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1
Rice, Albert R. "A History of the Clarinet to 1820". Scholarship @ Claremont, 1987. http://scholarship.claremont.edu/cgu_etd/106.
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This study presents a detailed history of the clarinet from its ancient origins to 1820. It is divided into three parts: 1) origins, 2) the baroque clarinet, and 3) the classical clarinet. In the first part the ancestor of the modern instrument is traces to the memet of Ancient Egypt (2700 B.C.), and evidence is reviewed for the existence of a wind instrument having a single reed during the sixteenth century. Three chapters are then devoted to the Mock Trumpet and the seventeenth- and eighteenth-century chalumeau. The baroque clarinet is discussed in the second part. This part consists of four chapters concerning design and construction, playing techniques, music, and use by amateurs and professionals. The last part is devoted to the classical clarinet. It consists of three chapters concerning design and construction, playing techniques, and music.
2
Steltzner, Becky L. "The history of the clarinet in South Africa". Doctoral thesis, University of Cape Town, 2016. http://hdl.handle.net/11427/20332.
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This thesis explores and traces the history of the clarinet in South Africa. After discussing the problems of researching western European music history in South Africa from the arrival of the Dutch in 1652, and briefly summarising that music history up to the first clarinet reference, the thesis goes through the existing clarinet references. These have been sourced from travellers' journals, newspapers, military histories, other theses, etc., with particular emphasis on the 19th century, since the clarinet was introduced to South Africa near the beginning of it, and the most unknown part of the clarinet's South African history is within it. The references are noted, discussed, and where possible, the performers' biographical details are given and discussed. This carries through to the beginning of the 20th century, at which point South Africa got its first professional symphony orchestra, and first College of Music. From here, the clarinet is deemed to be more readily available, so at this point, the focus changes to South African compositions for clarinet. Finally, a case study is done on Ali-Ben-Sou-Alle, who was the first clarinet soloist to visit South Africa, as well as one of the most interesting and mysterious characters encountered in this research.
3
Beare, Michael. "British clarinet playing from 1940". Title page, contents and summary only, 1987. http://web4.library.adelaide.edu.au/theses/09MUM/09mumb368.pdf.
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Ellsworth, Jane Elizabeth. "The clarinet in early America, 1758-1820". Connect to this title online, 2004. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1101894710.
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Montoya, García Elvira. "Escritura e instrumento. Conceptos interrelacionados". Master's thesis, Universidade de Évora, 2021. http://hdl.handle.net/10174/29969.
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El trabajo desarrollado a continuación analiza la evolución de la escritura del repertorio de clarinete desde el Clasicismo hasta el siglo XX. Para ello he tenido en cuenta un factor de vital importancia en el que me apoyaré para avanzar en este proyecto; me refiero naturalmente a la evolución del instrumento. Con ello no pretendo describir la evolución organológica paso a paso, sería inabarcable en este trabajo, simplemente me ciño a tres momentos concretos.
Las obras elegidas para llevar a cabo este estudio son representativas de algunos de los períodos más importantes de la Historia de la música, así como relevantes de la propia literatura del clarinete.
- Clasicismo: Concierto para clarinete KV 622 de W. A. Mozart.
- Romanticismo: Piezas de fantasía op. 73 de R. Schumann.
- Siglo XX: Primera Rapsodia para clarinete de C. Debussy, Tres Piezas para clarinete solo de I. Stravinsky y Sonata para clarinete y piano de F. Poulenc.
La estructura del trabajo se divide en cinco secciones, como cinco son las corrientes estilísticas que abarca. Comenzaré realizando una reseña bibliográfica del compositor a tratar. En segundo lugar, trataré las circunstancias en la que fue escrita la obra, abordando las características de la misma junto a un esquema analítico. Por último, relacionaré la forma en la que las mejoras técnicas que van apareciendo en el clarinete afectan a la escritura de la música en la que es protagonista, utilizando pasajes representativos de cada una de las obras que interpretaré en mi recital; ABSTRACT:
Composition and instrument. Interrelated concepts. The task here developed aims to analyze the evolution of clarinet writing from classicism to the twentieth century. In order to achieve this I have taken into consideration a fundamental matter which I have set as the base of my research and followed progressively, I am referring to the evolution of the instrument itself. Nevertheless I do not intend to describe such evolution step by step as it would be out of this task's scope. I am just going to be making reference to three specific moments in time. The works chosen to carry this research are representative of some of the most important periods in music history as well as relevant in relation to the literature for clarinet. - Classicism: Clarinet Concerto KV 622 by W. A. Mozart. - Romanticism: Fantasy Pieces op. 73 by R. Schumann. - 20th Century: Première Rhapsodie by C. Debussy, Three Pieces for solo clarinet by I. Stravinsky and Sonate for clarinet and piano by F. Poulenc. The task is structured in five sections, as five are the stylistic currents it deals with. I am going to start by providing a bibliographical report on the composer here studied. Secondly I am going to develop on the circumstances in which each work was written, looking at their features and analyzing them by means of a diagram. Finally I am going to conect the way the best techniques for clarinet have affected music writing through the use of representative passages of each work that I am playing in my recital; RESUMO:
Escrita e instrumento. Conceitos interrelacionados.
O trabalho desenvolvido a seguir analisa a evolução da escrita do repertório para clarinete desde o Classicismo até o século XX. Para isso, levei em consideração um fator de vital importância com o qual contarei para avançar neste projeto; Refiro-me naturalmente à evolução do instrumento. Com isto não pretendo descrever passo a passo a evolução organológica, seria interminável neste trabalho, limitando-me apenas a três momentos específicos.
