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1
Kaminski, Jason. "Kolokol : spectres of the Russian bell". University of Technology, Sydney. Faculty of Humanities and Social Sciences, 2006. http://hdl.handle.net/2100/421.
Testo completoAbstract (sommario):
Kolokol: Spectres of the Russian Bell, submitted by Jason Kaminski in fulfilment of the requirements of PhD (Humanities and Social Sciences) candidature at the University of Technology, Sydney, is an interpretative history of Russian bells (kolokola) and bell music (zvon). As a cultural object and sign, the Russian bell is associated with ideas of transcendence, and ideological and creative ‘vision.’ This interpretation of the signification of the kolokol as a sign arises directly from the perception that the bell is essentially a physical (anthropomorphic) body that is capable of ‘projecting’ or ‘transcending’ itself in the form of a spectrum. This essential ‘spectrality’ defines a history of the Russian bell as an instrument of magical, spiritual and religious ritual, as a cultural artefact associated with changing ideological movements (paganism, Christianity and communism) and as a sign represented synaesthetically in image, sound and text. Ethnographic and campanological studies observe that the kolokol ‘reflects Russian social history like a mirror’, representing the ‘voice of God’ or Logos as an aural or ‘singing’ icon, pointing to the primordial origins of language. This dissertation further investigates the idea that the kolokol acts as an ‘acoustical mirror’ and ‘ideological apparatus’: a medium or spectre through which Russian history and culture is interpellated and reflected. The various logical streams (storytelling, legend, script, text, song, cultural theory, philosophy and ethnography) that contribute to this dissertation form a textual ‘polyphony’ through which the essential meanings and ‘personae’ of the kolokol as a cultural object are interpreted. The bell is regarded as presenting an enigma of signification that must be resolved through investigation and definition. The thesis concludes that the kolokol acts as an iconic sign of the creative ‘Word’ (Logos) and as a symbolic sign that implies a ‘bridge’, copula or psychic ‘hook’, articulating the relationship between the cosmos and consciousness, the material and spiritual, the real and imaginary. Keywords: Russia, Russian History, Russian Arts, Russian Music, Russian Poetry, Russian Political History, Russian Orthodoxy, Russian Revolution, Bell-founding, Bell Music, Bell-ringing, Campanology, Iconology, Kolokol, Zvon. Word-count: 82,250 (excluding endnotes) 98,300 (including endnotes).
2
Lee, Riley. "Yearning for the bell a study of transmission in the shakuhachi honkyoku tradition /". Connect to full text, 1992. http://hdl.handle.net/2123/1742.
Testo completoAbstract (sommario):
Thesis (Ph. D.)--University of Sydney, 1994.Title from title screen (viewed Oct. 8, 2009). Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy to the Dept. of Music, Faculty of Arts. Degree awarded 1994; thesis submitted 1992. Vol. 2 chiefly consists of musical examples. Includes tables. The thesis consists of 2 vol. Includes bibliographical references. Also available in print form.
3
Botha, Alison. "A survey of the development of pitch perception theories, their application to bell sounds and an investigation of perceived differences between ringing and chiming bells". Thesis, Rhodes University, 1998. http://hdl.handle.net/10962/d1002296.
Testo completoAbstract (sommario):
A brief overview of the workings of the human auditory system is followed by a review of literature concerning both the theories and experimental investigations of human pitch perception. The application of these theories to the inharmonic complex tones produced by bells is discussed, and further experiments using bell sounds are reviewed. A methodology for psychoacoustic experiments with specific reference to those investigating pitch perception of inharmonic complex tones is presented. This methodology is then implemented in an experimental investigation of pitch perception of ringing and chiming bell sounds. A pitch matching experiment using ringing and chiming sounds from four bells aimed to determine perceived pitch differences between ringing and chiming bells. This experiment was inconclusive because insufficient data was collected. Known experimental results, such as the inability of non-musicians to match the pitches of sounds with different timbres were confirmed. Spectral analyses of the stimuli were performed. The presentation of stimuli at a low level of sensation is questioned, as this might have prevented pseudo high frequency noise resulting from stronger upper partials in the ringing sound from being audible, and hence the pitch differences between ringing and chiming bells would not be observed.
4
Stein, Edward Garret. "An examination of major works for wind band, and chamber ensemble : "Pantomime" by Pierre Mercure, "From chaos to the birth of a dancing star" by Allan Gordon Bell, and "Tafelmusik" by Godfrey Ridout". Manhattan, Kan. : Kansas State University, 2007. http://hdl.handle.net/2097/290.
Testo completo
5
Olivieri, Catanzaro Tatiana. "La musique spectrale face aux apports technoscientifiques". Thesis, Paris 4, 2013. http://www.theses.fr/2013PA040118.
Testo completoAbstract (sommario):
La naissance de la musique spectrale et du modèle compositionnel qui la sous-tend a été conditionnée par un contexte technoscientifique spécifique, au carrefour de disciplines aussi diverses que la physique, la psychoacoustique, l’électronique, l’informatique ou la philosophie. Le présent travail de thèse en retrace certaines des étapes. Tout en remontant jusqu’à l’avènement de la science moderne au XVIIe siècle, elle aboutit à une caractérisation de ce courant esthétique comme un exemple de révolution non-cartésienne dans le sens que Bachelard donna au terme dans son Nouvel Esprit Scientifique. Parallèlement, elle reprend les acquis musicaux antérieurs et montre comment la musique spectrale s’est constituée en thématisant les tentatives de systématisation du son complexe comme élément porteur de forme apparus tout au long du XXe siècleThe rise of spectral music and of the compositional model that lies at its base has been conditioned by a specific technoscientific context, at a crossroads between disciplines as diverse as physics, psychoacoustics, electronics, computer sciences and philosophy. The present thesis retraces some of its stages. While going back to the advent of modern science in the 17th century, it leads to a characterization of this aesthetic movement as an example of a non- Cartesian revolution in the sense that Bachelard gave the term in The New Scientific Spirit. At the same time, it considers previous musical advances and shows how spectral music has formed itself by ‘thematizing’ attempts from throughout the 20th century to systematize complex sounds as form-bearing elements
6
Pérez, Arquillo Julia. "Experiencing Bel Canto : Getting deep into the style". Thesis, Stockholms konstnärliga högskola, Institutionen för opera, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:uniarts:diva-922.
Testo completoAbstract (sommario):
One of the styles that has influenced opera the most through history has been Bel canto. This work is a recompilation of personal research about its history, characteristics and one of its major exponents, G. Rossini. At the same time, it includes a personal approach on the topic of how to create and perform a character and some exercises aimed to improve the singing in the mentioned style.
7
Williams, Evan Michael. "Prelude in Tempore Belli". Bowling Green State University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1363527260.
Testo completo
8
Lower, Jonathan. "Lead Belly: Race and Social Activism in Blues Music". Kent State University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=kent1405422192.
Testo completo
9
Koch, Klaus-Peter. "Vladimír Čížik und Jana Lengová (Hg.), Exegi monumentum. Ján Levoslav Bella (1843-1936). Život a dielo v obrazových dokumentoch [Ján Levoslav Bella. Leben und Werk in Bilddokumenten], Banská Bystrica 1992, slowakisch und deutsch; Jana Lengová (Hg.), Ján Levoslav Bella v kontexte európskej hudobnej kultúry [Ján Levoslav Bella im Kontext der europäischen Musikkultur], Konferenzbericht Banská Bystrica 1993 (= Bibliotheca musicae Neosoliensis I), Banská Bystrica 1993, slowakisch und deutsch.; Jana Lengová (Hg.), Duchovná hudba v 19. storočí [Geistliche Musik im 19. Jahrhundert], Konferenzbericht Banská Bystrica 1994 (= Bibliotheca musicae Neosoliensis II), Banská Bystrica 1995, slowakisch und deutsch; Tradície európskej hudby 15. - 18. storočia [Traditionen der europäischen Musik des 15. - 18. Jahrhunderts], Konferenzbericht Bratislava 1995 (= Slovenská hudba [Slowakische Musik] XXII, Heft 3/4), Bratislava 1996 [Rezension]". Universitätsbibliothek Leipzig, 2017. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-222681.
Testo completo
10
Bourne, Tracy Marie. "Perceptual, acoustic and physiological characteristics of music theatre singing". Thesis, The University of Sydney, 2016. http://hdl.handle.net/2123/15684.
