak of the Korean War. Daejeon.go.kr reports that since that year approximately 200 Korean operas have been produced in Korea. Nevertheless, there have been consistent efforts to create and introduce Korean operas to the public. Most of them ended up being "one-off" performances with a single production. Most research on Korean opera has focused on its history, the challenges of producing new operas, or an analysis of selected Korean operas. This study equips singers with the following: pertinent historical background with the libretto, a synopsis, research regarding the composer and librettist, a character analysis, vocal and textual analysis of the selected opera arias, instruction regarding the Korean language, IPA, and a word-by-word translation of the text. I also make recommendations for tenor arias from Korean operas for singers with specific voice types.
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Sandberg, Scott David. "James Houlik: life of a tenor saxophone specialist." Diss., University of Iowa, 2010. https://ir.uiowa.edu/etd/595.
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Santos, Marcos. "Estudo e análise técnica e interpretativa do papel principal de tenor nas óperas Lucia di Lammermoor (Edgardo) e L' Elisir d' Amore (Nemorino) de Gaetano Donizetti." Doctoral thesis, Universidade de Évora, 2016. http://hdl.handle.net/10174/19771.
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Nesta dissertação pretendemos analisar a interpretação do papel do tenor nas óperas Lucia di Lammermoor e L´Elisir d´Amore de Gaetano Donizetti, estudando os principais fatores que influenciaram a interpretação do papel do tenor e como esta mudou ao longo dos anos, por comparação de gravações destas óperas com 50 anos de intervalo entre si. O período do bel canto está associado à linha de canto ornamentada para exprimir emoções, o que, em conjunto com outros aspetos, fez com que a voz de tenor passasse a ter uma emissão distinta, especialmente no registo agudo. O contexto histórico e musical desta época, bem como os desenvolvimentos técnicos que se verificaram, influenciaram a forma de cantar e introduziram o tenor como papel principal nas óperas, com todos os desafios de cantar na zona de passagem, de domínio da respiração e de respeito pelas diversas formas de expressão musical que os compositores do período do bel canto usavam como veículos de interpretação e expressão dos sentimentos.
A escolha destas duas óperas de Donizetti assenta num gosto pessoal e no meu interesse em estudar os contrastes dos personagens Edgardo e Nemorino, que são apresentados nesta dissertação sob o ponto de vista interpretativo, analisando a problemática de cada papel e a forma como o percurso tonal destas obras influencia as performances dos intérpretes; Abstract:
STUDY AND ANALYSIS TECHNICAL-INTERPRETATION OF THE LEADING ROLE OF THE TENOR IN THE OPERAS LUCIA DI LAMMERMOOR (EDGARDO) AND L´ELISIR D´AMORE (NEMORINO) OF GAETANO DONIZETTI
In this dissertation we analyze the interpretation of the tenor role in the operas Lucia di Lammermoor and L´Elisir d´Amore by Gaetano Donizetti, studying the major factors that influenced the tenor role interpretation and how it developed along the years, by comparing two recordings of these operas recorded 50 years apart from each other. The period of the bel canto is associated with the vocal ornamentation to express emotions which, as a consequence and together with other aspects, required technical changes to the tenor voice, in particular the high register. The historic and musical context of this time, as well as the technical developments that happened then, influenced the way of singing and introduced the tenor as the main role in operas, with all the challenges to sing in the passagio, to master the breathing process and to use all the forms of musical expression that the bel canto composers used as vehicles to interpret and express feelings.
The choice of these two operas by Donizetti is based on personal taste and also on the interpretative contrasts between the roles of Edgardo and Nemorino, studied in this dissertation in terms of their interpretation, their problematic and how the harmony of these operas influences the interpretation of the singers.
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Walls, Harold D. "Determinations a composition for tenor trombone and digital audio /." Muncie, IN : Ball State University, 2009. http://cardinalscholar.bsu.edu/838.
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Tyagi, Dhawal. "TENOR : an ATPG for transition faults in combinational circuits /." Thesis, This resource online, 1994. http://scholar.lib.vt.edu/theses/available/etd-06302009-040525/.
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Ekstrum, Dave. "Naples and the Emergence of the Tenor as Hero in Italian Serious Opera." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1157563/.
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The dwindling supply of castrati created a crisis in the opera world in the early 19th century. Castrati had dominated opera seria throughout the 18th century, but by the early 1800s their numbers were in decline. Impresarios and composers explored two voice types as substitutes for the castrato in male leading roles in serious operas: the contralto and the tenor. The study includes data from 242 serious operas that premiered in Italy between 1800 and 1840, noting the casting of the male leading role for each opera. At least 67 roles were created for contraltos as male heroes between 1800 and 1834. More roles were created for tenors in that period (at least 105), but until 1825 there is no clear preference for tenors over contraltos except in Naples. The Neapolitan preference for tenors is most likely due to the influence of Bourbon Kings who sought to bring Enlightenment values to Naples. After the last castrato retired in 1830 and the casting of contraltos as male heroic leads falls out of favor by the mid-1830s, the tenor, aided by a new chest-voice dominant style of singing, becomes the inheritor of the castrato's former role as leading man in serious Italian opera.
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Seville, Douglas J. S. "A simple love song, for soprano, tenor and orchestra : analytical commentary." Thesis, Birmingham City University, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.399799.
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Turay, Gregory. "THE FALL OF THE TENOR WITH THE RISE OF THE LARYNX." UKnowledge, 2017. http://uknowledge.uky.edu/music_etds/96.
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The range and use of the tenor voice in classical music has long been established since the late 19th century. It is widely accepted among pedagogues that the range is C3-C5 (with obvious exceptions depending on the fach). However, with the advent and development of the American Musical as a genre since the early 20th century, the ‘tenor’ has taken on an entirely new direction and range altogether. Several well-known sources have stated that the ‘Broadway tenor’ has a range of A2-A4. This is (as it widely accepted in the classical profession) the range of a baritone. The catalyst of these changes include vaudeville, composers, social trends, and probably most important, the invention and proliferation of the microphone. This study will analyze a cross section of repertoire in order to demonstrate this downward shift of vocal range, and demonstrate some of the main reasons why this shift occurred.
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Feldkamp, Timothy Lee. "Developing the altissimo register of the soprano, alto, and tenor saxophones /." Full-text version available from OU Domain via ProQuest Digital Dissertations, 1990.
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Leung, Peter Andrew Lai Yip. "Defining Classical Tenor Saxophone: performer identity, performance practice and contemporary repertoire." Thesis, The University of Sydney, 2016. http://hdl.handle.net/2123/15704.
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The tenor saxophone has gained prominence as a classical instrument for composers and performers during the last four decades. Interest in the instrument has inspired the creation of innovative works and tenor saxophonists are charged with preparing these works for performance. Performing new repertoire has impacted the way in which the classical tenor saxophonists explore the musical potential of their instrument and their role in a larger sense. The aim of this study is to identify important works in the contemporary classical tenor saxophone repertoire, establish how performers approach these works, and discover their perceptions of the instrument. Twenty-two professional saxophonists from Australia, Europe, the United Kingdom and the United States of America completed a questionnaire in which they identified significant contemporary classical tenor saxophone works and explained why the works were important to the instrument’s modern repertoire. Twelve saxophonists then participated in an interview in which they explored their perceptions of classical tenor saxophone performance, and gave insights into their experiences studying, performing and teaching the most significant repertoire. Three key works written between 1986 and 2011 were identified, all of which utilised the tenor saxophone’s extensive musical and technical capabilities. These works were all written in a contemporary style and featured strong influences from jazz/pop music. Saxophonists regarded the tenor saxophone as a versatile instrument remarkably suited to the classical idiom and unique in the saxophone family. These professionals employed novel technical and musical approaches in their performance of the contemporary tenor saxophone repertoire to create successful and authentic interpretations. They explained their common perceptions of the instrument and shared a collective musical identity as classical tenor saxophonists.