As obras escolhidas para realizar este estudo são representativas de alguns dos períodos mais importantes da História da música, bem como relevantes para a própria literatura clarinete.
- Classicismo: Concerto para clarinete KV 622 de W. A. Mozart.
- Romantismo: Peças de fantasia op. 73 por R. Schumann.
- Século 20: Primeira Rapsódia para clarinete de C. Debussy, Três peças para clarinete solo de I. Stravinsky e Sonata para clarinete e piano de F. Poulenc.
A estrutura da obra está dividida em cinco seções, sendo cinco as correntes estilísticas que ela engloba. Começarei fazendo uma revisão bibliográfica do compositor a ser tratado. Em segundo lugar, tratarei das circunstâncias em que a obra foi escrita, abordando suas características juntamente com um esquema analítico. Por fim, relatarei a forma como as melhorias técnicas que surgem no clarinete afetam a escrita da música da qual ele é o protagonista, utilizando passagens representativas de cada uma das obras que irei apresentar em meu recital.
6
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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Thrasher, Michael 1972. "The Use of the Clarinet in Selected Viennese Operas, 1786-1791, With Three Recitals of Selected Works by Brahms, Muczynski, Benjamin, Widor, Hindemith, and Others". Thesis, University of North Texas, 1997. https://digital.library.unt.edu/ark:/67531/metadc278193/.
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In an appendix section, three notable arias have been transcribed for two clarinets, voice, and piano. A further evaluation of Classical period opera orchestration will aid modern performers and musicologists in their understanding of what clarinets and clarinetists were able and expected to do.
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Locke, Scott A. "The accompanied clarinet works of Eugene Bozza : descriptive analysis and performance guide with emphasis on the clarinet concerto". Virtual Press, 1996. http://liblink.bsu.edu/uhtbin/catkey/1026699.
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French composer Eugene Bozza (1905-1991) has made significant contributions to the repertoire of wind instruments in the twentieth century. Not least among his compositions are the clarinet concerto, the eleven works for clarinet and piano, chamber works involving the clarinet, and numerous etudes for clarinet. Information gathered throughout the course of the study demonstrates why the concerto is a significant work for clarinetists, demanding from the performer technical prowess, tonal control, and mature musicianship. The additional works for clarinet and piano are mostly sectional pieces written in a morceau de contours vein challenging the performer's lyrical and technical playing.This study reveals through analysis a number of compositional devices used by the composer that are stylistic threads running through virtually all the works for clarinet. Harmonically, these devices include extended tertian chords used in succession, parallel chord movement, and quartal and quintal harmonies. Melodic resources include diatonic scales, chromatic scales, some transposed modes, and a limited use of whole tones. The composer prefers homophonic textures, but uses countermelodies and the occasional use of the unaccompanied soloist for contrast. Bozza uses the element of rhythm dynamically, featuring rhythmically-charged motives throughout much of his composition. Numerous expressive modifiers are included in the works, but leave the performer enough latitude for supplementary dynamics and rubato.In addition to analyses of the concerto and the works for clarinet and piano, the study addresses the orchestration of the concerto. This discussion shows the ways in which Bozza uses orchestral colors and alerts the performer to discrepancies between the orchestral score and the piano reduction. Few of the changes from the score to the reduction are significant. Many changes are cosmetic involving the deletion of color effects and short countermelodies in the reduction to allow for idiomatic piano writing.The study offers the performer recommendations for the successful performance of the concerto and the works for clarinet and piano. The recommendations include supplemental expressive modifiers, fingering choices, additional phrasing choices, and practice techniques. As an introduction to the study, biographical information was gathered to provide the reader with a concise sketch of the life and style of Eugene Bozza. Correspondence received from Alphonse Leduc gives additional information on Bozza's works for clarinet.School of Music
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Simon, Karem Joseph. "Historical and performance perspectives of clarinet material performed in a thesis recital". Thesis, University of British Columbia, 1985. http://hdl.handle.net/2429/26038.
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This document is designed to accompany the writer's Lecture-Recital performed on June 6, 1983. It presents all the material from the lecture
in a more detailed and extensive account.
A discussion of clarinet solo material, representative of four periods and/or styles in the development of the clarinet repertoire, is featured: an unaccompanied twentieth-century work, Heinrich Sutermeister's Capriccio; an early classical concerto, Karl Stamitz's Concerto in E-flat Major; a French Conservatory Contest Piece, Charles Lefebvre's Fantaisie-Caprice; and a late romantic sonata, Johannes Brahms' Sonata in E-flat Major, Op. 120, No. 2.
Sutermeister's Capriccio (1946), for A clarinet, was commissioned as a contest piece for the Geneva Conservatory. The composition is of a quality particularly suitable for a contest, for two contrasting ideas permeate the entire work: one is rough and crisp with staccato passages; the other is smooth and calm with legato passages. It is this writer's opinion that Capriccio reflects the influence of Sutermeister's cinematic works.
Karl Stamitz's Concerto in E-flat reflects the features of the French school of clarinet playing as exhibited by the first well-known clarinet virtuoso, Joseph Beer. This concerto also shows the influence of Mozart, as many mutual features occur between Stamitz's Concerto in E-flat and Mozart's Concerto in A.
Significant contributions to woodwind literature have been made by French composers. This is, in part, attributable to the Paris Conservatory, which since the late nineteenth century has commissioned French composers to write contest pieces for the final performance examinations. Such works have included Debussy's Première Rhapsodie, and Lefebvre's Fantaisie-Caprice.