Testo completoAbstract (sommario):
Most of the scientific research on the singing voice has focused on classical and operatic singing. Music theatre and contemporary voice are growing in popularity within Western musical culture, but little is known about safe and effective training methods, aesthetics and vocal health for students of these vocal styles. This research aims to combine pedagogical experience and objective data gathered from experimental studies in order to develop a more complete understanding of the perceptual, physiological and acoustic features of music theatre vocal styles. In study one, a series of semi-structured interviews were conducted with experienced vocal pedagogues from Australia, USA, UK and Asia to gather perceptual data on music theatre vocal qualities. Teachers identified the differences between classical and music theatre vocal production, including belt, legit and mix, and discussed vocal function, physiology, pitch range, style and pedagogical approaches to the training of music theatre singers. Interview data was coded and analysed and critically evaluated in the context of recent published research about music theatre and contemporary commercial music (CCM) vocal qualities. In the second study, three music theatre vocal qualities (“chesty belt”, “twangy belt” and “legit”) were investigated in female singers at their overlap range between F#4 – D5 (~370-600 Hz). Six experienced music theatre singers performed each quality on two different vowels ([e], [ɔ]). Audio and electroglottographic (EGG) signals were recorded as well as the vocal tract impedance. Chesty belt was significantly different from legit in all parameters, while chesty and twangy belt qualities only differed in frequencies of the second vocal tract resonance (fR2). A fourth quality (“mix”) was explored in three singers. Differing production strategies were observed for each singer, with values of spectral, glottal and vocal tract descriptors found in between those measured for legit and chesty belt qualities. In the third study, three contrasting qualities (chesty belt, twangy belt, legit) were investigated in six male music theatre singers. Two vowels ([e], [ɔ]) were produced on four increasing frequencies at the upper limit of the singer’s belt range (~250-440 Hz). Audio and electroglottographic (EGG) signals were recorded simultaneously with the vocal tract impedance. Singers produced belt qualities with significantly different production characteristics at the glottis, vocal tract and acoustic spectrum from legit, especially in the upper pitch range. Significant differences between chesty and twangy belt were also observed in the higher pitch range. A consistent tendency to tune the first vocal tract resonance (fR1) to the second voice harmonic (2f0) was observed in all three qualities, supporting the idea that belt and legit may differ by slight variations in voice quality rather than as fundamentally distinct modes of production in the male voice. The implications of this research are significant to the development of appropriate pedagogical strategies for the music theatre voice. These findings suggest that the training of music theatre singers should include both contemporary and classical approaches to vocal technique, especially for female singers.
11
Sparling, Heather. "Puirt-a-beul an ethnographic study of mouth music in Cape Breton /". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/MQ56204.pdf.
Testo completo
12
Koch, Klaus-Peter. "Vladimír Čížik und Jana Lengová (Hg.), Exegi monumentum. Ján Levoslav Bella (1843-1936). Život a dielo v obrazových dokumentoch [Ján Levoslav Bella. Leben und Werk in Bilddokumenten], Banská Bystrica 1992, slowakisch und deutsch; Jana Lengová (Hg.), Ján Levoslav Bella v kontexte európskej hudobnej kultúry [Ján Levoslav Bella im Kontext der europäischen Musikkultur], Konferenzbericht Banská Bystrica 1993 (= Bibliotheca musicae Neosoliensis I), Banská Bystrica 1993, slowakisch und deutsch.; Jana Lengová (Hg.), Duchovná hudba v 19. storočí [Geistliche Musik im 19. Jahrhundert], Konferenzbericht Banská Bystrica 1994 (= Bibliotheca musicae Neosoliensis II), Banská Bystrica 1995, slowakisch und deutsch; Tradície európskej hudby 15. - 18. storočia [Traditionen der europäischen Musik des 15. - 18. Jahrhunderts], Konferenzbericht Bratislava 1995 (= Slovenská hudba [Slowakische Musik] XXII, Heft 3/4), Bratislava 1996 [Rezension]: Vladimír Čížik und Jana Lengová (Hg.), Exegi monumentum. Ján Levoslav Bella (1843-1936). Život a dielo v obrazových dokumentoch [Ján Levoslav Bella. Leben und Werk in Bilddokumenten], BanskáBystrica 1992, slowakisch und deutsch; Jana Lengová (Hg.), Ján Levoslav Bella v kontexte európskej hudobnej kultúry [Ján Levoslav Bella im Kontext der europäischen Musikkultur], Konferenzbericht Banská Bystrica 1993 (= Bibliotheca musicae Neosoliensis I), Banská Bystrica 1993, slowakisch und deutsch.; Jana Lengová (Hg.), Duchovná hudba v 19. storočí [Geistliche Musik im 19. Jahrhundert], Konferenzbericht Banská Bystrica 1994 (= Bibliotheca musicae Neosoliensis II), Banská Bystrica 1995, slowakisch und deutsch; Tradície európskej hudby 15. - 18. storočia [Traditionen der europäischenMusik des 15. - 18. Jahrhunderts], Konferenzbericht Bratislava 1995 (= Slovenská hudba [Slowakische Musik] XXII, Heft 3/4), Bratislava 1996 [Rezension]". Musikgeschichte in Mittel- und Osteuropa ; 4 (1999), S. 201-203, 1999. https://ul.qucosa.de/id/qucosa%3A15537.
Testo completo
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Dias, Vera Maria Passos Wanderley. "Jovens da Renovação Carismática Católica em Belo Horizonte: Mãe da Igreja e Nossa Senhora Rainha". Pontifícia Universidade Católica de São Paulo, 2010. https://tede2.pucsp.br/handle/handle/14961.
Testo completoAbstract (sommario):
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Vera Maria Passos Wanderley Dias.pdf: 7670890 bytes, checksum: d22b8a6fde1bf12078fc1abc8b6d7fb0 (MD5)
Previous issue date: 2010-11-19The Catholic Charismatic Renewal (RCC) has drawn the attention of social researchers for the great participation of young people not only in prayer groups, which form the basis of RCC, but also in its organization, and the works of the parishes in evangelization. It is increasingly noted the strong presence of youth actively performing, producing and consuming everything that concerns the charismatic communities and attracting other young people to their groups, making use mainly of music and media. This dissertation deals with the Catholic Charismatic Renewal (RCC) described by its young members 15-29 years, belonging to two parishes in the Archdiocese of Belo Horizonte, the Parish of Nossa Senhora Mãe da Igreja (MDI) and Parish of Nossa Senhora Rainha (NSR). By participant observation and thematic stories where the interviewees recount their experiences in the group, we seek to show how the RCC uses music and the mass media, especially television and the Internet to attract young people and turn them into their new media evangelists. The resulting model couple of the reports was constructed using the parameters of sexuality, conversion and lay leadership. The theoretical framework that gives support to this research was designed from the ideas of modernity by Zygmunt Bauman and Georges Balandier as well as studies of Emile Durkheim and Peter Berger on religion. The emphasis on fieldwork enabled socio-anthropological analysis of this option for the youth in modern religion, which joined the RCC shows a return to the sacred and the pursuit of religious belonging for young people in Belo Horizonte
A Renovação Carismática Católica (RCC) tem chamado a atenção dos pesquisadores sociais pela grande participação dos jovens não só nos grupos de oração, que constituem a base da RCC, mas também na sua organização, nas obras das paróquias e na evangelização. É cada vez mais notada a presença marcante da juventude atuando ativamente, consumindo e produzindo tudo que diz respeito às comunidades carismáticas e atraindo outros jovens para seus grupos, usando principalmente a música e a mídia. Esta dissertação trata da Renovação Carismática Católica (RCC) descrita pelos seus jovens membros de 15 a 29 anos, pertencentes a duas paróquias da Arquidiocese de Belo Horizonte, a Paróquia da Nossa Senhora Mãe da Igreja (MDI) e a Paróquia da Nossa Senhora Rainha (NSR). Pela observação participante e histórias temáticas nas quais os entrevistados contam suas experiências no grupo, busca-se mostrar como a RCC utiliza a música e os meios de comunicação de massa, principalmente a televisão e a Internet, para atrair os jovens e transformá-los nos seus novos evangelizadores midiáticos. O modelo de jovem decorrente dos relatos foi construído utilizando-se os parâmetros sexualidade, conversão e liderança leiga. O arcabouço teórico que dá sustentação a esta pesquisa foi delineado a partir das idéias sobre modernidade de Zygmunt Bauman e Georges Balandier e dos estudos de Émile Durkheim e Peter Berger sobre religião. A ênfase no trabalho etnográfico permitiu análise sócio-antropológica dessa opção da juventude pela religião na modernidade, cuja adesão à RCC mostra um retorno ao sagrado e à procura do pertencimento religioso por parte dos jovens de Belo Horizonte
14
Jou, Jonathan Jeng-Jong. "Bel canto : its effect on piano repertoire of the nineteenth century /". Thesis, Connect to this title online; UW restricted, 1997. http://hdl.handle.net/1773/11375.
Testo completo
15
Gray, Anthony. "Re-Discovering the Art of Bel Canto". Digital Commons @ East Tennessee State University, 2016. https://dc.etsu.edu/honors/349.