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Gold, Michael J. "The jazz improvisations of the tenor saxophonist Warne Marsh an eclectic analysis /." Full text available, 1995. http://images.lib.monash.edu.au/ts/theses/goldm.pdf.
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Au, Siu-ming Stefan. "Jonah's Prayer: a Composition for Solo Tenor, Mixed Chorus and Two Pianos." Thesis, University of North Texas, 1998. https://digital.library.unt.edu/ark:/67531/metadc277770/.
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Jonah's Prayer is a choral work for solo tenor, a mixed choir of not fewer than 30 members, two pianos and a few percussion instruments to be played by choir members. The piece lasts about 13 minutes; it is a work intended for church choir use but could be performed in other venues as well.
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McMahon, Paul G. "Baroque Performance Practice Pedagogy and the Twenty-First Century Practitioner: The Tenor Repertoire of George Frideric Handel." Thesis, Griffith University, 2012. http://hdl.handle.net/10072/366932.
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This dissertation investigates the experiential processes in music training and performance techniques of solo tenor voice practitioners. It is informed by teaching methodologies in baroque performance practice within higher education and links theoretical phases of the research with functional aspects of music making. The dissertation also examines applied
performance practice in music for the solo tenor voice by a pivotal composer of the baroque period, George Frideric Handel (1685–1759).
Solo vocal literature of the baroque period forms a core component of studies in conservatoires and universities. However, empirical data compiled in this research indicates that emerging performers frequently experience only limited formal instruction that combines theoretical and practical aspects of baroque performance practice. Furthermore, most vocal teachers’ exclusive focus upon their students’ technical development often prevails to the detriment of interpretive considerations. Students therefore may commonly develop little capacity to balance the development of their personal vocal technique with the declamatory practices and theoretical awareness required in the professional performance of baroque music. Practitioners suggest such experiences articulate a pervasive ‘on the job’
training scenario in terms of baroque performance practice.
This enquiry incorporates a multi-faceted qualitative research framework. Informed by documented literature cited within the investigation, the methodologies used include semi-structured interviews, case studies and reflexivity.Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
Queensland Conservatorium
Arts, Education and Law
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HORSLEY, NATHAN CHAD. "An Annotated Database of 52 Selected Original Tenor Trombone Duets Published From 1928-2006." University of Cincinnati / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1208444388.
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Perna, Nicholas K. "Effects of Nasalance on the Acoustics of the Tenor Passaggio and Head Voice." Scholarly Repository, 2008. http://scholarlyrepository.miami.edu/oa_dissertations/88.
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PERNA, NICHOLAS (D.M.A., Vocal Pedagogy and Performance) Effects of Nasalance on the Acoustical Properties of the (May 2008) Tenor Passaggio and Head Voice Abstract of a doctoral essay at the University of Miami. Doctoral essay supervised by Professor David Alt and Professor Rachel L. Lebon. No. of pages in text. (73) This study aims to measure the effect that nasality has on the acoustical properties of the tenor passaggio and head voice. Not to be confused with forward resonance, nasality here will be defined as nasalance, the reading of a Nasometer, or the percentage of nasal and oral airflow during phonation. A previous study by Peer Birch et. al. has shown that professional tenors used higher percentages of nasalance through their passaggio. They hypothesized that tenors used nasalance to make slight timbral adjustments as they ascended through passaggio. Other well respected authors including Richard Miller and William McIver have claimed that teaching registration issues is the most important component of training young tenors. It seemed logical to measure the acoustic effects of nasalance on the tenor passaggio and head voice. Eight professional operatic tenors participated as subjects performing numerous vocal exercises that demonstrated various registration events. These examples were recorded and analyzed using a Nasometer and Voce Vista Pro Software. Tenors did generally show an increase of nasalance during an ascending B-flat major scale on the vowels [i] and [u]. Perhaps the most revealing result was that six of seven tenors showed at least a 5-10% increase in nasalance on the note after their primary register transition on the vowel of [a]. It is suggested that this phenomenon receive further empirical scrutiny, because, if true, pedagogues could use nasalance as a tool for helping a young tenor ascend through his passaggio.
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Lu, Xiaoming. "A discrete-tenor arbitrage free model for path dependent Libor and swap derivatives." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape3/PQDD_0017/NQ54424.pdf.
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Fralick, Larry Wayne. "An anthology of nineteenth-century Russian arias for tenor : A guide to performance /." The Ohio State University, 1995. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487862972135265.
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Villalba, Enrique Oswin Hahn. "Recomendação de nitrogênio, fósforo e potássio para girassol sob sistema plantio direto no Paraguai." Universidade Federal de Santa Maria, 2008. http://repositorio.ufsm.br/handle/1/5473.
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Sunflower crop has some important agronomic characteristics, as great fitomassa production,
larger resistance to the drought, cold and heat than most of the cultivated species and wide
adaptability to different conditions of soil and climates. Its deep root system provides
absorption of nutrients of the deepest layers, ciclying great amounts of nitrogen (N),
phosphorus (P) and potassium (K). The area cultivated with sunflower had great expansion in
the last years in Paraguay, but still does not have a recommendation for N, P and K for the
producers regions. The objective of this work was to elaborate a first recommendation of
fertilizers for sunflower under no-till system in Paraguay, establishing critical tenors for P and
K in the soil in different textural classes, seeking to add sunflower crop as an option, inside of
a system of fertilizing the soil for crops in succession, under system direct planting in
Paraguay. Experiments were carried out in the departments Misiones and Itapúa in the harvest
2006/2007. For determination of the chemical attributes ten sub-samples were made,
composing one soil sample per plot, collected in the depth of 0-0,10 m. Were determined the
plants answer (relative productivity) to the doses of maximum economical efficiency (MEE),
the critical tenor in the soil for P and K (determined by Mehlich 1 analysis method). The
experimental design was random blocks with four repetitions. The treatments consisted of
doses of N (0, 25, 50, 75, 100, 125) kg ha-1, using urea as N source, doses of P (0, 40, 80, 120,
160, 200) kg ha-1 of P2O5 (triple superphosphate), doses of K (0, 30, 60, 90, 120, 150) kg ha-1
of K2O (potassium chloride). The elements that were not in study were supplied appropriately
in each treatment. The P critical tenor for Itapúa was 14.4 mg dm-3 and for Misiones was of
15.5 mg dm-3. For K the critical tenor found for sunflower crop was 81.5 mg dm-3. These
critical tenors were similar to the obtained for soybean, corn and wheat crops in the region.
The fertilization recommendations were elaborated for expectation of 2000 kg ha-1 of grains.