Johannes Brahms' fascination with Richard Mühlfeld, eminent clarinetist
of the Meiningen Orchestra, manifests itself in four chamber works he wrote for the clarinet. Brahms' Clarinet Quintet Op. 115 is regarded as one of his greatest masterpieces. The Two Sonatas for Clarinet and Piano Op. 120 offer quite a contrast. The first, in F minor, is predominantly the more passionate of the two, whereas the second, in E-flat major, is of greater intimacy of expression.Arts, Faculty of
Music, School of
Graduate
10
Braun, Lindsay Taylor. "The Mystery of the Chalumeau and Its Historical Significance as Revealed Through Selected Works for Chalumeau or Early Clarinet by Antonio Vivaldi: A Lecture". Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc849668/.
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Factual evidence concerning the ancestry of the clarinet has been a perpetual topic of debate among musicologists and organologists. Scholars have widely agreed that the clarinet, first documented in 1710, emerged from the baroque invention of the chalumeau (invented circa 1690), which in itself was an improvement upon the recorder. Considering the chalumeau's short lifespan as the predominant single reed instrument in the early eighteenth century, the chalumeau inspired a monumental amount of literature that includes vocal and instrumental genres written by distinguished composers. Vivaldi is considered to be the most significant composer that wrote for both clarinet and chalumeau; he wrote for both instruments simultaneously throughout his life whereas his contemporaries seemingly replaced the chalumeau with the clarinet. This project will discuss Vivaldi's proximity to the chalumeau and the clarinet and will provide an in-depth analysis of relevant works by the composer to determine how he, unlike his contemporaries, treated the chalumeau and the clarinet as separate and equally viable instruments. Following a brief history of the chalumeau and clarinet in Italy and a relevant biography of Vivaldi (Ch. 2), this document will discuss the integral Vivaldi compositions that include clarinet and chalumeau and the role of the clarinet or chalumeau in each work (Ch. 3). Chapter 4 solves the mystery of why Vivaldi continued to compose for the chalumeau while his contemporaries replaced the chalumeau with the clarinet.
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Card, Patricia Pierce. "The influence of klezmer on twentieth-century solo and chamber concert music for clarinet with three recitals of selected works of Manevich, Debussy, Horovitz, Milhaud, Martino, Mozart and others /". Thesis, connect to online resource, 2002. http://www.library.unt.edu/theses/open/20023/card%5Fpatricia/index.htm.
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Lloyd, Dylan Mikhail. "A Classical Clarinetists Guide to Klezmer Music". The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1483709136936196.
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Sutherland, Adria Leigh. "PARTNERSHIPS AND CREATION: A BRIEF HISTORY OF CLARINETIST-COMPOSER PARTNERSHIPS AND HOW THEY CONTRIBUTED TO CLARINET LITERATURE, AND THE INFLUENCE OF ROBERT SPRING ON CONTEMPORARY COMPOSITIONAL OUTPUT FOR THE CLARINET". UKnowledge, 2018. https://uknowledge.uky.edu/music_etds/111.
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Throughout the history of the clarinet, there have been performers who have inspired composers to write pieces specifically for them. These contributions to clarinet literature have been significant, frequently resulting in an overall shift in the expectations of performers’ abilities, and expanding the range of possibilities for composers. This document first describes the relationships of the following composers and clarinetists, and their resulting impact on clarinet literature: Karl Stamitz and Joseph Beer, Wolfgang Amadeus Mozart and Anton Stadler, Louis Spohr and Simon Hermstedt, Carl Maria von Weber and Heinrich Baermann, Johannes Brahms and Richard Mühlfeld, and the numerous commissions of Benny Goodman by some of the most highly-regarded composers of his time.
The main purpose of this document is to examine a contemporary clarinetist who has contributed considerably to the repertoire of the clarinet both through his virtuosic performances and his own commissions, Robert Spring. Dr. Spring’s playing, particularly on the release of Dragon’s Tongue (1994), astonished listeners and composers alike, most notably with his mastery of extended techniques such as circular breathing and double tonguing. Within this document is a biography of Dr. Spring, focusing on his early life, his musical training and education, and his work. Additionally, a list of works that he has commissioned with annotations where applicable is included, along with detailed comments on the partnership with Dr. Spring and the resulting creations from composers Stacy Garrop, Eric Mandat, Theresa Martin, Scott McAllister, Whitney Prince, Rodney Rogers, Peter Schickele, and William O. Smith. It is my belief that future scholars will be able to place him within the long line of composer-clarinetist partnerships that have advanced not only the clarinet’s solo and chamber literature, but also the scope of performance techniques required of clarinetists.
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Wang, Yi-Wen. "A Selected List of Music for Solo Clarinet and Clarinet with Piano by Taiwanese Female Composers Composed between 1986 and 2015: The Investigation of a Neglected Repertory with an Annotated Bibliography". Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc984119/.
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Clarinet works by Taiwanese female composers are not well researched or catalogued, and to date, and no comprehensive research codifies this subcategory in Taiwan or elsewhere. A comprehensive research and bibliography is necessary to the international community. It is hoped that through this annotated bibliography, readers will gain a deeper understanding of this genre. This study contains a brief history of Taiwan's Western music history, the female composers' history in Taiwan, and literature review. A total of twenty compositions by eighteen different Taiwanese female composers are discussed in the annotated bibliography, including thirteen for unaccompanied clarinet and seven for clarinet and piano. Information includes a brief biography of the composer, the date of composition, duration, premiere, dedication, commission, location of the score, difficulty and commentary on the piece.