Testo completoAbstract (sommario):
The purpose of this thesis was to research and emulate through composition the style and techniques of the bel canto composers (Rossini, Bellini and Donizetti). The thesis includes two art songs composed in the style as well as an analytical paper that explores their techniques on such aspects as vocal line, text setting, form, texture and performance practice.
16
Harper, Portia. "Comparative Study of the Bel Canto Teaching Styles and their Effects on Vocal Agility". Thesis, University of North Texas, 1996. https://digital.library.unt.edu/ark:/67531/metadc278170/.
Testo completoAbstract (sommario):
This thesis examines the historical significance of the vocal methods employed from the middle of the seventeenth century to the beginning of the nineteenth century in what became known as the bel canto era. It provides further exploration into the pedagogical procedures of the bel canto technique through a study of the premier instructors and singers from this period. The resurgence of interest in this tradition is addressed along with its impact on current vocal pedagogy. The vital role that vocal agility played as one of its most distinguishing traits is the primary factor under investigation. A discussion of the bel canto teaching styles in relation to their approach to agility is a major point of inquiry. By maintaining a link between present artists and pedagogues and the old Italian school, it helps the singer understand the historical implications of vocal agility as an integral part of healthy vocal development.
17
Olson, Ted. "Recording Review of Lead Belly: The Smithsonian Folkways Collection". Digital Commons @ East Tennessee State University, 2015. https://dc.etsu.edu/etsu-works/1168.
Testo completo
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Wolfgang, Nancy Andersen. "Adolescent Female Musical Theater Belt Pedagogy: Preparation, Approaches, and Experiences of Ohio Music Educators". Kent State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=kent1434468398.
Testo completo
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Dyo, Vladimir. "The Application of Bel Canto Principles to Violin Performance". Diss., Temple University Libraries, 2012. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/193273.
Testo completoAbstract (sommario):
Music PerformanceD.M.A.
Bel canto is "the best in singing of all time." Authors on vocal literature (Miller, Celletti, Duey, Reid, Dmitriev, Stark, Whitlock among others) agree that bel canto singing requires complete mastery of vocal technique. The "best in singing" means that the singer should possess immaculate cantilena, smooth legato, a beautiful singing tone that exhibits a full palette of colors, and evenness of tone throughout the entire vocal range. Furthermore, the singer should be able to "carry the tone" expressively from one note to another, maintain long lasting breath, flexibility, and brilliant virtuosity. Without these elements, the singer's mastery is not complete. In addition, proper mastery of bel canto technique prolongs the longevity of the voice. For centuries, --emulating beautiful singing has been a model for violin performers. Since the late Renaissance and early Baroque periods, a trend toward homophonic style, melodious songs, and arias had a tremendous influence on pre-violin and violin performers, and even on luthiers. The earliest known four-stringed violins created by Andrea Amati, and Gasparo da Saló in the sixteenth century already possessed a tone that resembled the qualities of a human voice. Today, it has become more difficult to differentiate the tone of one violinist from another. The individual quality of the singing tone, which was the hallmark in violin playing of the golden age of Ysaye, Kreisler, Heifetz, Menuhin, Oistrakh etc. has deteriorated. The purpose of this monograph is to analyze the fundamental principles of bel canto and to apply these principles to violin performance. Teachers, students, and performers will find practical ideas to improve or solve various aspects of violin playing. I will focus primarily on tone production and tone formation (breathing, resonance, vibrato etc.), tonal shading (messa di voce), and range (blending positions). Through understanding the bel canto principles of singing and applying those principles to violin performance, one would have more means to give the tone its distinctive qualities.
Temple University--Theses
20
Brown, Shaun (Shaun Joseph). "Ensemble Singing in the Bel Canto Salon Repertory: A Pedagogical Reconsideration". Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1609069/.
Testo completoAbstract (sommario):
Vocal duets have had a long history in the Western classical music tradition. Their use as a teaching resource can be traced back to the Renaissance, where duets were used for the development of singing, performance, and musicianship. In the late 19th and all of the 20th centuries, this pathway of vocal pedagogy has markedly declined. This study proposes a reintroduction of this methodology of teaching, asserting that it provides the collegiate vocal student with maximum opportunity for growth and development in terms of technique, musicianship, ensemble skills, and performance development. Four vocal duets ("La pesca," "Il brindisi," "Il gallop," and "La caccia") of Saverio Mercadante (1795-1870) serve as the point of discussion. These songs from Les soirées italiennes (C.1836), which are representative of the salon culture of the 19th century, are given detailed attention through a discussion of their pedagogical value. Since they are long out of print, a new performance edition is presented.
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Gustafsson, Amanda. ""I don't wanna hear about your band!" : tre feminister om musik, feminism och motstånd". Thesis, Södertörns högskola, Institutionen för historia och samtidsstudier, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-26002.
Testo completoAbstract (sommario):
This thesis sets out to examine how feminist struggle can be negotiated, defined and motivated. By using Oral history as a theoretical and methodological framework, three persons narrative are being constructed, explored and discussed throughout the thesis. All the interviewees define themselves as women and feminists and have all practised music in different separatist rock and pop-groups from 1970 to present. Themes as music as political action, and separatism for persons who define themselves as women are discussed. The tree informants agree about some feministic goals such as equality and the right to be able to play and perform music regardless of gender identity, although the means to reach these goals are formulated differently.
22
Kozlova, Yulia V. "Sources of inspiration in selected piano works by Sergei Slonimsky". Connect to resource, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1117574266.
Testo completoAbstract (sommario):
Thesis (Ph. D.)--Ohio State University, 2005.Title from first page of PDF file. Document formatted into pages; contains xi, 103 p.; also includes graphics. Includes bibliographical references (p. 100-103). Available online via OhioLINK's ETD Center
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Croskery, Virginia. "The Bel canto war : a critical and annotated translation of Vincenzo Manfredini's Regole armoniche, Part III (1797) with relevant essay". Diss., University of Iowa, 2005. https://ir.uiowa.edu/etd/5066.
Testo completo
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Gargiulo, Catherine. "Rhythmic Emancipation, Confrontation and Triumph: An Analysis of String Quartets Nos. 1 and 4 by Bela Bartok". Honors in the Major Thesis, University of Central Florida, 2007. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/1035.
Testo completoAbstract (sommario):
This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.Bachelors
Arts and Humanities
Music
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Lucas, Sarah Marie. "Fritz Reiner and the legacy of Béla Bartók’s orchestral music in the United States". Diss., University of Iowa, 2018. https://ir.uiowa.edu/etd/6608.
Testo completoAbstract (sommario):
During Fritz Reiner’s forty-year conducting career in the United States, he championed Béla Bartók’s orchestral music, programming Bartók’s orchestral works on over sixty concerts with the Cincinnati Symphony Orchestra, Pittsburgh Symphony Orchestra, Chicago Symphony Orchestra, and with other major American orchestras. These included performances in which the composer himself appeared as a soloist. Moreover, Reiner continued to conduct Bartók’s music following the composer’s death, and his efforts to promote Bartók’s works contributed to their significance to the American orchestral repertoire. The thesis explores connections between performance markings in Reiner’s personal copies of Bartók scores and the recordings he made of them, the ways in which Reiner’s live performances and recordings of Bartók’s music affected the American reception of Bartók’s works, and how Reiner’s collaboration with Bartók related to the revision of Bartók’s orchestral works in their published forms through case studies of Bartók’s Piano Concerto no. 1, Concerto for Orchestra, and The Miraculous Mandarin.
The first case study considers Bartók’s performances of his Piano Concerto no. 1 with Reiner during his first U.S. concert tour of 1927-1928. Following an overview of Bartók’s activities in America during that time, three first-edition scores of Piano Concerto no. 1 are analyzed in order to show the significance of handwritten additions, corrections, and conducting markings made by Fritz Reiner, a Universal Edition staff member, and Serge Koussevitzky in preparation for performances with Bartók in 1928. It not only provides a window into early performances of the work with the composer at the piano in the absence of a recording, but also offers insight into Bartók’s preferences for performance of the work, some of which are reflected in the first or second editions of the work, and some of which are only preserved in Reiner’s scores. The second case study examines a new source for Bartók’s Concerto for Orchestra held at Northwestern University that bears extensive corrections by Bartók, as well as Reiner’s conducting markings. It discusses the circumstances surrounding Reiner’s acquisition of the score and its role in Reiner’s performances and recordings of Concerto for Orchestra with the Pittsburgh Symphony Orchestra and the Chicago Symphony Orchestra. The third and final case study details Reiner’s preparation and performance of two concert versions (“Scenes” and “Suite”) of Bartók’s pantomime The Miraculous Mandarin using Reiner’s annotations to four versions of the score held at Northwestern, Bartók’s correspondence with his publisher, and program notes from Reiner’s 1927 world premiere of the “Scenes” to provide a better understanding of Reiner’s preparation and performances of both the “Scenes” and “Suite.” It further analyzes press coverage of his performances of the “Suite” to demonstrate that the press reaction to objectionable elements of the plot mellowed over time, and that critics consistently praised Reiner’s expert preparation and interpretation of the work. The thesis considers the publication and performance history of Bartók’s Piano Concerto no. 1, Concerto for Orchestra, and the concert versions of The Miraculous Mandarin in terms of Reiner’s collaboration with Bartók, his role in the promotion of Bartók’s music in the U.S., and his reputation as an authoritative interpreter of it.