For soils with smaller tenor than 2% of organic matter are recommended 60 kg ha-1 of N,
between 2 and 3% 45 kg ha-1 of N and larger than 3% 30 kg ha-1 of N. Para P fertilization in
the respective classes of P fertility that are "very low", "low", "medium", "high" and "very
high", they correspond the application of 90, 70, 50, 35 and 20 kg ha-1 of P205 and the
recommendations K fertilization are 120, 90, 60, 45 and 30 kg ha-1 of K2O, respectively for
the same classes of fertility of very low to very high.A cultura do girassol possui características agronômicas importantes, como alta produção de fitomassa e elevada resistência à seca, frio e calor em relação a maioria das culturas anuais, além de ampla adaptabilidade às diferentes condições edafoclimáticas. Seu sistema radicular profundo proporciona absorção de nutrientes das camadas mais profundas, ciclando grandes quantidades de nitrogênio (N), fósforo (P) e potássio (K). A área cultivada com girassol teve grande expansão nos últimos anos no Paraguai, mas ainda não se tem uma recomendação de adubação em N, P e K para a cultura nas regiões produtoras. O objetivo deste trabalho foi elaborar uma primeira recomendação de fertilizantes para girassol sob sistema plantio direto no Paraguai, estabelecendo teores críticos para P e K no solo em diferentes classes texturais, visando inserir esta cultura como opção, dentro de um sistema de adubação do solo para culturas de grãos em rotação, sob sistema plantio direto no Paraguai. Foram conduzidos dois experimentos nos departamentos de Misiones e Itapúa na safra 2006/2007,. Para determinação dos atributos químicos foram efetuadas dez sub-amostras, compondo numa amostra de solo por parcela, coletadas na profundidade de 0-0,10 m. Determinou-se a resposta das plantas (rendimento relativo) às doses de máxima eficiência econômica (MEE), o teor crítico no solo para fósforo e potássio (determinado pelo método de análise Mehlich 1). O esquema experimental foi de blocos ao acaso com quatro repetições. Os tratamentos constaram de doses de N (0, 25, 50, 75, 100, 125) kg ha-1, sendo sua fonte a uréia, doses de P (0, 40, 80, 120, 160, 200) kg ha-1 de P2O5 ( superfosfato triplo), doses de K (0, 30, 60, 90, 120, 150) kg ha-1 de K2O (cloreto de potássio). Os elementos que não estavam em estudo foram supridos adequadamente em cada tratamento. O teor crítico de P para Itapúa foi de 14,4 mg dm-3 e para Misiones foi de 15,5 mg dm-3. Para K o teor crítico encontrado na cultura de girassol foi de 81,5 mg dm-3 . Estes teores críticos foram semelhantes aos obtidos para as culturas de soja, milho e trigo na região. As recomendações de adubação foram elaboradas para expectativa de 2000 kg ha-1 de grãos, para solos com teor menor que 2 % de matéria orgânica recomenda-se 60 kg ha-1 de N, entre 2 e 3 % 45 kg ha-1 de N e maior que 3 % 30 kg ha-1 de N. Para adubação fosfatada nas respectivas classes de fertilidade de P que são muito baixo , baixo , médio , alto e muito alto , correspondem a aplicação de 90, 70, 50, 35 e 20 kg ha-1 de P205 e as recomendações de adubação potássica são 120, 90, 60, 45 e 30 kg ha-1 de K2O, respectivamente para as mesmas classes de fertilidade de muito baixo até muito alto.
26
Trahan, Corey. "Uniting Commedia Dell’arte Traditions with the Spieltenor Repertoire." Thesis, University of North Texas, 2012. https://digital.library.unt.edu/ark:/67531/metadc115173/.
Full textAbstract:
Sixteenth century commedia dell’arte actors relied on gaudy costumes, physical humor and improvisation to entertain audiences. the Spieltenor in the modern operatic repertoire has a similar comedic role. Would today’s Spieltenor benefit from consulting the commedia dell’arte’s traditions? to answer this question, I examine the commedia dell’arte’s history, stock characters and performance traditions of early troupes. the Spieltenor is discussed in terms of vocal pedagogy and the fach system. I reference critical studies of the commedia dell’arte, sources on improvisatory acting, articles on theatrical masks and costuming, the commedia dell’arte as depicted by visual artists, commedia dell’arte techniques of movement, stances and postures. in addition, I cite vocal pedagogy articles, operatic repertoire and sources on the fach system. My findings suggest that a valid relationship exists between the commedia dell’arte stock characters and the Spieltenor roles in the operatic repertoire. I present five case studies, pairing five stock characters with five Spieltenor roles. Suggestions are provided to enhance the visual, physical and dramatic elements of each role’s performance. I conclude that linking a commedia dell’arte stock character to any Spieltenor role on the basis of shared traits offers an untapped resource to create distinctive characterizations based on theatrical traditions.
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James, Glenn. "A Place for Us : a song cycle for amplified pop tenor and chamber ensemble." Thesis, University of British Columbia, 2015. http://hdl.handle.net/2429/55849.
Full textAbstract:
A Place for Us is a song cycle for amplified pop tenor and chamber ensemble (amplified string
quintet, piano, electric bass, and drum set). It is approximately twenty minutes in duration and
is divided into ten short sections. The text was written in collaboration with writer Tamara
Chandon. It explores a love story using elements of an archetypal hero’s journey narrative. The
music incorporates an eclectic array of styles and focuses on rhythmic attributes such as groove,
syncopation, and backbeat.Arts, Faculty of
Music, School of
Graduate
28
Horsley, Nathan Chad. "An Annotated Database of 52 Selected Original Tenor Trombone Duets Published From 1928-2006." Cincinnati, Ohio : University of Cincinnati, 2008. http://www.ohiolink.edu/etd/view.cgi?acc%5Fnum=ucin1208444388.
Full textAbstract:
Thesis (Dr. of Musical Arts)--University of Cincinnati, 2008.Committee/Advisors: Tim Northcut (Committee Chair) Randy Gardner (Committee Member) bruce mcclung (Committee Member). Title from electronic thesis title page (viewed Sep.3, 2008). Includes abstract. Keywords: original; tenor; trombone; duets. Includes bibliographical references.
29
Khajehzadeh, Iman. "Gradual: A Sound-Based Composition for Tenor Saxophone and Fixed Electronics, with Critical Essay." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1538746/.
Full textAbstract:
In the first half of the twentieth century, sporadic attempts of avant-garde composers to include sounds other than pitch in musical composition paved the way for the composers in the second half to embrace the sound of all types in their creative works. The development of technology since the mid-past century has facilitated composers' inclusive use of sound. The recent achievements in electronics and computers have led to cost-effective tools for today's composers to explore new possibilities in sound design and manipulation. Gradual for tenor saxophone and fixed electronics is primarily concerned with noise. Among the infinite possibilities of noise types, metallic sounds significantly contribute to the composition. The title of the piece refers to the compositional process in which the music progressively unfolds itself from the beginning to the end. The methods and strategies used to present the content give rise to a form I call accretion, described as an organic process by which the musical materials grow. Within the process, while established materials are interacting, combining, and forming layers, new materials may be incorporated and take part in the process. Throughout the composition, the interaction between sounds with common properties guides the music toward interactive unity, while the interplay between sounds with different characteristics forms a dialectical communication. The constant push-and-pull between the two states creates a restless tension throughout the composition. In the current version of Gradual, the audio signals from both saxophone and fixed electronics are transmitted to the same speakers, which helps coalesce acoustic and electronic sounds. The future prospect of the piece can involve real-time audio signal processing to manipulate the sound of saxophone. Adding the above feature to the current version will promote the unification of the two media into a single whole.
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Kano, Mark Aaron. "A Performance Guide for Lyric Tenor: A Pedagogical Analysis of Ten Francesco Paolo Tosti Songs." UKnowledge, 2016. http://uknowledge.uky.edu/music_etds/59.