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Allgeier, Anthony Joseph III. "The Works for Clarinet Commissioned by the Concours International d'Exécution Musicale de Genève: A Critical Survey and Performance Guide". Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc31524/.
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Beginning in 1939, the Concours International d'Exécution Musicale de Genève (CIEM; Geneva International Music Competition) is unique among international music competitions in its multidisciplinary approach. To date, fifteen works have been commissioned for clarinet for the years in which the clarinet was involved. The most well-known of these works is the unaccompanied work by Heinrich Sutermeister, Capriccio for Solo Clarinet in A, written in 1946 for the 1947 competition. This work is a staple in the unaccompanied clarinet repertoire. However, the other fourteen works commissioned for the competition are little known and to date no document has been prepared that examines each of these works in the context of the competition and clarinet literature. While perhaps less notable, works were also commissioned for a sight reading portion of the competition for many of the years in which the clarinet was a discipline chosen for the competition, two of which were published. These works are examined as well. This survey provides a critical, analytical, historical, performance-related and biographical review of the published and unpublished works commissioned for the clarinet by CIEM. The composers, competitors and the significance of these works and winners in the clarinet literature and history are included. A chapter is dedicated to each piece which includes performance considerations, critical, analytical, and historical information as well as biographical information regarding the composer and the competitors where available.
16
Hill, James Walter 1951. "The D Major Clarinet Concerto by Theodor von Schacht (1748-1823): A Lecture Recital, Together with Three Additional Recitals of Selected Works of Brahms, Richmond, Rossini, Crusell, Reger, and Others". Thesis, North Texas State University, 1986. https://digital.library.unt.edu/ark:/67531/metadc798331/.
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The dissertation consists of four recitals: repertoire consisting of solo compositions, music for clarinet alone, chamber music, and one lecture recital. The repertoire of these programs was chosen with the intention of demonstrating the capability of the performer to deal with problems arising in works of varying types and of different historical periods. The lecture recital, The D Major Clarinet Concerto by Theodor von Schacht, discusses background for the development of the clarinet in different pitches and gives pertinent bibliographical and historical information on the life and works of Theodor von Schacht. A formal and stylistic analysis is then followed by a short discussion of the problems involved in the transcription and performance of the work: possibly the first solo concerto ever written for the clarinet in A. The lecture concludes with the first performance of The D Major Clarinet Concerto for clarinet in A with orchestral accompaniment reduced for piano.
17
Taylor, Anthony Gordon. "John Adams’s Gnarly Buttons: Issues of History, Performance and Style". University of Cincinnati / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1185548983.
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Tejero, Nikolasa. "NATIONALISM AND ITS EXPRESSION IN CUBA’S ART MUSIC: THE USE OF FOLKLORE IN MARIO ABRIL’S “FANTASIA (INTRODUCTION AND PACHANGA)” FOR CLARINET AND PIANO". UKnowledge, 2011. http://uknowledge.uky.edu/gradschool_diss/215.
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In the centuries since the colonization of the New World, the people of Cuba created a strong musical tradition. Initially, their music mirrored the European composition canons of structural, melodic and harmonic order. The eventual confluence of its distinct cultural elements (i.e. the European, African, and, to a lesser extent, Amerindian) led to the emergence of a new, distinctly Cuban musical tradition.
The wars for independence that began in the United States and Europe in the eighteenth century created a surge towards political and cultural autonomy that swept across the Latin American colonies, generating a wave of nationalism during the nineteenth century. After finally gaining its independence in 1902, Cuba sought to define itself as a nation. Cubans looked inward to their regional folklore—their indigenous and popular traditions—for the source of their national identity, a trend that became of primary interest to Cuban artists. The nationalist trend found full musical expression during the twentieth century, when composers turned to folklore for their inspiration in creating new art music (works for the concert hall) with a unique sound and vitality.
This study concerns itself with the Cuban nationalist movement and its role in the creation of art music by twentieth-century Cuban composers, most specifically that of Mario Abril. The monograph is organized into three general sections: the first section (Chapters 2 and 3) identifies the significant characteristics of nationalism, describes the manifestation of some relevant nationalist movements (e.g., in Europe and Latin America), and explores the manifestation of the nationalist movement in Cuba. The second section (Chapters 4 and 5) provides a history of Cuban art music, concluding with a biographical sketch of composer Mario Abril. The third part (Chapters 6 and 7)consists of a study of the music, beginning with a description of the pertinent characteristics of Cuban popular music, followed by an examination Mario Abril’s Fantasía (Introduction and Pachanga) for clarinet and piano. The document concludes with remarks about the characteristics that qualify the work as an example of Cuban nationalist art music with suggestions for the study and interpretation of the work.
19
Peersen, Hild Breien. "Franz Berwald and his quartet for piano and winds: its historical, stylistic, and social context". The Ohio State University, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=osu1104257313.
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Sanders, Raphael P. "Louis Cahuzac's Clarinet Music: an Examination of Selected Works, with Three Recitals and a Solo Performance of Selected Works by Debussy, Reinecke, Bloch, Stravinsky, Mozart and Others". Thesis, University of North Texas, 1995. https://digital.library.unt.edu/ark:/67531/metadc278517/.
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Louis Cahuzac was one of the most sought-after clarinetists in the first half of the twentieth century. He was also highly respected as a conductor, as a teacher, and as a composer of music for the clarinet. The selections performed and discussed in the lecture depict Cahuzac's use of simple compositional forms and procedures which blend the expressive capability of the clarinet with its technical potential.
21
O'Connor, Jennifer. "Black snow by Michael Smetanin : an analysis : and original compositions". University of Western Australia. School of Music, 2004. http://theses.library.uwa.edu.au/adt-WU2004.0054.