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Meegens, Rachel. "Mettre en scène la musique médiévale : l'exemple de Rose tres bele de Diabolus in Musica". Thesis, Evry-Val d'Essonne, 2013. http://www.theses.fr/2013EVRY0007.
Testo completoAbstract (sommario):
Actuellement interprétée par des musiciens spécialisés, la musique du Moyen Âge subit un processus de décontextualisation et de recontextualisation qui la mène du cloître ou du château vers la salle de spectacle. Cette thèse tente d’approcher cette problématique par le biais de l’analyse. En prenant l’exemple de Rose tres bele, création pluridisciplinaire de l’ensemble Diabolus in Musica, il s’agit de comprendre comment les spécificités musicales et poétiques d’un pan du répertoire médiéval, en l’occurrence la lyrique féminine en langue d’oïl, induisent une organisation spécifique des différents éléments du spectacle, en particulier les corps et le dispositif dans lequel ils prennent place.Le premier chapitre présente le matériau médiéval, poèmes, musiques, images, utilisé dans le spectacle.Le second chapitre en décrit le déroulement, sous-tendu par les poèmes chantés, dont les textes constituent un véritable fil conducteur pour la représentation. Leur analyse permet de distinguer des particularités poétiques éclairantes pour le spectacle : celui-ci se fonde sur les lieux communs de la poésie courtoise ainsi que sur la notion bien particulière de personnage que celle-ci construit. Cette analyse littéraire débouche, au troisième chapitre, sur une analyse du spectacle proprement dit, notamment en ce qui concerne la relation texte-image. Le quatrième chapitre envisage les enjeux esthétiques de la pluridisciplinarité dans cette création. Il revient notamment sur la question du corps et de son rapport à l’écriture. Le cinquième chapitre retrace la filiation médiévalisante de Rose tres bele, dans une perspective allant du XIIIème au XXIème siècle en passant par le XIXèmeMedieval Music, currently performed by specialist musicians, undergoes a process of decontexutalization and recontextualization. This PHD attempts to approach such problematics through analysis. Rose tres bele is a newly devised pluridisciplinary show by the ensemble Diabolus in Musica that presents one aspect of the Medieval repertoire, the female voice in langue d’oil Medieval lyric. Through its case study, this thesis tries to understand the ways in which the specific musical and poetic elements of this genre induce a specific organization of the different performance elements, particularly in terms of physicality and of the configuration the physical bodies take in space. The first chapter introduces the medieval material: poems, music, images used in performance. The second chapter gives the show’s structure, underpinned by the sung poems, whose texts establish a real narrative line for the performance. The analysis of these poems allows one to single out characteristic poetic elements that shed some insight into the performance. The performance is based on the conventions of courtly poetry, as well as on the specific notions of characterization this poetry expresses. This literary analysis leads to an analysis, in the third chapter, of the show itself, particularly as far as the text-image relationship is concerned. The fourth chapter considers the aesthetic issues raised by this devised show’s pluridisciplinarity. The chapter goes back, notably, to the question of physicality and its relationship to writing. The fifth chapter retraces the origins of Rose tres bele’s Medieval aesthetic, in an overview that goes from 13th. to 21rst century and includes 19th. century
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Tackett, Joshua Lucas. "A master’s vocal recital analyzing the historical and stylistic aspects of works by George Frideric Handel, Wolfgang Amadeus Mozart, Franz Schubert, Vincenzo Bellini, Giuseppe Verdi, Gaetano Donizetti, Reynaldo Hahn, and Michael Head". Kansas State University, 2014. http://hdl.handle.net/2097/18335.
Testo completoAbstract (sommario):
Master of MusicDepartment of Music, Theatre, and Dance
Reginald L. Pittman
The songs presented in this report are works I performed in my Master’s Recital on March 30, 2014. This report will take an in-depth analysis at the selected composers’ life and styles of writing and the works they created. The scores studied in this report include: “Thus saith the Lord: But who may abide” from George Frideric Handel’s Messiah, “Soave sia il vento” from Wolfgang Amadeus Mozart’s Cosí fan Tutte, “Liebesbotschaft,” “Ihr Bild,” and “Das Fischermädchen” from Franz Schubert’s Schwanengesang, Vincenzo Bellini’s “Vaga luna che inargenti,” Giuseppe Verdi’s “Il Poveretto,” Gaetano Donizetti’s “Che vuoi di più,” Reynaldo Hahn’s “Á Chloris,” “Si mes vers avaient des ailes,” and “L’Heure Exquise” from Chanson grises, and “Ships of Arcady,” “Beloved,” “A Blackbird Singing,” and “Nocturne” from Michael Head’s Over the Rim of the Moon.
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Fuchs, Michael C. "A Conductor’s Guide to the Incorporation of Bel Canto Methodology in the Choral Rehearsal". University of Cincinnati / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1396530409.
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PETRILLI, ENRICO. "“Se è tutto troppo bello, non ti preoccupare” Un’etnografia dei piaceri nei club di musica elettronica". Doctoral thesis, Università degli Studi di Milano-Bicocca, 2018. http://hdl.handle.net/10281/207351.
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Strohschein, Heather Anne. "Between Modern Dance and Intercultural Performance: The Multiple Truths of the Bird Belly Princess". Bowling Green State University / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1182295842.
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Abreu, Alexandre José de 1977. "José Pedro de Sant'Anna Gomes : o impacto da belle époque sobre uma trajetória individual /". São Paulo, 2017. http://hdl.handle.net/11449/150510.
Testo completoAbstract (sommario):
Orientador: Paulo Augusto CastagnaBanca: Marcos Fernandes Pupo Nogueira
Banca: José Leonardo do Nascimento
Banca: Viviana Mônica Vermes
Banca: Marcos da Cunha Lopes Virmond
Resumo: Inicialmente, a tese procura demonstrar a presença da belle époque na cidade de Campinas em finais do século XIX. Embora sem todos os seus fundamentos, o fenômeno se apresenta por meio de sua reurbanização, eventos culturais e instituições diversas. Neste sentido, o estudo da trajetória de José Pedro de Sant'Anna Gomes se insere, confirmando o impacto da belle époque sobre uma periodização distinta. Procurou-se reunir o conhecimento mais recente sobre Sant'Anna Gomes, assim como, paralelos possíveis com os modelos disponíveis no período. Por fim, apresenta-se o estudo de duas de suas obras instrínsicamente relacionadas com a sociedade campineira da época e seus novos paradigmas.
Abstract: This thesis seeks to demonstrate the presence of "belle époque" in the city of Campinas at the end of the 19th century. Although lacking all its foundations, the phenomenon presents itself through redevelopment, cultural events, and diverse institutions. In this context, the study of the trajectory of José Pedro de Sant'Anna Gomes is inserted, confirming the impact of belle époque on a specific periodization. We gather the most recent knowledge about Sant'Anna Gomes, as well as possible parallels with the models available in the period. Finally, we present the study of two of his works intrinsically related to the Campinas society of the time and its new paradigms.
Doutor
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Justeson, Jeremy Bradford. "Performance aspects in compositions for saxophone and tape David Heuser's Deep blue spiral, Paul Rudy's Geographic bells, and James Mobberley's Spontaneous combustion /". Access restricted to users with UT Austin EID Full text (PDF) from UMI/Dissertation Abstracts International, 2001. http://wwwlib.umi.com/cr/utexas/fullcit?p3023553.
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Root, Pierce Denise Lyn. "Applying the Study of Bel Canto Vocal Technique to Artistic Horn Playing: Perfect Legato, Beautiful Sound, Agility, and Musical Expression". Diss., The University of Arizona, 2013. http://hdl.handle.net/10150/272836.
Testo completoAbstract (sommario):
Horn players can improve their abilities to play artistically in a lyrical legato style, with a light mechanism, and employ a beautiful sound throughout the range of the horn through the study of bel canto vocal technique. No better singing model exists for horn players than that of the great bel canto singers of the early nineteenth century who were known for their refined technique, perfect legato, even tone, sparkling agility, and beautiful musical expression. Mastery of the expressive bel canto melodic style is a means for horn players to achieve artistry in performance. Pedagogical principles of nineteenth- and twentieth-century bel canto teachers, vocal exercises related to development of bel canto technique, and recorded performances of singers who have specialized in bel canto repertoire are examined. This study culminates in performer's guides to repertoire chosen from the few existing early nineteenth-century solo horn with piano pieces (by Balfe, Mercadante, and Rossini), with bel canto-informed horn technique explained.