Full textAbstract:
This study provides background information, International Phonetic Alphabet (IPA) transcriptions and pronunciations, poetic translations, and pedagogical analyses of ten Francesco Paolo Tosti songs. Included is the connection between the rhythm and meter of the poetry and its’ influence on Tosti’s setting of the text to music. In addition, a portion is devoted to an overview of pedagogy, specifically, appoggio, registers and passaggi in the lyric tenor voice, range and, as well as chiaroscuro. This document addresses potential vocal challenges presented for the lyric tenor voice within each song, as well as the benefits. In particular, suggestions for vowel modifications in the passaggi of the lyric tenor voice in relationship with the provided IPA transcription are addressed. Finally, by gathering all of the necessary information on Aprile, Non t’amo più, Luna d’estate, Preghiera, La serenata, Ideale, A vucchella, In van preghi, L’alba sepàra dalla luce l’ombra, and L’ultima canzone, this performance guide creates a concise tool for teachers and singers in the vocal studio seeking ideal performance practice suggestions.
31
Cheung, Ho Ming. "An analysis of three letter types in relation to field, tenor and mode of discourse." HKBU Institutional Repository, 1998. http://repository.hkbu.edu.hk/etd_ra/106.
Full text
32
Santos, Marcos Freire dos. "Estudos interpretativos do tenor nas óperas Rigoletto e un Ballo in Maschera de Giuseppe Verdi." Master's thesis, Universidade de Évora, 2010. http://hdl.handle.net/10174/11580.
Full textAbstract:
Giuseppe Verdi, um dos compositores principais do século XIX, deu grande importância ao
papel do Teatro e do Drama nas suas óperas, factores estes que até então não tinham sido
explorados pelos seus antecessores. Assim, Verdi criou um estilo novo muito próprio, com
linhas melódicas diferenciadas e com uma acção musical bastante acentuada.
Aparece então o Tenor Verdiano, em cujo papel o timbre vocal e a capacidade dramatúrgica
foram estudados ao mais ínfimo pormenor pelo compositor. O Tenor em Verdi tem várias
categorias, isto é, pode ser lírico ou dramático, e dentro de cada uma destas categorias pode
ter abordagens distintas, pelo que a voz de Tenor em Verdi ganhou uma dimensão diferente.
Como objecto de estudo a nível interpretativo, foram seleccionadas duas gravações das
óperas Rigoletto e Un Ballo in Maschera com intervalos de 40 anos entre si. Ao analisar
estas gravações conclui-se que se deram grandes mudanças a nível de interpretação, sendo
que o factor mais marcante foi o aparecimento em força do encenador nos dias de hoje; ### Abstract:
Title - “Interpretation Studies of the Tenor in the Operas Rigoletto and Un
Ballo in Maschera by Giuseppe Verdi”
Giuseppe Verdi, one of the leading composers of the nineteenth century, gave great
importance to the role of Theater and Drama in his operas, which until then had not been
exploited by his antecessors. Therefore, Verdi created a new style very unique, with
different melodic lines and a musical action rather sharp.
As a consequence, the Verdian tenor appears whose vocal timbre and dramatic ability were
studied in the greatest detail by the composer. The tenor in Verdi has several categories, i.e.,
can be lyrical or dramatic, and within each category he can take different approaches, for
which the Tenor voice in Verdi gained a different dimension.
As a subject to study the interpretative level, it was selected two recordings of the operas
Rigoletto and Un Ballo in Maschera, with a 40 year interval between them
By analyzing these recordings, it can be concluded that there were big changes in terms of
interpretation, and the most pronounced factor was the emergence of the stage director in the
present days.
33
Rahayu, Budi. "An investigation of field, tenor and mode in Indonesian University students’ academic writing in English." Thesis, Curtin University, 2015. http://hdl.handle.net/20.500.11937/1777.
Full textAbstract:
The aim of this study is to investigate ways to improve Indonesian students’ academic writing, particularly to meet the expectations of Australian academics. The research was informed by Systemic Functional Linguistics and samples of students writing was encoded for Field, Tenor and Mode. This was compared with academic and student rankings and perceptions of the same texts. Based on the findings suggestions are made for changes to teaching practice in Indonesian university English courses.
34
Wells, Wayne. "Music for Trombone and Voice from the Hapsburg Empire: An Historical Overview with Tenor Trombone Transcriptions." College Park, Md. : University of Maryland, 2005. http://hdl.handle.net/1903/2867.
Full textAbstract:
Thesis (D.M.A.) -- University of Maryland, College Park, 2005.Thesis research directed by: Music. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.
35
Reveles, Jaime Salvador. "May-SHEE-Ka from Atzlan for Large Orchestra and (SATB) Soprano, Alto, Tenor, and Bass Choir." FIU Digital Commons, 2009. http://digitalcommons.fiu.edu/etd/212.
Full textAbstract:
My composition May-SHEE-Ka from Atzlan for orchestra and choir creates a sound world that imagines what some of the sounds might have been like when the Mexica people first arrived on the banks of Lake Texcoco in the early development of the Mesoamerican region. This along with my research of the Mexicas musical and cultural practices provides the context for this work for full orchestra and SATB choir. The title of my work May-SHEE-Ka from Aztlan is derived from the pronunciation of the word Mexica in the Nahuatl language of Mesoamerica. Mexica is the name of the nomadic tribe more commonly referred to as the Aztecs. It is believed that the Mexica came from Atzlan, which is said to be the ancestral home of the Nahua peoples, a key cultural group of Mesoamerica. The word Azteca comes from the Nahuatl word for people from Atzlan. The title of this work is my own extraction of this historical understanding.
36
Franchuk, Anatoliy. "HIGH TENOR NI-PGE SULFIDE MINERALIZATION OF THE SOUTH MANASAN ULTRAMAFIC INTRUSION, THOMPSON NICKEL BELT, MANITOBA." Thesis, Laurentian University of Sudbury, 2014. https://zone.biblio.laurentian.ca/dspace/handle/10219/2195.
Full textAbstract:
The South Manasan ultramafic intrusion (ca. 1880 Ma) located in the Early Proterozoic
Thompson Nickel Belt (TNB) contains Ni and platinum group element (PGE) mineralization
hosted by disseminated sulfide. Whole-rock Ni values range from 0.3 to 1.7 wt. % and total
precious metals (TPMs) range from 0 to 1.3 ppm Pt + Pd + Au and equate to tenor values (i.e.,
metal in 100% sulfide) of 11-39 wt. % Ni and 8-27 ppm TPMs. The South Manasan intrusion is
a steeply dipping sill-like body with a boudinaged outline having a strike length of
approximately 1200 m, average width of 125 m and a minimum depth extent of 1000 m. The
intrusion is composed of approximately 25% fresh dunite, 50% serpentine altered dunite and
25% tectonized and carbonate altered dunite. The most intense alteration is found near the
intrusion’s margin where it is in contact with metasedimentary rocks of the Pipe Formation, part
of the surrounding Ospwagan Group. In fresh dunite the sulfide assemblage characterized by an
intercumulate texture is dominated by pentlandite with accessory pyrite; the latter having a
symplectic-like texture. The pentlandite-pyrite assemblage in the serpentinized dunite, although
still characterized overall by an intercumlate-texture, has well developed platy intergrowths with
chlorite and serpentine. In the most intensely modified unit (the carbonate altered dunite) the
sulfide assemblage consists primarily of pyrrhotite and pentlandite.