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Black Snow, an orchestral work composed by Michael Smetanin in 1987, was named after the book Black Snow by Mikhael Bulgakov. Newspaper articles, reviews and the literature researched, all comment on Smetanin’s style and on the influences that shaped that style. The aggressive and confrontational style of much of Smetanin’s music can be attributed partly to his love of rock music and jazz and partly to his mentor in the Netherlands, Louis Andriessen. The same sources quote other composers who also influenced Smetanin’s style. Three works in particular are named, that is, Trans by Stockhausen, Keqrops by Xenakis and De Tijd by Andriessen. It was decided, in the light of previous investigations into Smetanin’s music, to take one of these composers, namely Stockhausen and his work Trans, and discover how much Smetanin was influenced by this composer and this particular work. Trans was chosen because the similarities with Black Snow are less obvious. All aspects of Black Snow were examined - namely the harmony, rhythms, the important textures, serial/mathematical techniques, orchestration, the dramatic program, how the instruments are played - and then compared with Trans for similarities and differences. The results of the analytical investigation show that, while the internal organisation of the two works is very different, there are significant similarities between the two works in most of these areas. Serial/mathematical techniques could only be demonstrated in one area, and this is only conjecture.
22
Rostovtsev, Ilya Y. "Source-bonding as a Variable in Electroacoustic Composition: Faktura and Acoustics in Understatements". Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc33198/.
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Understatements for two-channel fixed media is a four-movement study of the sonic potential of acoustic instruments within the practice of electroacoustic studio composition. The musical identity of the entire composition is achieved through consistent approaches to disparate instrumental materials and a focused investigation of the relationships between the various acoustic timbres and their electroacoustic treatments. The analytical section of this paper builds on contemporary research in electroacoustic arts. The analysis of the work is preceded by a summary of theoretical and aesthetic approaches within electroacoustic composition and the introduction of primary criteria of sonic faktura (material essence) used in the compositional process. The analyses address the idiosyncratic use of the concept of faktura to contextualize and guide the unfolding of the work. The reconciliation of the illusory electronic textures and the acoustic sources that parented them may be considered the ultimate goal of Understatements.
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Silva, Jailson Raulino da. "Frevos para clarinete: uma historia de resistencia a cada passo". reponame:Repositório Institucional da UFBA, 2008. http://www.repositorio.ufba.br/ri/handle/ri/9078.
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No intuito de coletar dados para esta pesquisa, conduzimos uma busca por meio de gravações, partituras, artigos, revistas e livros, além de entrevistas, sendo enfim selecionado um repertório de frevos para clarineta solo. Após o levantamento de um repertório de frevos para clarineta solo, observamos a necessidade de direcionar uma investigação sob uma perspectiva etnomusicológica, mais especificamente no campo da teoria poscolonial, no intuito de identificar e somar elementos contributivos para a performance, favorecendo ainda ao tratamento do material selecionado. Numa contextualização historiográfica, procuramos evidenciar os processos sociais determinantes na constituição de um perfil identitário, que se relacionaram com a presença da clarineta nesta referida cena musical, no contexto do carnaval e do desenvolvimento da banda de música no Brasil, especificamente no Recife. Esta abordagem permitiu-nos apreender melhor a dinâmica das transformações das práticas musicais em si e a relação dos músicos com a sociedade e suas mutações. Observamos, neste caráter de dinâmica e transformação, que a música apresenta-se como um vetor de comunicação entre a sociedade, sua cultura e, consequentemente, com os componentes identitários decorrentes. Ainda fizemos algumas considerações, do ponto de vista técnico-instrumental e composicional, sobre elementos que influenciaram os componentes constitutivos destes frevos e que podem contribuir para a performance e pedagogia do instrumento, a clarineta. Apontamos para o aproveitamento do material supracitado, de forma que seja considerado mais ampla e profundamente o contexto social na formação do instrumentista. Procuramos, portanto, abordar o frevo como produto musical da banda de música. A banda foi vista como agente cultural e/ou como fonte geradora de novos gêneros e formações instrumentais no contexto do desenvolvimento da cultura pernambucana e suas influências externas. Abordamos também a presença da clarineta neste panorama musical pelo fato da existência de frevos para clarineta solo incrementar a história da clarineta no Brasil. Procuramos, neste trabalho, adequá-los aos dados coletados, sendo relevante ainda, considerar alguns fatores como: indústria fonográfica, mídia em geral, política cultural local e global que interferem diretamente no controle conceptivo da música popular. A partir deste enquadramento foram estudados diferentes universos musicais e sociais, associados à cultura pernambucana e, que de algum modo, constituem vizinhanças conceptuais para a análise quer do frevo quer da clarineta. Portanto, com evidência no caráter histórico da clarineta e do frevo, dentre as diversas categorias do gênero, focalizamos os frevos para clarineta solo e com intervenções solistas para ela, escritos por clarinetistas compositores. Observamos alguns aspectos do tratamento composicional, considerando o fato dos compositores serem clarinetistas, dentro de um elenco de clarinetistas que se destacaram no universo do frevo, quer como compositor, quer como instrumentista. Também, ressaltamos componentes interpretativos, a partir de análise de gravações, focalizando as suas contribuições para a performance instrumental.
Salvador
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Velasquez, Antonio. "La narrativa de Claribel Alegria, historia e innovacion literaria". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0018/NQ45794.pdf.