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Galloway, Camilla Kay. "A study of the chanson intabulations of Vincenzo Capirola with an extraction of music for the vocal model of Canto bello". The Ohio State University, 1988. http://rave.ohiolink.edu/etdc/view?acc_num=osu1318532867.
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Morais, Thais de Freitas. "Redistribui??o e reconhecimento: o caso das pol?ticas sociais nos munic?pios de Natal e Belo horizonte". Universidade Federal do Rio Grande do Norte, 2010. http://repositorio.ufrn.br:8080/jspui/handle/123456789/13582.
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Previous issue date: 2010-02-25Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior
This research refers to a comparative study of social policies from the cities of Natal (RN) and Belo Horizonte (MG). Understanding that the demands for social justice in contemporary societies require both economic redistribution, and cultural recognition, we set out to investigate, according to Nancy Fraser s formulations (1996, 2005a, 2005b, 2007), how these two municipalities incorporate these dimensions in their social programs.
Esta pesquisa se refere a um estudo comparativo entre as pol?ticas sociais dos munic?pios de Natal (RN) e Belo Horizonte (MG). Entendendo que as demandas por justi?a social nas sociedades contempor?neas exigem tanto redistribui??o econ?mica, quanto reconhecimento cultural, nos propusemos a investigar, a partir das formula??es de Nancy Fraser (1996, 2005a, 2005b, 2007), de que maneira esses dois munic?pios incorporam tais dimens?es em seus programas sociais.
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Allen, Matthew. "The belt’s got soul! an investigation into the vocal characteristics of r&b/soul singing and the production of the ‘belt voice’ within this style". Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2024. https://ro.ecu.edu.au/theses/2766.
Testo completoAbstract (sommario):
The dissertation investigates and defines the vocal characteristics of rhythm and blues (R&B)/soul singing within contemporary commercial music (CCM). Over the course of more than 80 years, the R&B/soul style of singing has evolved to become a prominent and influential component of the music landscape. This research addressed the question of whether the ‘belt’ voice is an integral part of R&B/soul singing and investigated the skills required for its sustainability. Furthermore, the project explored, through rigorous acoustic analyses and computed tomography (CT) scanning, the physiological events occurring at the laryngeal level during ‘belting’ by R&B/soul singers.
The study commenced with a comprehensive survey analysis of performances by five pioneering R&B/soul singers, assessed by a panel of recognised industry practitioners and pedagogues from across the globe. Through this evaluation and the accompanying questionnaire, the vocal characteristics of R&B/soul singing were examined and refined. The outcomes challenge and extend the scope of existing literature and reveal the belt voice as the most challenging characteristic of R&B/soul singing to acquire.
The investigation narrowed its focus to the belt voice as a crucial characteristic, leading to five in-depth interviews with renowned practitioners and educators. The findings of these interviews unveiled a novel perspective on the timbral nuances of the R&B/soul belt voice, distinguishing it from traditional belt voices observed in music theatre. This notion acted as a catalyst for the final phase of the study, in which the biomechanical aspects of R&B/soul belting were explored.
A groundbreaking experiment involving CT scanning of 10 vocalists during both comfortable and belted pitches uncovered pivotal insights into vocal fold lengthening, larynx positioning and pharyngeal wall mobility. These results contribute to the emerging understanding of the physiological mechanisms behind R&B/soul belting and highlight its uniqueness within the broader spectrum of vocal styles.
In summary, this research establishes a comprehensive framework for understanding the vocal characteristics of R&B/soul singing, with a significant focus on the belt voice. By fusing artistic analysis, expert surveys, questionnaires, interviews and cutting-edge imaging techniques, this study advances our understanding of the vocal complexities that define this style, shedding light on both its artistic essence and the physiological events that underscore the R&B/soul singer’s performance.
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Wiger, Pilotti Katarina. "Vägen till Bel Canto : Om min omskolning till Chiaroscuro". Thesis, Örebro University, School of Music, Theatre and Art, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:oru:diva-9326.
Testo completoAbstract (sommario):
I am a practising classical soprano. After more than 20 years of professional singing, I re-trained my voice according to principles of the old Italian school of singing. In this essay, I examine the origins and priciples of bel canto, with special focus on appoggio and chiaroscuro, two key ingredients in the bel cantao tradition. I explore the relationship between science and the craft of singing, and what modern voice science has to say about the efficiency and health aspects of this technique, I also describe the profound effect it has had on me as an artist.
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Larsen, Juliane Cristina. "Republicana, moderna e cosmopolita: a música de concerto no Rio de Janeiro entre 1889 e 1914". Universidade de São Paulo, 2018. http://www.teses.usp.br/teses/disponiveis/27/27157/tde-17092018-171706/.
Testo completoAbstract (sommario):
A presente tese analisa a emergência da modernidade musical brasileira entre os anos 1889 e 1914. Analisa os discursos que a historiografia panorâmica tradicional brasileira construiu sobre a música de concerto daquele período, e analisa os discursos produzidos na própria época. Verifica que as iniciativas de atualização técnica e estilística da música de concerto respondiam a uma política oficial de modernização das artes, que tinha a Europa como modelo de civilização. Verifica também que a cultura das elites republicanas utilizava a prática da música de concerto como um mecanismo de distinção social. Conclui que as interações entre as concepções elitistas sobre música, as teorias raciais, o evolucionismo, e o cosmopolitismo legitimavam práticas culturais excludentes, reafirmando hierarquias sociais. Tais interações resultaram no aprofundamento do abismo entre a música de concerto e o público, na afirmação de hierarquias entre gêneros musicais, na valorização da noção de autonomia da obra musical e na manutenção dos vínculos com a música europeia, impedindo o surgimento de movimentos de vanguarda musical contra hegemônicos no Brasil no início do século XX.This thesis analyzes the emergence of Brazilian musical modernity between the years 1889 and 1914. It analyzes the discourses that the Brazilian traditional panoramic historiography has elaborated about art music of that period, and analyzes the discourses produced at the time. It notes that the initiatives for the technical and stylistic art music\'s updating have risen in response to an official politics of modernization of fine arts, which had Europe as a model of civilization. It also notes that the culture of the Republican elites has used the practice of art music as a mechanism of social distinction. It concludes that the interactions between elitist conceptions about music, racial theories, evolutionism, and cosmopolitanism have legitimized exclusionary cultural practices, reaffirming social hierarchies. These interactions have resulted in a deepening gap between art music and the public, in the affirmation of hierarchies between musical genres, in the valorization of autonomy\'s notion of the musical work and in the maintenance of links with European music, preventing the emergence of vanguard movements counter-hegemonic in Brazil in the early twentieth Century.
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Camargos, Mirela Castro Santos. "Enfim s??: um olhar sobre o universo de pessoas idosas que moram sozinhas no munic??pio de Belo Horizonte (MG), 2007". reponame:Repositório Institucional da FJP, 2008. http://www.repositorio.fjp.mg.gov.br/handle/123456789/157.