Whole-rock geochemical data (n=360), modal mineralogy and mineral chemistry
obtained on representative drill core throughout the South Manasan intrusion have been used to
establish a type section in order to evaluate the relative roles of primary magmatic versus
secondary (i.e., serpentinization, carbonate alteration and deformation) processes. These data
indicate that the primary silicate-sulfide assemblage was systematically modified during : serpentinization, carbonate alteration and deformation of the South Manasan intrusion such that a
sequence of primary versus secondary events can be established. Intrusion of the original
komatiitic magma and formation of the South Manasan intrusion took place at a shallow level
into consolidated Ospwagan Group sediments with subsequent contamination of this melt with
crustal S. This triggered sulfide saturation and generation of an immiscible sulfide melt.
Calculated Ni and TPM tenor values constrain the R factor to between 500 and 2500. The early
crystallization of olivine inhibited the sulfide melt from settling to the bottom of the magma
column and as a consequence, the sulfides now have a primary interstitial magmatic texture. The
current sulfide association dominated by pentlandite>>pyrite>chalcopyrite has a mineral
paragenesis that is consistent with subsolidus re-equilibration of a primary pentlanditepyrrhotite-
chalcopyrite assemblage. The subsequent processes of serpentinization, deformation
and carbonate alteration resulted in modifying the primary sulfide assemblages and their textures
(i.e., to platy habits), but did not greatly alter the bulk composition, in particular metal contents,
except for addition of volatiles (H2O, CO2).
It is concluded therefore that the enrichment of the sulfide assemblage at South Manasan
in Ni and PGEs is a consequence of a primary magmatic process involving high R factor and that
the effects of later overprinting processes (alteration, deformation) are not responsible for the
presently observed high-tenor sulfide association.
37
Sibalde, Ricardo Augustus. "O saxofone tenor no Samba-Jazz: Estudos de elementos melódicos, rítmicos e harmônicos utilizados na improvisação." Escola de Música, 2014. http://repositorio.ufba.br/ri/handle/ri/22831.
Full textAbstract:
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O presente trabalho é o resultado de uma pesquisa artística que teve como objetivo o estudo e assimilação prática de procedimentos melódicos, rítmicos e harmônicos executados ao saxofone tenor em improvisações no estilo Samba-Jazz. Através de audições, transcrições, análises e execuções de solos improvisados de alguns importantes saxofonistas que tocavam este estilo musical nos anos 50 e 60, um vocabulário característico foi descoberto e, juntamente com o estudo de técnicas de improvisação usadas no Jazz contemporâneo, ofereceu o suporte necessário para a composição do álbum Estudos em Samba-Jazz para Sax Tenor. Os estudos contidos nesse álbum são baseados em progressões harmônicas de importantes composições do Samba-Jazz. Eles requerem um elevado grau de proficiência instrumental, tendo público-alvo estudantes de saxofone com nível avançado e/ou saxofonistas profissionais que desejem ter contato com esse estilo. Um CD contendo faixas Demo e Play-Along de cada estudo, acompanha o álbum. A inclusão do artigo A prática de progressões harmônicas com instrumentos melódicos como ferramenta auxiliar no estudo da improvisação, que trata da importância do conhecimento prático de progressões harmônicas por um ponto de vista melódico, complementam este trabalho.
This work is the result of an artistic research that had as objective the study and practical assimilation of melodic, rhythmic and harmonic procedures played on tenor saxophone in improvisations in the Samba-Jazz stile. By listening, transcribing, analyzing and performing improvised solos of some important saxophonists that used to play this musical style in the fifties and sixties, a characteristic vocabulary was discovered and, along with the study of improvisation techniques used in contemporary jazz, offered the necessary support for the composition of the album Samba-Jazz Etudes for Tenor Saxophone. The etudes in this album are based on the harmonic progressions of important compositions of Samba-Jazz. They require a high level of instrumental proficiency, having as the target public advanced level saxophone students and/or professional saxophonists who wish to have contact with this stile. A CD including Demo and Play-Along tracks of each etude, accompanies the album. The inclusion of the paper The practice of harmonic progressions with melodic instruments as auxiliary tool in the study of improvisation, that treats the importance of the practical knowledge of harmonic progressions by a melodic point of view,complements this work.
38
Holmgren, Katherine Hayes. "Impact of writing interventions informed by Systemic Functional Linguistics, with a focus on tenor, on sixth, seventh and eighth grade English language learners." Thesis, Boston College, 2012. http://hdl.handle.net/2345/2595.
Full textAbstract:
Thesis advisor: Maria E. BriskThis action research study examines the impact instruction informed by Systemic Functional Linguistics (SFL) with a particular focus on tenor and socio-cultural theory has on sixth, seventh and eighth grade English language learners in an urban school. Over the course of seven and ½ months I used Systemic Functional Linguistics with a focus on tenor to teach both the fictional narrative and persuasive genres. In each genre, students wrote a piece for three different audiences where the expected tenor ranged from personal to impersonal to semi personal. My instruction focused on the context, purpose and tenor and the particular structural elements and language features of each genre. Student writing and pedagogical strategies were examined using selective coding and triangulation. Evidence from this study suggests that writing instruction informed by SFL in combination with a socio-cultural model helps English language learners' writing. When students wrote for a distant audience the quality of the students' writing improved. Students increased the amount of text, adjectivals, and made some improvements in terms of structure. Students also included formal language, descriptions and in some cases altered the mood and modality. Students also improved the quality of their pieces as they looked more like writing and less like oral language. After students worked hard to make their pieces more formal they resisted making changes for the less sophisticated audiences indicating that while students were developing awareness of tenor, more work and instruction was needed
Thesis (PhD) — Boston College, 2012
Submitted to: Boston College. Lynch School of Education
Discipline: Teacher Education, Special Education, Curriculum and Instruction
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Pinkall, Bryan Robert. "A technical and historical analysis for selected art songs and arias for tenor voice by George Frederic Handel, Jules Massenet, Roger Quilter, Stefano Donaudy, Gabriel Fauré, and Agustin Lara." Kansas State University, 2010. http://hdl.handle.net/2097/4091.
Full textAbstract:
Master of MusicDepartment of Music
Julie Yu
This report contains an extensive technical and historical analysis of tenor repertoire. It contains modern technical approaches to “Every Valley” and “Thou Shalt Break Them” from Messiah by George Frederic Handel. The report also reviews the history, music theory, and performance techniques of several late Romantic and Neoromantic art songs and arias from Italy, France, and England. The pieces reviewed are the following: “Ouvre tes yeux bleus” by Jules Massenet, “En fermant les yeux” from Manon by Jules Massenet, Three Pastoral Songs by Roger Quilter, Nell by Gabriel Fauré, “Quando ti rivedró” from 36 Arie De Stile Antico by Stefano Donaudy, and “O del mio amato ben” from 36 Arie De Stile Antico by Stefano Donaudy. Finally, this report reviews the popular Spanish art song Granada by Agustin Lara.
40
Conde, André Manuel Fialho. "A linguagem instrumental e a linha vocal: a performance de Lieder de Richard Strauss em trombone tenor." Doctoral thesis, Universidade de Évora, 2019. http://hdl.handle.net/10174/31063.