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Gamso, Nancy M. (Nancy Margaret). "Twentieth-Century Works for Textless Voice and Various Woodwinds with Three Recitals of Selected Works of Stamitz, Roussel, Albinoni, Weber, Milhaud, and Others". Thesis, University of North Texas, 1992. https://digital.library.unt.edu/ark:/67531/metadc279129/.
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The purpose of this study is to explore the literature for textless voice and woodwind instruments. The primary focus concerns the timbral and ensemble possibilities exploited in three twentieth-century works in which the voice is treated as an instrument i.e., without the usual preoccupation with textual meaning. An historical overview of vocal works with obbligato woodwinds and concerted works for textless voice serves as an introductory chapter. The variables of voice and instrument acoustical makeup, vocal vowel formation and instrumental voicings, volume, vibrato, resultant tones, range, and extended techniques (fluttertongue, special vibrato demands, non-vibrato, etc.) are the focus of the performance considerations for this study. Over thirty twentieth-century textless works for voice and at least one woodwind instrument were located. The three, chosen for this study represent different periods in the century, and present contrasting styles and musical merit: Aria (1931) by Jacques Ibert, Three Vocalises (1958) by Ralph Vaughan Williams, and Duos I (1976) by Nancy Chance. A style and performance analysis of these works with pertinent research on the composers is presented. Appendices include an annotated bibliography of selected works for the medium, a written interview with Nancy Chance, and performance notes provided by the composer, concerning Duos I.
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Cabral, Carla Giovana. "Cinco histórias: narrativas biográficas de Clarice Lispector". Florianópolis, SC, 1999. http://repositorio.ufsc.br/xmlui/handle/123456789/81193.
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Dissertação (mestrado) - Universidade Federal de Santa catarina, Centro de Comunicação e Expressão. Programa de Pós-Graduação em Literatura.Made available in DSpace on 2012-10-19T00:17:19Z (GMT). No. of bitstreams: 0Bitstream added on 2016-01-09T04:35:06Z : No. of bitstreams: 1 182216.pdf: 3566050 bytes, checksum: 113b11c3b46aed2df0ff63da92eac9da (MD5)
Esta dissertação investiga o conceito de biografia em cinco textos escritos por mulheres sobre a vida da escritora Clarice Lispector, com o propósito de discutir as possibilidades discursivas e de leitura deste gênero literário. Um dos questionamentos primeiros do trabalho foi: se os textos são tão diferentes e deles surgem várias Clarices, se não há uma homogeneidade, são biografias? Buscou-se, a partir daí, estabelecer uma posição de leitura que prestigiasse a versatilidade do gênero biográfico e o interrogasse, especulando sua postura transgressora. O biógrafo pode assim ser visto como alguém que arromba a porta do quarto alheio, puxa gavetas, abre portas; desarruma móveis e roupas. O biógrafo pode também ser visto como alguém que, apesar de desordeiro, e por ter tirado as coisas do lugar, impôs-se limites.
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Lima, Angela Fernandes de. "RepresentaÃÃes do feminino em LaÃos de FamÃlia de Clarice Lispector". Universidade Federal do CearÃ, 2007. http://www.teses.ufc.br/tde_busca/arquivo.php?codArquivo=1194.
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nÃo hÃEste trabalho à o resultado de uma pesquisa que objetivou investigar as representaÃÃes do feminino, no livro LaÃos de FamÃlia (1960), da escritora Clarice Lispector. A partir da pesquisa bibliogrÃfica, registramos a histÃria social da mulher e da famÃlia e o percurso histÃrico das representaÃÃes do feminino na literatura, desde a antigÃidade atà os dias atuais, destacando na produÃÃo da escrita feminina contemporÃnea, no Brasil, a escritora Clarice Lispector e seu modo especial de elaboraÃÃo da linguagem, para mostrar a pertinÃncia de nosso trabalho: RepresentaÃÃes do feminino em LaÃos de FamÃlia, de Clarice Lispector, atravÃs da anÃlise dos seguintes contos:"A menor mulher do mundo", "Uma galinha", "A imitaÃÃo da rosa", "Devaneio e embriaguez de uma rapariga", "Os laÃos de famÃlia" e "Feliz aniversÃrio".
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Hahn, Sandra. "O texto concreto : a reescrita dos textos em Clarice Lispector". reponame:Repositório Institucional da UFSC, 1995. http://repositorio.ufsc.br/xmlui/handle/123456789/76199.
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Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicação e ExpressãoMade available in DSpace on 2012-10-16T08:11:54Z (GMT). No. of bitstreams: 0Bitstream added on 2016-01-08T20:05:54Z : No. of bitstreams: 1 103969.pdf: 7430288 bytes, checksum: 5532ce12c2976cfc3c782815454d1ce1 (MD5)
Neste trabalho eu investigo a reescrita dos textos: "A quinta história", "O ovo e a galinha", "Seco estudo de cavalos", "Relatório da coisa" e "Desespero e desenlace às três da tarde" e busco compreender como se estabelece o processo escritural, através da análise dos acréscimos e supressões realizadas por Clarice Lispector. O aspecto da fragmentação dos textos revelou o quanto a obra é a um só tempo, fragmentária e coesa. A noção de texto estabelecida a partir desta afirmação, demonstra um trabalho incessante em busca do estabelecimento de uma nova forma narrativa. A autonomia do fragmento mostra que o texto pode desvincular-se de um determinado contexto, criando então outro horizonte de leitura. A presença do grotesco em "Onde estivestes de noite" evidencia o caráter "realista" e o quanto realidade e ficção se encontram imbricadas, criando para o narrador a possibilidade de entrar e sair do espaço do real para o irreal, quebrando com o conceito de arte realista ou simbólica.