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Funda????o Jo??o Pinheiro
Este estudo teve como objetivo investigar diferentes aspectos que condicionam a vida de idosos que moram sozinhos. Para isto, foram realizadas 40 entrevistas em profundidade, contando com a participa????o de idosos residentes nas diversas regi??es do munic??pio de Belo Horizonte, pertencentes a diferentes grupos socioecon??micos. A escolha de Belo Horizonte se justifica pela possibilidade de contrastar o estilo de vida de uma grande metr??pole brasileira com caracter??sticas da tradicional fam??lia mineira na qual a popula????o idosa atual parece ainda se sustentar. A utiliza????o de entrevistas em profundidade permitiu que o leque de investiga????o fosse al??m do foco nos fatores associados ?? decis??o de morar sozinho. Com isto, ?? poss??vel ir al??m da identifica????o dos fatores associados ?? op????o por morar sozinho, para focalizar, sobretudo, os mecanismos que norteiam a forma????o desse tipo de arranjo domiciliar. Para garantir a confiabilidade das entrevistas foi ministrado a todos os entrevistados o Mini Exame do Estado Mental (MEEM), que avalia o estado cognitivo do respondente. Este procedimento permitiu que fossem inclu??dos na amostra apenas aqueles indiv??duos que n??o apresentavam d??ficits cognitivos. Dada a import??ncia do bem-estar psicol??gico nas respostas fornecidas pelos entrevistados, foi tamb??m ministrada aos idosos selecionados a vers??o brasileira da Escala de Depress??o Geri??trica (EDG) reduzida. Entre os idosos entrevistados, quase metade come??ou a viver sozinho antes de completar 60 anos de idade, indicando que se trata mais de uma op????o do que uma imposi????o contingenciada pela redu????o de alternativas de recompor as perdas por morte ou separa????o. Como era de se esperar, a grande maioria dos idosos entrevistados foi constitu??da por mulheres, j?? que elas comp??em a maior parte do universo das pessoas com 60 anos ou mais. Ainda assim, observou-se diferencial por sexo nos relatos que descrevem os desafios vivenciados no in??cio da vida sozinho. Em conson??ncia com o estere??tipo que pontua as rela????es de g??nero, ao decidirem morar sozinhos, os homens reclamam ter que assumir pap??is dito femininos, como cuidar de afazeres dom??sticos. Na mesma linha, as mulheres apontam as dificuldades em assumir responsabilidades ditas masculinas, como fazer movimenta????es banc??rias e ordenar e aferir a presta????o de servi??os. Ainda que pautado, em maior ou menor medida, pelo relato de adversidades, o tom das entrevistas esteve muito longe de poder ser considerado nost??lgico ou triste. Os idosos entrevistados dizem n??o se sentirem sozinhos ou n??o ficarem sozinhos e advertem, com veem??ncia, que n??o desejam ficar ou se sentirem sozinhos. Os relatos revelam a inconteste tentativa desses idosos de buscar e conseguir interlocu????o com parentes e amigos n??o apenas quando se sentem impotentes, como diante de epis??dio de doen??as. Diferentemente da t??nica vigente nos anos 1980 e 1990, eles n??o disseram serem vistos como trapo ou como pessoas in??teis. Ao contr??rio, foram quase un??nimes em destacar que, mesmo vivendo sozinhos, se sentem amparados por parentes ou amigos, o que lhes garante uma condi????o diferente daquela de se sentirem s??s. O discurso que deles pareceu ecoar foi que n??o existiam idosos isolados, mas sim formas distintas de se relacionarem com familiares e amigos. Distintas porque n??o marcadas apenas por trocas financeiras, mas tamb??m, e principalmente, por trocas de carinho. Para a maioria dos idosos entrevistados esse sentimento de solid??o teria lugar se, um dia, que eles esperam ou desejam que nunca chegue, se virem obrigados a residir em asilo ou abrigo fora do ambiente familiar. Fora desse ambiente, n??o enxergam luz no final do t??nel.
The aim of the present study was to investigate different aspects related to elderly who live alone in the city Belo Horizonte, state of Minas Gerais, Brazil. Forty in-depth interviews were conducted with elderly individuals of 60 years of age or above. In the sample design, a deliberate effort was made to include elderly of different socioeconomic groups. The qualitative approach in analyzing the interviews allowed the researcher to go beyond the associated factors related to the decision that guided the elderly in living alone. In order to assure the quality of the data collected during the interviews the Mini Mental State Examination was ministered to all respondents and only those who scored the minimum in the test were selected. Also, the Depression Scale (adapted for Brazil) was ministered. Results showed that almost half of the sample lived alone before achieving the age of 60, which indicates that the choice is mostly driven by an option, deliberated, than by a contingency driven by the diminished alternatives of living with someone else. As expected, most of the elderly were women, but differences by sex did exist, especially in the challenges faced by the elderly. Men talked about having to do the female tasks, such as cooking, and going to the supermarket. Women, in their turn, talked about doing male tasks, such as going to bank. The tone of the interviews was not marked by sadness or nostalgic feelings, and the elderly talked on their relationship with family and friends, as a source of emotional support and of help, in case of illnesses. Also, the elderly reassured that, for them, there was no isolation that surrounded the lives of those who lived alone, but distinct ways of relating to family and friends could exist. Finally, most of individuals who were interviewed mentioned that the feeling of being alone and isolated would emerge in case they had to reside in an asylum or in other institution, since, to be happy, they want to be surrounded by their family.
Sa??de
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Riegel, Marcus L. "An analytical and historical examination of six works for middle level wind band: Bells of freedom (grade 1) by David Gillingham, Rising star (grade 1) by Samuel R. Hazo, Achilles’ wrath (grade 2) by Sean O’Laughlin, Kenya contrasts (grade 2.5) by William Himes, On the wings of swallows (grade 3) by Michael Sweeney, and Old churches (grade 3) by Michael Colgrass". Kansas State University, 2008. http://hdl.handle.net/2097/1130.
Testo completoAbstract (sommario):
Master of MusicDepartment of Music
Frank C. Tracz
The following document is research and analysis from the comprehensive examination question based on the Graduate Conducting Recital of Marcus L. Riegel. The recital, performed by the Chapman Middle School Sixth, Seventh, and Eighth Grade Bands, was given in the District Gymnasium at the Spring Arts Concert on April 22, 2008 at 7:00 pm. The repertoire included but was not exclusive to Bells of Freedom by David Gillingham, Rising Star by Samuel R. Hazo, Achilles’ Wrath by Sean O’Loughlin, Kenya Contrasts by William Himes, On the Wings of Swallows by Michael Sweeney, and Old Churches by Michael Colgrass. This document contains theoretical and historical analysis- and outlines the procedures of planning and performing the graduate conducting recital.
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Powell, Alyssa Rose. "Making the Clarinet Sing: Enhancing Clarinet Tone, Breathing, and Phrase Nuance through Voice Pedagogy". The Ohio State University, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu1589808462811083.
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Falqueiro, Allan Medeiros. "Síntese do leste e oeste: uma análise dos eixos simétricos no terceiro quarteto de cordas de Béla Bartók". Universidade do Estado de Santa Catarina, 2012. http://tede.udesc.br/handle/handle/1520.
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Previous issue date: 2012-02-27Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
This dissertation is an analytical study of Béla Bartók s String Quartet nº 3, looking for axes of symmetry that works as pitch organizers. This research is bounded with the Eastern Europe s traditional music done by Bártok, an essential influence to the creation of the composer s musical language. So on, this work begins with a research about the motivations that led Bartók to the peasant music, focusing on the information given by him. This lead to the analysis of folk songs collected by Bartók and his contemporary researchers used as examples by him on his papers, resulting in the finding of tunes composed around an axis of symmetry. In equal measure, such symmetrical formations are found in pieces from others modern composers, mainly those who sought to oppose tonality on their works. It was used musical examples from Stravinsky, Mussorgsky, Berg and Webern, together with others Bartók s works. Although the theory about inversional symmetry is not too recent, with origin on the second part of XX century, most of the analyses are created through methods created by the analyst himself. So, this work directs to a methodological option for the of analysis axes of symmetry, generated with the collecting of used elements from several authors. This work contributes too with the expansion of the axes of symmetry theory by bringing it to the structural level, so that the axes could be symmetrically related to each other. Several symmetrical axés were found on the analysis of Bartók s Third Quartet, a piece considered among his most abstracts works. On this context, the axes of symmetry provide a kind of synthesis of folk music and modern music, that can represent East and West on music
Esta dissertação contém um estudo analítico do Quarteto de Cordas nº 3 de Bela Bartók, a fim de encontrar eixos simétricos que atuam como organizadores das alturas. Tal busca está conectada com o estudo da música tradicional do Leste Europeu efetuado por Bartók, influência essencial para a formulação da linguagem musical do compositor. Para tanto, o trabalho é iniciado por uma pesquisa das motivações que conduziram Bartók à música dos camponeses, dando privilégio às informações dadas pelo próprio autor. Esta pesquisa conduziu à análise de canções coletadas por Bartók ou pesquisadores a ele contemporâneos presentes nos exemplos de canções folclóricas em seu legado escrito, resultando na descoberta de melodias compostas em torno de um eixo de simetria. Na mesma medida, tais organizações simétricas são igualmente encontradas em peças de compositores modernos, principalmente daqueles que procuravam distanciamento da tonalidade em suas obras. Para tanto, foram utilizados pequenos trechos de Stravinsky, Mussorgsky, Berg e Webern, juntamente com excertos de outras obras de Bartók. Apesar de que a teoria a respeito da simetria inversional não seja muito recente, tendo sua origem na segunda metade do século XX, as análises partem de metodologias criadas pelo próprio analista. Assim, este trabalho apresenta uma opção metodológica para a busca de eixos simétricos, formada a partir do agrupamento de elementos utilizados anteriormente por diversos autores. Este trabalho contribui também com a expansão da teoria da simetria inversional para o nível estrutural, de forma com que os eixos também podem se relacionar simetricamente entre si. Diversos eixos simétricos foram encontrados durante a análise do Terceiro Quarteto de Bartók, uma obra considerada entre as mais abstratas do compositor. Neste contexto, os eixos simétricos se constituem como uma síntese da música folclórica com a música moderna, representações do Leste e Oeste na música
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Lovaglio, Vânia Carvalho. "Música Contemporânea em Minas Gerais: os Encontros de Compositores Latino-americanos de Belo Horizonte (1986-2002)". Universidade Federal de Uberlândia, 2010. https://repositorio.ufu.br/handle/123456789/16284.