Full textAbstract:
A presente tese de Doutoramento em Música e Musicologia, especialidade Interpretação -
Trombone visa, enquanto instrumentista que somos, experienciar e dar a conhecer as
potencialidades do instrumento em domínios pouco trabalhados entre nós, de molde a ampliar o
repertório trombonístico. Face aos desafios colocados aos executantes nas suas performances,
procurámos a novidade ao propor a exploração pelo trombone de obras inicialmente compostas para
serem cantadas. Dessas composições, os chamados Lieder, que dominaram as realidades alemã e
austríaca do período romântico, elegemos a obra de Richard Strauss, e que nos demonstra ser,
também nos Lieder, um compositor revolucionário. Apostando na dualidade teoria/prática, a tese
apresenta partes distintas, primeiramente de contextualização das obras e seu significado na vida de
Strauss, das particularidades do instrumento e sua aproximação à voz humana, passando à
transcrição de um grupo de Lieder criteriosamente selecionadas, trabalhadas para os Programas dos
Recitais, parte integrante deste Programa de doutoramento; The instrumental language and the vocal line: The Performance of Lieder by Richard Strauss
in Tenor Trombone
ABSTRACT:
This PhD thesis in Music and Musicology, specialization in Interpretation – Trombone aims, from
the point of view of an instrumentalist, to experience and raise awareness of the potential of the
instrument in areas that are seldom explored among us, in order to expand the repertoire for
trombone. Considering the challenges faced by musicians within the scope of their performances,
our search for innovation was aimed at exploring the trombone in works that were initially
composed to be sung. Among these compositions - the so-called Lieder, which dominated the
German and Austrian realities during the Romantic period -, we chose works by Richard Strauss
who proves to be, also in Lieder, a revolutionary composer. Focusing on the theory/practice duality,
our thesis has different sections, initially contextualizing the works and their meaning in the context
of Strauss’ life, the particularities of the instrument and its affinity with human voice, in order to
subsequently transcribe a number of carefully selected Lieder explored within the framework of
Recital Programs, as an integral part of this Doctorate.
41
Carling, Lisza. "Helgonlika politiker och maktlösa arbetslösa : En undersökning av attityder och värderingar i politikers metaforer." Thesis, Södertörn University College, School of Discourse Studies, 2005. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-2139.
Full textAbstract:
Syftet med denna uppsats har varit att försöka besvara frågan: Vilka attityder och värderingar kommer till uttryck i Lars Ohlys respektive Göran Hägglunds användning av metaforer i debatten om arbetslöshetspolitiken? Jag har valt att studera de metaforer som förekommer när det gäller arbetslösa, arbetslöshet och den egna politiken i frågan. Jag har också analyserat de metaforer som används när de talar om/bemöter sina motståndare och deras politik. De artefakter jag har använt i min undersökning är två tal samt en TV-sänd partiledardebatt.
Min ena hypotes var att det i talarens val av metaforer döljer sig attityder och värderingar som kanske inte syns vid ett oreflekterat mottagande av talarens budskap. Efter att ha studerat de båda partiledarnas val och användning av metaforer vill jag, till viss del, påstå att en stor del av metaforerna öppet signalerar attityder och värderingar, inte minst när de tillskriver varandra negativa sådana. Men vissa värderingar syns först efter lite hårdare skrapande på ytan. Det intressanta är dock att båda partierna tycks vilja tillskriva sig själva liknande attityder och värderingar som i bägge fallen bygger på solidaritet, empati och förståelse. Samtidigt, som de båda, vill tillskriva varandra rakt motsatta värderingar.
Min andra hypotes var att jag skulle kunna se övergripande frames som visar på olika underliggande attityder och värderingar, och till viss del tycker jag mig ha fått min hypotes besannad. Ohly och Hägglund visar prov på övergripande frames och metaforsystem som kan påverka hur vi, och de,uppfattar vår omvärld och därmed också hur vi handlar. Ohly skapar en frame för de arbetslösa som oskyldiga offer som står maktlösa inför yttre krafter. Hägglund koncentrerar istället sin frame för arbetslöshetspolitiken kring behovet av goda förutsättningar för företagande. Dessa olika attityder till frågan om arbetslöshet lämnar olika handlingsutrymme.
Sammanfattningsvis kan jag säga att det i en undersökning som denna är svårt att dra en kortfattad slutsats, då den rika flora av metaforer som används kan tolkas som olika attityder och värderingar, och därmed präglas attityder och värderingar av mångfald.
In this dissertation (written in Swedish), I have tried to answer the question ”Which attitudes and values are expressed in the metaphores that Lars Ohly and Göran Hägglund uses in the debate of unemployement?” I have studied the metaphores used when they mention the question of unemployement, but also when they talk about their respective political parties’ politics and the other party’s political standpoint.
One of my hypothesis was that the choice of metaphores conceals attitudes and values that are not so apparent for an unreflected listening. Though, in some aspects, my reserach has shown that some of the metaphores openly signals attitudes and values. Not the least when they try to give each other negative values. And yet, some values are not as apparent, it takes some reflection to notice them. One interesting thing, though, is, that they both tries to givet hem selves attitudes and values built upon solidarity, compassion and understanding – meanwhile they both tries to attach the oposing values upon each other.
Another hypothesis was that I also would be able to se frames that could show underlying attitudes and values. In some ways I did find this. Ohly, as well as Hägglund, shows examples of ”overall-frames” and systems of metaphores which can affect the way we percept our world and also the way we chose to act and make decisions. Ohly creates a frame for the unemployed as innocent victims, who powerlessly faces outer forces, while Hägglund concentrates his frame around the need of good conditions for companies. These two different attitudes towards the question of unemployement creates different alternatives on how to decide and act.
It is hard to draw a short conclusion in an analysis as this one, since the richness of the metahpores used can be interpreted as different values and attitudes. One conclusion is that values and attitudes are characarized whith multitude.
Bilagor ej bifogade. Exempel på analyserade metaforer finns dock i uppsatsen.
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ESTRADA, RIVERA CÉSAR, LÓPEZ MARÍA ELIZABETH DÍAZ, CARDOSO CLAUDIA ELENA ROBLES, and SANTAMARINA INOCENTE GUILLERMO VIEYRA. "EL PRINCIPIO DE DEBIDA DEFENSA EN EL DERECHO INTERNACIONAL AL TENOR DE LA PROTECCIÓN DE LOS DERECHOS HUMANOS." Tesis de maestría, UNIVERSIDAD AUTÓNOMA DEL ESTADO DE MÉXICO, 2016. http://hdl.handle.net/20.500.11799/58092.
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Derivado del cuerpo de pesquisa de este tema, vemos la creación de un nuevo bloque constitucional en nuestro país; lo anterior conforme a las nuevas reformas constitucionales de la federación que dejan a salvo nuevos ordenamientos constitucionales aplicables a casos concretos en diversas materias del derecho en México. El sistema legal mexicano excluye a la figura de abogados en los procesos legales de representatividad en el ámbito internacional.A partir de las nuevas reformas que devinieron de una serie de procesos legislativos en los comicios del año 2011, se adjunta al grupo de ordenamientos jurídicos de nuestro país una serie de nuevos lineamientos y normas aplicables; las de carácter Internacional. Con la llegada de una serie de tratados internacionales que el Estado mexicano ha formado parte y ratificado; Vemos como desde esta fecha importante, toda disposición internacional del rubro “derechos humanos” surte efectos de aplicables en nuestro sistema legal.