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Moreira, Moacyr Vergara de Godoy. "Linguagem e melancolia em \'Laços de Família\': histórias feitas de muitas histórias". Universidade de São Paulo, 2007. http://www.teses.usp.br/teses/disponiveis/8/8149/tde-03122007-101917/.
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O presente trabalho tem por objetivo analisar os contos do livro Laços de Família, de Clarice Lispector, partindo de um estudo da linguagem, nos textos, e de um olhar sobre o elemento melancólico, fator constitutivo das personagens. A partir deste levantamento, propomos uma análise através da sociologia da literatura, tendo como fundamentação teórica inicial textos de Theodor Adorno e Walter Benjamin, utilizando a riqueza do objeto para estudar a sociedade brasileira dos anos 1950-60. Através da obra de Lispector, surgem elementos fundamentais da sociedade, negligenciados pelo discurso hegemônico e pelos registros de historicidade mais convencionais, como o preconceito de raça e gênero, a submissão do país a ditames estrangeiros e as profundas desigualdades sociais que caracterizam o Brasil.The present study intends to analyze the short stories from the book Family Ties (Laços de Família), by Clarice Lispector, starting with a language analysis, in the texts, and a general view over the melancholic element, that is an important aspect of the characters construction. After that, an analysis based on literature sociology, including texts by Theodor Adorno and Walter Benjamin, to develop the argumentation, is performed, considering the richness of the studied object, to read Brazilian society in 1950-60. Throught Lispector\'s work, some fundamental social aspects, that had been neglected by hegemonic speech come forth, elements not considered by conventional historical reports, as gender and race prejudice, submission to foreign political influences and the deep social disparities that characterizes the country.
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Silva, Patricia de Souza Campos. "O texto e a nutrição : corpos que (se) comem em Clarice Lispector". reponame:Repositório Institucional da UFSC, 1997. http://repositorio.ufsc.br/xmlui/handle/123456789/77032.
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Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicação e ExpressãoMade available in DSpace on 2012-10-17T00:10:57Z (GMT). No. of bitstreams: 0Bitstream added on 2016-01-08T22:24:00Z : No. of bitstreams: 1 106769.pdf: 2419431 bytes, checksum: 268ad3b3b00588206281a000233086a4 (MD5)
Através de uma releitura que equaciona nutrição e literatura, e portanto interdisciplinar, de textos selecionados da obra de Clarice Lispector, esse trabalho tem por objetivo analisar as transformações dos alimentos em palavras e vice-versa, possibilitando assim a reconstrução de pontes culturais ao entrecruzar aspectos sociais, econômicos e históricos. A poética nutricionista que resulta da leitura amplia pois, a visão de uma e de outra disciplina como tal instituída : ao preencher as carências da nutrição propriamente dita, a literatura excede, através do texto clariceano, os limites de seu próprio corpo, desde a dobra (Deleuze) alimentar nos processos de transformação da matéria-mercadoria aos desdobramentos, deslocamentos, proliferação de sentidos. Da intercessão entre corpos recortados (muscular, erógeno e biológico) do diálogo fundamental estabelecido entre escritora e mundo, a textura-matéria confunde-se à textura-sujeito da escritura. Estes corpos, elos operativos, sensuais e físicos, facilitam tanto o entendimento das passagens modernas e expressivas da cultura como os processos incorporativos da palavra alimento na formação de corpos que (se) comem.
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Rolfini, Ulisses Santos. "Um repertorio real e imperial para os clarins : resgate para a historia do trompete no Brasil". [s.n.], 2009. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284090.
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Orientador: Edmundo Pacheco HoraDissertação (mestrado) - Universidade Estadual de Campinas, Instituto Artes
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Resumo: Esta dissertação tem como tema principal a presença do Clarim no Brasil e enfatiza a utilização deste instrumento musical na Capela Real e Imperial do Rio de Janeiro no início do século XIX. De acordo com nossas pesquisas, clarim foi um dos nomes utilizados no decorrer da história brasileira para se referir ao trompete natural. Neste trabalho apresentamos as informações mais antigas, encontradas até o presente momento, que possuem ligação com o trompete em território nacional, ou seja, coletamos dados referentes ao período que corresponde desde a "descoberta do país" até o início da utilização do trompete cromático, ocorrida aproximadamente em meados do século em questão. Inicialmente, demonstramos uma contextualização histórica sobre o trompete de uma maneira geral, destacando aspectos como suas possíveis origens e seu desenvolvimento até a introdução das válvulas, além de evidenciar dados recentes sobre a pesquisa de reconstrução dos trompetes históricos empregados na prática musical historicamente orientada. Em seguida, relacionamos os primeiros povos que tiveram vínculo de qualquer natureza com o trompete natural já em território pertencente ao Brasil, ressaltando ainda o uso deste instrumento na região Nordeste, em Minas Gerais e, sobremaneira, no Rio de Janeiro do século XIX, mais especificamente na Capela Real e Imperial. Acerca desta época, na qual a corte portuguesa chegou ao continente americano, abordamos assuntos como: o reflexo da prática musical européia em nosso país; o repertório interpretado pelo clarim e possibilidades interpretativas para o mesmo - exemplificado por partituras manuscritas pertencentes ao Acervo do Cabido Metropolitano do Rio de Janeiro dentre outros documentos -; além de organizar, por meio de bibliografia condizente ao tema, informações biográficas de intérpretes de trompete que atuaram na Capela ou mesmo no Rio de Janeiro durante este século.