Testo completoAbstract (sommario):
The aim of this work is to understand the historic process which achieved the
construction of the Latin American contemporary music movement in Belo Horizonte,
more specifically, the Latin American Composer s Gatherings of Belo Horizonte, held
in the years 1986-1988-1992-2002 sponsored by the Fundação de Educação Artística.
It was also possible to get knowledge of their artistic cultural programs (works,
composers, performers) in which one can found included the production of Brazilian
music and music of Minas Gerais, as well as the theoretical questions presented in form
of Thematic Panels. As for their importance not only in local, but national and
international levels, the Latin American Composer s Gatherings have had a strong
social impact in the city of Belo Horizonte in the decades of 1980-90, mainly through
the academic scene, contributing to the musical formation of young composers and
performers and for the structure of the musical composition area at the Escola de
Música da Universidade Federal de Minas Gerais.
As far as the common problems facing Brazil and Latin America on the above
decades are concerned, a changing in favor of the Latin American contemporary music
passed necessarily by the understanding that the politic and economic aspects were
strongly connected with the cultural one. As for their production and musical diffusion,
a major participation of all professionals - composers, performers, educators and
musicologists - in the sense of interfering in the current teaching musical model
practiced in institutions of fundamental, median and college levels.O objetivo deste trabalho é compreender o processo histórico que levou à construção do movimento de música contemporânea latino-americana em Belo Horizonte, mais especificamente, os Encontros de Compositores Latino-americanos de Belo Horizonte, realizados nos anos 1986-1988-1992-2002, por meio da Fundação de Educação Artística. Buscou-se tomar conhecimento acerca de sua programação artístico-cultural (obras, compositores, intérpretes), na qual se encontram naturalmente incluídas a produção de música brasileira e mineira, bem como as questões teóricas apresentadas em forma de painéis temáticos. Diante da sua importância, não só em nível local, mas nacional e internacional, os Encontros de Compositores Latino-americanos tiveram um forte impacto social na cidade de Belo Horizonte nas décadas de 1980-90, principalmente no meio acadêmico, contribuindo para a formação musical de jovens compositores e intérpretes e para a estruturação da área de composição da Escola de Música da Universidade Federal de Minas Gerais. Considerando os problemas comuns ao Brasil e à América Latina nas referidas décadas, uma mudança no quadro em favor da música contemporânea latino-americana passava necessariamente pela compreensão de que os aspectos político e econômico estavam intimamente relacionados ao cultural. Quanto à sua produção e difusão musical, conclamava-se uma maior participação de todos profissionais compositores, intérpretes, educadores musicais e musicólogos no sentido de interferir no modelo de ensino de música praticado nas instituições de nível fundamental, médio e universitário.
Doutor em História
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Kingan, Michael Gregory. "The Influence of Bela Bartok on Symmetry and Instrumentation in George Crumb's Music for a Summer Evening with Three Recitals of Selected Works of Abe, Berio, Dahl, Kessner, Miki, Miyoshi, and Others". Thesis, University of North Texas, 1993. https://digital.library.unt.edu/ark:/67531/metadc278688/.
Testo completoAbstract (sommario):
The purpose of this document is to investigate the influence of Bela Bartok's music, specifically the Sonata for Two Pianos and Percussion, on George Crumb's Music for a Summer Evening. It concentrates on two specific areas: 1) the role of symmetry and 2) instrumentation. These two items were stressed during an interview with Crumb by the author, which is appended to the paper.
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Bagnole, Rihab Kassatly. "Imaging the Almeh: Transformation and Multiculturalization of the Eastern Dancer in Painting, Theatre, and Film, 1850-1950". Ohio : Ohio University, 2005. http://www.ohiolink.edu/etd/view.cgi?ohiou1132433330.
Testo completo
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Vasconcelos, Eliza Maria Almeida. "A reestrutura??o produtiva e as novas formas de organiza??o do trabalho: a experi?ncia do transporte alternativo no munic?pio de Bel?m/PA". Universidade Federal do Rio Grande do Norte, 2009. http://repositorio.ufrn.br:8080/jspui/handle/123456789/13704.
Testo completoAbstract (sommario):
Made available in DSpace on 2014-12-17T14:20:13Z (GMT). No. of bitstreams: 1
ElizaMAV.pdf: 1730672 bytes, checksum: 35e40a54bb83db5cd0a3a5dcdde9994a (MD5)
Previous issue date: 2009-06-15Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior
The study made in this thesis analyzes the new form of work organization at the urban collective transportation sector, so called Altemative Transportation which is a new form of public transportation that appears in the Brazilian urban context by the mid ninety' s, this work is made by independent or sub-contracted workers, usually organized in cooperatives . It reflects the investigation of new forms of precarious work, unformal which has been expanding in the urban transportation sector. Thus, discusses non regulation of the services sector problem the ways of survival of exc1uded workers from the formal work market mainly afier the capital productive restructure. It has as privileged area of investigation, the sector policy of urban transportation that make field of the main nets of political articulations that define the dynamic of the urban space. It is known that the urban collective transportation allows the access to the production, circulation and general consumption being necessary to the mobility of the resident population, mainly to those with low purchasing capacity. It becomes a field of empirical investigation at the Belem municipal, located at the Amazonic region - north Brazil. The main points dealed on this research start from concrete relations from the daily life of workers that deve1op their activity on the altemative transport mediated with theoretical references needed for understanding and interpretation of the studied reality. The investigation strategies were built from the abstract (theorical knowledge produced for the reality analyze) in concrete by the investigation quantitative-qualitative from this area of urban policy, making up possible the formation of a references chart to the analyses of the studied subject. Rescue his historicity, from characterization of the urban space of the metropolitan region of Belem passing true the forms of organization and urban services performances while essential production and reproduction element of the social relations. Identifies the main individuals that historically have been participating in the construction of the municipality transport policy and the ways of expression of the local political strength relations. Outstand the State paper on the net of established relations near the local power, as well as outstand the importance of social sciences in the understanding of urban policies in the transportation area, trying to bring input to the academicals -scientific debate .The above e1ected and mentioned points in this study are crucial for a critical reflection of the transportation policies. That relation is not given, but historically built at the power relation chart that makes up this unique area of the urban policies
O estudo realizado nesta tese analisa as novas formas de organiza??o do trabalho no setor de transporte coletivo urbano, o chamado Transporte Alternativo que ? uma nova modalidade de transporte p?blico que surge nos contextos urbanos brasileiro nos meados da d?cada de noventa, cuja presta??o do servi?o ? operacionalizado por trabalhadores aut?nomos ou subcontratado, em geral organizado em cooperativas. Trata-se de investiga??o das novas formas de trabalho prec?rio, informal que vem se expandindo no setor de transporte urbano. Portanto, discute a desregulamenta??o do setor de servi?os e problematiza as formas de sobreviv?ncia de trabalhadores exclu?dos do mercado formal de trabalho principalmente a partir da reestrutura??o produtiva do capital. Tem como ?rea privilegiada de investiga??o, a pol?tica setorial de transporte urbano que constitu? campo das principais redes de articula??es pol?ticas definidoras da din?mica do espa?o urbano. Sabe-se que o transporte coletivo urbano possibilita o acesso ? produ??o, circula??o e consumo em geral, sendo necess?rio ? mobilidade da popula??o residente, principalmente aquela de baixo poder aquisitivo. Toma-se como campo de investiga??o emp?rica o Munic?pio de Bel?m, localizado na Regi?o Amaz?nica - Norte do Brasil. Os pontos principais tratados nesta pesquisa partem das rela??es concretas do cotidiano de trabalhadores que desenvolvem sua atividade no Transporte Alternativo mediados com referenciais te?ricos necess?rios ? compreens?o e interpreta??o da realidade estudada. As estrat?gias de investiga??o foram constru?das do abstrato (conhecimentos te?rico produzidos para an?lise da realidade) ao concreto atrav?s da investiga??o quantitativo-qualitativa desta ?rea das pol?ticas urbanas, possibilitando a forma??o de um quadro de referencias para a an?lise do objeto estudado. Resgata a sua historicidade, a partir da caracteriza??o do espa?o urbano da Regi?o Metropolitana de Bel?m perpassando pelas formas de organiza??o e presta??o de servi?o de transporte enquanto elemento essencial de produ??o e reprodu??o das rela??es sociais. Identifica os principais sujeitos que historicamente vem participando da constru??o da pol?tica de transporte municipal e a formas de express?o das rela??es de for?as pol?ticas local. Destaca o papel do Estado na rede de rela??es estabelecidas junto ao poder local, bem como destaca a import?ncia das Ci?ncias Sociais no entendimento das pol?ticas urbanas na ?rea de transporte, buscando trazer contribui??es para pra o debate acad?mico-cient?fico. Os pontos mencionados e elegidos neste estudo s?o fundamentais a uma reflex?o cr?tica da pol?tica de transporte. Essa rela??o n?o ? dada, mas constru?da historicamente no quadro de rela??es de for?as que comp?em esta ?rea privilegiada das pol?ticas urbanas
47
Chamoux, Henri. "La diffusion de l'enregistrement sonore en France à la Belle Epoque (1893-1914) : artistes, industriels et auditeurs du cylindre et du disque". Thesis, Paris 1, 2015. http://www.theses.fr/2015PA010622.