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ESTRADA, RIVERA CÉSAR, and LÓPEZ MARÍA ELIZABETH DÍAZ. "EL PRINCIPIO DE DEBIDA DEFENSA EN EL DERECHO INTERNACIONAL AL TENOR DE LA PROTECCIÓN DE LOS DERECHOS HUMANOS." Tesis de maestría, UAEM, 2016. http://hdl.handle.net/20.500.11799/65957.
Full textAbstract:
Derivado del cuerpo de pesquisa de este tema, vemos la creación de un nuevo bloque constitucional en nuestro país; lo anterior conforme a las nuevas reformas constitucionales de la federación que dejan a salvo nuevos ordenamientos constitucionales aplicables a casos concretos en diversas materias del derecho en México. El sistema legal mexicano excluye a la figura de abogados en los procesos legales de representatividad en el ámbito internacional.
Los Estados deben proporcionar una debida defensa contenida en los tratados internacionales al tenor de garantizar los derechos humanos de sus ciudadanos.
Ante el bloque de constitucionalidad, las figuras jurídicas de impartición de justicia de los Estados deben garantizar la aplicación de los tratados internacionales con la finalidad de proteger los derechos humanos por encima de las normas internas de sus ordenamientos jurídicos.
Los nuevos instrumentos internacionales aplicables al ordenamiento interno de los Estados deben atender al principio pro persona contenido en el artículo primero de la Constitución, toda vez que desprende del mismo que toda autoridad debe aplicar en sus resoluciones los tratados internacionales al tenor de la protección de los derechos humanos, siempre velando por el derecho que más favorezca.
Deberán realizar todas las autoridades en sus respectivos niveles de competencia un juicio de ponderación de derechos en favor de la persona, al momento de dictar sus sentencias a efecto de no menoscabar sus derechos humanos.
El debido proceso consagrado en los derechos humanos se encuentra afectado en gran parte por los Estados al no garantizar una debida defensa, consistente en la asesoría de un abogado de su misma nacionalidad.
Las nuevas reformas constitucionales en materia de amparo y derechos humanos son el origen de aplicación y novedad del nuevo bloque constitucional en México, por lo que resulta de vital importancia realizar un nuevo estudio de los ordenamientos judiciales aplicables, ya sea de carácter nacional o extranjero a las diversas especialidades de las materias de comercio, negocios o cualquiera que requiera la regularización de las naciones.
Toda vez que se atinan nuevas posibilidades en los procesos nacionales como internacionales derivados de los novedosos ordenamientos que deben ser onsiderados; resulta importante la representación legal de los mexicanos respecto a los principios de equidad de partes, debida defensa y demás consideraciones de derecho para la protección de los derechos humanos de los mexicanos en el nuevo sistema constitucional con influencias internacionales.
Se deberán crear nuevas figuras que den oportunidad a los abogados mexicanos de representar directamente en procesos internacionales; lo anterior atendiendo a los principios de proporcionalidad, equidad y cooperación para así garantizar la salvaguarda de los derechos humanos.
Es necesario adherir al Código federal de procedimientos civiles en su Libro Cuarto titulado De la Cooperación Procesal Internacional ,adicionado en el Diario Oficial de la Federación en el año de 1988 la figura de representantes auxiliares a los abogados mexicanos. Lo anterior para actualizar y modernizar el haber legal en los procesos mexicanos que se lleven a cabo en otros países. que desde los años 80´s no ha sido modificado.
Para poder actualizar el sistema procesal mexicano ante el derecho internacional se requiere de la incorporación de figuras como la representación auxiliar a cargo de los abogados mexicanos en los distintos procesos legales que se tengan que entender fuera de la esfera de competencia local de nuestras autoridades para si poder garantizar el debido proceso en la protección de derechos humanos.
Toda vez que la facultad que le concede la norma interna del sistema legal mexicano es de uso exclusivo para los agentes diplomáticos, tal y como lo establece el código federal de procedimientos civiles en su artículo 543, faculta a los tratados internacionales como la herramienta de transición a la propuesta de esta investigación.
Deberá proponerse la creación de un tratado internacional a propuesta del Estado mexicano por conducto de una convención interamericana en donde participen para su estudio, factibilidad y elaboración otros Estados que deseen activar el ejercicio profesional de sus abogados en otros ordenamientos internacionales. Con la finalidad de regular la inclusión de la representatividad auxiliar para el ejercicio de la profesión del Derecho local en los procesos internacionales al tenor de la protección de los derechos humanos.A partir de las nuevas reformas que devinieron de una serie de procesos legislativos en los comicios del año 2011, se adjunta al grupo de ordenamientos jurídicos de nuestro país una serie de nuevos lineamientos y normas aplicables; las de carácter Internacional. Con la llegada de una serie de tratados internacionales que el Estado mexicano ha formado parte y ratificado; Vemos como desde esta fecha importante, toda disposición internacional del rubro “derechos humanos” surte efectos de aplicables en nuestro sistema legal. Desde Junio del año 2011 que se incorpora al artículo primero constitucional que los tratados internacionales en que el Estado mexicano sea parte, deberán interpretarse como propios ante las normas internas de México; lo que se entiende a que estos tratados internaciones se hacen de carácter obligatorio para los juzgadores de tomar en consideración al momento de sus resoluciones; lo último centrándose a lo que llamare procesos internacionales para la protección de los derechos humanos. La inclusión de los tratados internacionales al marco legal de nuestro país creo una nueva figura denominada “Nuevo Bloque de Constitucionalidad” y aquí es donde surgen una serie de nuevos preceptos y formas para los juzgadores al momento de dictar resoluciones. Se abre el abanico de criterios, normas ideas y Principios que se deberán ahora aplicar a los casos concretos de los procesos tanto nacionales, como internacionales. El marco limitativo de esta investigación se enfoca más al internacional de estos nuevos procesos. Debido a que ya se deben implementar criterios internacionales y tratados de la misma índole, surge la inquietud respecto a todos los procesos que habrán de crearse para regular relaciones de nacionales en otros países. Ya que lo que se ha normado en otra nación ahora es de aplicación en la nación vecina. Todos estos principios y preceptos son la tendencia del derecho moderno, gracias a la globalización y libre comercio entre los Estados internacionales vemos como han sido una necesidad forzosa para países como el nuestro de hacer estas reformas a los ordenamientos jurídicos para cuadrar las figuras novedosas, que son; relaciones Internacionales; comercio trans nacional y como figura pionera; la protección de los derechos humanos. Como idea final es de cuestionar si el sistema legal mexicano debe adecuarse a estas figuras internacionales tal y como Estados de mayor evolución como la Unión Europea y América del Norte han reformado y preparado sus sistemas a la internacionalización de leyes y procesos, por lo que quizá sea el momento preciso de que México de igual forma desarrolle protocolos y procesos para garantizar la debida regularización de su derecho interno para con el derecho internacional. El presente estudio intenta dar otra herramienta al proceso legal que interviene en la protección de los derechos humanos con la ayuda de la asistencia legal de los profesionistas de la misma nacionalidad en aquellos procesos que no necesitan de formalidad tales como la recopilación de evidencias, la preparación de las mismas y el nivel primordial de comunicación procesal; la notificación, las citaciones. Estas figuras son la idea principal de asistencia legal que pueden dar los abogados nacionales.
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Dahlke, Andrew Richard. "An Analysis of Joe Lovano's Tenor Saxophone Improvisation on "Misterioso" by Thelonius Monk: An Exercise in Multi-Dimensional Thematicism." Thesis, connect to online resource, 2003. http://www.library.unt.edu/theses/open/20032/dahlke%5Fandrew/index.htm.