Testo completoAbstract (sommario):
Le miracle technique de la voix et de la musique enregistrées pour être écoutées dans le cadre domestique, se répandit plus tôt qu’on ne l’a admis jusqu’ici. Produits par dizaines de millions en France avant 1914, les enregistrements phonographiques sur cylindres et disques révèlent aujourd'hui qu’une puissante industrie s’épanouit dès l’aube du XXe siècle en France pour conduire, bien avant la radio, à une forme de banalisation de la musique. Ces phonogrammes sont désormais numérisés, accessibles et audibles en grand nombre. Avec d'autres sources naguère difficiles à exploiter, ils révèlent la richesse du répertoire enregistre et nous restituent une image sonore altérée mais suffisamment fidèle, de la plupart des genres musicaux alors à la mode, notamment les genres vocaux, alors les plus goutes. L'audition commentée des contenus enregistres ouvre de nombreuses portes pour conter l'histoire politique et sociale de leur temps. Cet ouvrage traite par ailleurs des circonstances de la première application du droit d'auteur au disque, ainsi que de l'identité, voire l'authenticité des personnes enregistres, liées aux contraintes techniques de la fabrication et de la reproduction des enregistrements. Sont également prises en considération la réception du phonographe dans divers milieux, ainsi que les pratiques des premiers acteurs de ce marche : artistes qui confièrent leur voix au phonographe, producteurs, auditeurs et autres usagersThe technical miracle of recording voices and music to be listened to within the home developed much earlier than anybody has ever acknowledged. Manufactured in tens of millions in France before 1914, phonographic recordings on cylinders and records reveal today that powerful industries thrived in France very early in the 20th century, thus making music quite commonplace long before the radio ever did. These recordings have now been digitized, and a great many can be accessed and listened to on line. Along with other source materials that not long ago proved hard to exploit, they show how rich the recorded repertoire was. These recordings offer a slightly distorted but sufficiently faithful sound and give us access to most of the music genres fashionable at the time, namely the much appreciated vocal genres. The recorded content of this repertoire with its detailed listening guide gives a new insight into the political and social history of their time. This work also deals with the circumstances in which the first copyright legislation was implemented, the identity and exactness of the recorded artists in connection with the technical constraints in the making and reproduction of recordings. How the phonograph itself was greeted is also examined in detail as well as the habits and routines of the very first players on the market : artists, manufacturers, listeners and other users
48
Miller, Sarah. "Reflections of the Don: Zerlina's Empowerment Narrative and the Inclusion of "Per queste tue manine" in Don Giovanni". Digital Commons @ Butler University, 2018. https://digitalcommons.butler.edu/grtheses/506.
Testo completoAbstract (sommario):
After the premiere of Don Giovanni in Prague, Wolfgang Amadeus Mozart and Lorenzo Da Ponte brought their opera to Vienna on May 7, 1788. One point of interest in the Viennese version of the score is the added duet “Per queste tue manine.” In this duet, the enraged Zerlina overpowers the bewildered servant Leporello with a handkerchief, a razor, and passion. She constrains the floundering fool and punishes him for his misconduct. In most modern performances, companies look no further than the Prague version of the score. Additionally, singers often portray Zerlina as either a mischievous temptress or a virginal peasant girl. Since modern opera companies often dismiss the Viennese score of Don Giovanni as insignificant and scholars often deem the role of Zerlina as simplistic, a holistic analysis of the role of Zerlina is needed. Viewing the interpretations of her character by Kristi Brown-Montesano and Wye Jamison Allanbrook through the lens of eighteenth-century gender politics and my own musical and literary interpretations results in a more complete understanding of the peasant girl. Through an analysis of the Viennese version of Zerlina’s character, I contend that Zerlina functions as a mirror-image foil to Don Giovanni. As Zerlina gains autonomy through the control of her own body, the Don loses his power over others and eventually his own life. This multi-dimensional understanding of Zerlina’s character is only possible if “Per queste tue manine” is taken into consideration.
49
Naëck, Krishvy. "Interroger l’idéologie du studio Disney par la (re)composition musicale : une approche alternative de l’analyse filmique : La Petite Sirène (1989), La Belle et la Bête (1991) et Aladdin (1992)". Electronic Thesis or Diss., Paris 8, 2022. http://www.theses.fr/2022PA080055.
Testo completoAbstract (sommario):
Notre travail concernant Disney s’inscrit dans le champ de la musique de film, et même si le studio a fait l’objet de nombreuses recherches tant sur des questions esthétiques que culturelles, il reste intéressant à étudier, car il peut ainsi devenir l’objet de recherche, non sur l’originalité d’un corpus, mais sur un déplacement de la méthode, nous permettant d’interroger l’idéologie à l’œuvre. Notre thèse concentre son attention sur La Petite Sirène (1989), La Belle et la Bête (1991) et Aladdin (1992) où il nous semble que, en recourant à la recomposition de la musique de certaines séquences des films, nous puissions faire jouer à la part de virtualité du texte filmique un rôle dans cette entreprise critique : retrouver la voix des héroïnes Ariel, Belle et Jasmine. Si un geste de recomposition musicale peut nous aider à penser ce rapport au personnage, c’est parce que nous pensons que la musique peut faire entendre la virtualité d’un film (et plus précisément de ses personnages), et devenir par cela un geste d’analyse critique de son idéologie. La recomposition musicale met en acte les allers-retours indispensables à la compréhension des séquences que nous travaillerons : elle redonne corps aux espaces de résonance du film et compose les affleurements d’une promesse initiale proposée par le film vis-à-vis de son héroïne. Ces allers-retours nous permettent de retrouver l’importance des numéros musicaux. En prolongeant notre analyse par le prisme de l’intermédialité, nous réfléchissons à la porosité avec la scène de Broadway (ou plus précisément ici avec le off-Broadway) qui permettent des doubles lectures issues des numéros musicauxFrom aesthetics to cultural studies, Disney has been the subject of many studies. Thanks to this prolific research, it is possible de study it by another methodological angle to understand the ideology of and within the movies. Within the academic field of film music, our thesis will draw its attention on The Little Mermaid (1989), Beauty and the Beast (1991) and Aladdin (1992). It seems that, thanks to an alternative version of the original score that we would compose, we may bring the potentiality inscribed in the movie to be a part of our critical study: find the heroines’ voice Ariel, Belle and Jasmine. We think that this method will enable us to take account of the character’s consistency for the music can be a way to hear the potentiality of a movie (and specifically here, the characters), so it will be an opportunity to discuss Disney ideology. The musical recomposition enact the back and forth inside the different moments of the movie to help us understand what is at stake: it enlightens the resonances between the sequences and compose the surfacing promise initially build-up by the movie towards the heroine. It also helps us thinking about the movie’s interactions while getting to the surface the aforementioned promise the movie was trying to stop from actualising. By extending our analysis through the prism of intermediality, we consider the porosity of theses musical numbers with the Broadway stage (and more accurately the off-Broadway) whose enable us to do dual readings of the movie. All the music in its connexion to the rest of the audio-visual complex enable us to think about the power relations which occurs in the movie
50
Kiely, Yagan M. "An exploration of octatonicism: From Liszt to Takemitsu". Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2022. https://ro.ecu.edu.au/theses/2534.
Testo completoAbstract (sommario):
The octatonic pitch set can be found in the works of many composers since the early nineteenth century, often with different characteristics of the pitch set being exploited by the composers. Much of the literature on octatonicism relates to specific instances in compositions or a specific composer’s approach to it rather than exploring octatonicism from a more holistic perspective. This dissertation serves as a holistic resource for the characteristics of the octatonic pitch set; whether as a scale, especially with regards to common practice harmony; or an unordered set. It does this by considering the contextual historical implications of the octatonic pitch set; the historic lineage of octatonic usage; and, significantly, with the goal of extracting specific compositional devices from the works of various composers that come from a variety of stylistic, historical, and harmonic perspectives. These compositional devices are learnable methods, or conventions that a composer can modify, build upon or implement into their own work. The contextual historical information, along with the description of the characteristics of the octatonic pitch set and, especially, the compositional devices are all intended to be both a single pedagogical resource and starting point for composers in relation to developing new octatonic compositional techniques and a holistic theoretical overview of octatonicism. The evidence, retrieved from third party analysis of select composers’ octatonic works, finds learnable compositional devices from broad stylistic backgrounds that can be reinterpreted and expanded into individualised compositional methods.