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Heinichen, Johann David. "Magnificat Nr. 2 B-Dur: Für Sopran, Alt, Tenor, Baß, Chor, 2 Oboen, Streicher und Basso continuo, 1723: Partitur." Ries & Erler, 2019. https://slub.qucosa.de/id/qucosa%3A35848.
Full textAbstract:
Johann David Heinichen, 1683 in Krössuln bei Weißenfels geboren, studierte nach seiner Thomanerzeit in Leipzig, die ihn mit den führenden Musikern dieser Stadt bekannt machte, zunächst Jura und arbeitete ab 1705 in Weißenfels als Advokat. Seit 1709 wandte er sich in Leipzig ganz der Musik zu, leitete ein Collegium musicum und schrieb erste italienische Opern. Daraufhin berief ihn Herzog Moritz Wilhelm als Compositeur nach Zeitz. Der herzogliche Rat Buchta verschaffte Heinichen die Möglichkeit einer Reise nach Italien, die er gern annahm. Er begab sich 1710 nach Venedig, reiste weiter nach Rom und Florenz (hier war er kurze Zeit Reisebegleiter des Fürsten Leopold von Anhalt-Köthen) und blieb von 1713 an in Venedig. Mit Gottfried Heinrich Stölzel verkehrte er in den ersten musikalischen Instituten Venedigs, den Konservatorien, bei Antonio Vivaldi, Antonio Bifi, Angelo Gasparini und Francesco Pollarolo. Das gastfreie Haus des Kaufmanns Bianchi war ein Mittelpunkt der geselligen Musik in Venedig. Für die Hausherrin, die Cembalistin und Sängerin Angioletta Bianchi, schrieb Heinichen einen Teil seiner Kammerkantaten (siehe Denkmäler der Tonkunst Nr. 11 Kantate „La Bella iamma“), die auch der in Venedig weilende Kurprinz Friedrich August von Sachsen mit Begeisterung hörte. Diese Kantaten gaben offenbar den Ausschlag, dass der Kurprinz, nachdem er die Genehmigung hierfür bei seinem Vater Friedrich August I. (August der Starke) aus Dresden eingeholt hatte, Heinichen als sächsischen Hofkapellmeister ab dem 1. August 1716 verpflichtete.[... aus der Einleitung]
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Sousa, Jorge Miguel Vidal de. "As técnicas expandidas como recurso didático e meio de desenvolvimento técnico do repertório para saxofone tenor no ensino básico." Master's thesis, Universidade de Aveiro, 2016. http://hdl.handle.net/10773/18766.
Full textAbstract:
Mestrado em Ensino de MúsicaO ensino básico do saxofone em Portugal tem estado reservado à performance de apenas um dos instrumentos da família: o saxofone alto. Partindo de uma problemática identificada após a analise dos programas de saxofone presentes nas escolas de musica em Portugal, realizou-se, com base num trabalho colaborativo entre intérprete e compositor, um conjunto de peças originais, escritas exclusivamente por compositores portugueses, de forma a proporcionar uma alternativa para a formação de um aluno no nível básico (4º e 5º grau especificamente) que utilize outro instrumento da família do saxofone: o saxofone tenor. Pretende-se, com esta dissertação, promover a inovação ao nível do material didático pedagógico já existente, difundir a música portuguesa e desenvolver o conhecimento acerca da bibliografia já disponível para este instrumento. Apresentam-se cerca de sete novas peças para saxofone tenor homogéneas quanto aos conteúdos programáticos e competências técnicas que visam desenvolver.
In Portugal, saxophone education throughout middle schooling has been reserved for the performance of only one instrument: the alto saxophone. After a thorough analysis of the saxophone programs used in Portuguese music schools, the need to branch out into other instruments of the same family became clear. On this basis, a collaboration between performer and composers arose. A set of original pieces, written exclusively by portuguese composers was commissioned and will provide an alternative aid for middle level education students (level 4 and 5 specifically) who wish to play a different instrument of the family: the tenor saxophone. With this dissertation I intend to promote the renewal of the educational material already in existence, to promote portuguese music and to further enrich the vast amount of literature already available for this instrument. I present to you seven new pieces for tenor saxophone that are homogenous in their program content and technical requirements.
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Vest, Jason Christopher. "ADOLPHE NOURRIT, GILBERT-LOUIS DUPREZ, AND TRANSFORMATIONS OF TENOR TECHNIQUE IN THE EARLY NINETEENTH CENTURY: HISTORICAL AND PHYSIOLOGICAL CONSIDERATIONS." Lexington, Ky. : [University of Kentucky Libraries], 2009. http://hdl.handle.net/10225/1025.
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Thesis (D.M.A.)--University of Kentucky, 2009.Title from document title page (viewed on August 3, 2009). Document formatted into pages; contains: v, 116 p. : ill. (some col.), music. Includes abstract and vita. Includes bibliographical references (p. 107-115).
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Sun, Ai-Kuang. "A critical study of Arnold Schoenberg's chamber transcription of Gustav Mahler's Das Lied von Erde the three movements for tenor /." connect to online resource. Access restricted to the University of North Texas campus, 2006. http://www.unt.edu/etd/all/Aug2006/sun%5Fai-kuang/index.htm.
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Thesis (D.M.A.)--University of North Texas, 2006.System requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded Apr. 23, 2003, Apr. 14, 2004, Oct. 11, 2004, and Nov. 30, 2005. Includes bibliographical references (p. 95-97).
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Murray, Marcy Wynn. "Cross-dressing in Sarah Grand's The Tenor and the Boy and E.D.E.N Southworth's The Hidden Hand : gender, class, and power." [Tampa, Fla] : University of South Florida, 2006. http://purl.fcla.edu/usf/dc/et/SFE0001722.
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Naumann, Johann Gottlieb. "Te Deum: Für Sopran, Alt, Tenor, Baß, Chor, 2 Oboen, 2 Hörner, 2 Trompeten, Pauken, Streicher und Orgel, 1769: Partitur." Ries & Erler, 2017. https://slub.qucosa.de/id/qucosa%3A20903.
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Johann Gottlieb Naumann ist die bedeutendste Persönlichkeit der Dresdner Hofmusik in der zweiten Hälfte des 18. Jahrhunderts. Er wurde am 17. April 1741 in Blasewitz bei Dresden geboren. Nach einer entbehrungsreichen Jugend erhielt er bereits als Sechzehnjähriger in Italien eine gründliche musikalische Ausbildung u. a. bei Giuseppe Tartini und Padre Martini. Nach seiner Rückkehr nach Dresden übertrug die hochgebildete Kurfürstin-Witwe Maria Antonia Walpurgis 1764 dem 23jährigen das verantwortungsvolle Amt eines Kirchen-Compositeurs. Sachsen hatte sehr unter den Einschränkungen nach dem Siebenjährigen Krieg, dem Verlust seiner politischen Bedeutung in Europa und seiner wirtschaftlichen Kraft zu leiden, als der junge Naumann seine Tätigkeit aufnahm. Nach zwei weiteren Italienaufenthalten im Auftrag von Maria Antonia Walpurgis (1766 bis 1768 und 1773 bis 1774) wurde er 1776 zum Hofkapellmeister berufen. Im gleichen Jahr erhielt er vom schwedischen König Gustav III. den Auftrag, die Hofmusik in Stockholm zu reorganisieren, was ihm nach seinen erfolgreichen Dresdner Reformerfahrungen glänzend gelang. [... aus der Einleitung]