Abstract: This dissertation has as its main theme the presence of the "Clarim" in Brazil and it uses as a musical instrument in the Royal and Imperial Chapel of Rio de Janeiro in the beginning of the nineteenth century. According to our research, in the course of Brazilian history "clarim" was one of the names used to refer to the natural trumpet. In this work mention is made to extant information available on the presence of the trumpet in this country; data has been collected on its use from the earliest days of the nation to the middle of the 19thcentury which coincides with the appearance and use of the chromatic trumpet by the introduction of valves. Initially we demonstrate the historical contextualization of this instrument in a general way, investigating aspects about its possible origins and development to the time of the introduction of valves; research is also included on the reconstruction of the historical trumpet and its use in modern day performances. We have also investigated the earliest ethnic groups in this country that may have had involvement with the natural trumpet with special attention to its use in the Northeastern region and in the State of Minas Gerais, but most especially in the Royal and Imperial Chapel of Rio de Janeiro in the early Nineteenth Century. At this time upon the arrival of the Portuguese Court to the South American continent, questions are raised on subjects such as the influence and reflection of European musical practice of the time in Brazil; repertoire and performance possibilities of the clarim as exemplified by musical manuscripts belonging to the "Acervo do Cabido Metropolitano" of Rio de Janeiro. A thematic bibliography and biographical information on trumpet players active in the Chapel or in the city of Rio de Janeiro during the nineteenth century is also provided.
Mestrado
Praticas Interpretativas
Mestre em Música
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Lima, Angela Fernandes. "Representações do feminino em Laços de Família, de Clarice Lispector". http://www.teses.ufc.br, 2007. http://www.repositorio.ufc.br/handle/riufc/2809.
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LIMA, Angela Fernandes. Representações do feminino em Laços de Família, de Clarice Lispector. 2007.120 f. Dissertação (Mestrado em Letras) – Universidade Federal do Ceará, Departamento de Literatura, Programa de Pós-Graduação em Letras, Fortaleza-CE, 2007.Submitted by Liliane oliveira (morena.liliane@hotmail.com) on 2012-06-19T13:51:11Z No. of bitstreams: 1 2007_DIS_AFLIMA.pdf: 544088 bytes, checksum: 69cbcdde0281242c62268850e3841a52 (MD5)
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Este trabalho é o resultado de uma pesquisa que objetivou investigar as representações do feminino, no livro Laços de Família (1960), da escritora Clarice Lispector. A partir da pesquisa bibliográfica, registramos a história social da mulher e da família e o percurso histórico das representações do feminino na literatura, desde a antigüidade até os dias atuais, destacando na produção da escrita feminina contemporânea, no Brasil, a escritora Clarice Lispector e seu modo especial de elaboração da linguagem, para mostrar a pertinência de nosso trabalho: Representações do feminino em Laços de Família, de Clarice Lispector, através da análise dos seguintes contos:"A menor mulher do mundo", "Uma galinha", "A imitação da rosa", "Devaneio e embriaguez de uma rapariga", "Os laços de família" e "Feliz aniversário".
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Correia, Alda Maria. ""A quarta dimensão do instante" : estudo comparativo da epifania nos contos de Virginia Woolf, Katherine Mansfield e Clarice Lispector". Doctoral thesis, Universidade Nova de Lisboa, Faculdade de Ciências Sociais e Humanas, 1998. http://hdl.handle.net/10362/5922.
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Dissertação de Doutoramento em Literatura ComparadaO objectivo do trabalho é comparar e aproximar os contos de Virginia Woolf, Katherine Mansfield e Clarice Lispector em que a epifania é utilizada como elemento, de um modo ou de outro, determinante na estrutura da narrativa. Este confronto de textos procura provar, tendo em conta a epifania como conteúdo temático e como técnica formal, que esta é um elemento polarizador das ambiguidades modernistas, do conflito de vozes e da dissonância, concretizadas de formas semelhantes e diferentes nos contos de cada uma das escritoras. Depois de uma breve introdução (capítulo I) que explica os objectivos, os critérios usados e faz um ponto da situação bibliográfica em relação às autoras, o segundo capítulo contextualiza e enquadra a problemática da epifania tendo como ponto de partida o debate sobre a definição e caracterização do conto e o enraízamento da técnica da epifania na complexidade da estética modernista. O terceiro capítulo mostra a evolução do conceito de epifania no seu sentido secular e particularmente no sentido literário, enfatizado a partir das afirmações de James Joyce, que chama a atenção para os seus tipos e para a sua utilização pelo escritor. Recorda-se também as formas de que o conceito se revestiu nos autores que o utilizaram de modo mais significativo. O quarto capítulo contextualiza a epifania biográfica e literariamente na obra de cada escritora, tendo em conta as respectivas influências e a relação de cada uma delas com o acto de escrever. Este constitui uma busca constante num percurso individual e próprio em que o momento epifânico surge como o vislumbre fugaz, o sinal da existência de uma verdade mais abrangente a que se aspira. Assinala também as reacções de cada escritora ao contacto pessoal e/ou com a obra das outras duas. O quinto capítulo estuda os contos seleccionados, partindo dos princípios construtivos que emergem da organização de cada um deles e tendo sempre por centro focal a epifania. O sexto capítulo constitui a teorização conclusiva da análise anterior, procurando-se encontrar um equilíbrio entre o conceito estudado tanto no aspecto de conteúdo temático como no de técnica formal, o método comparativo, os textos já analisados e as características das obras como um todo. Chama-se a atenção para os muitos traços comuns presentes na diversidade de cada conto e cada epifania: a ambiguidade, a indefinição e mesmo a dualidade, o privilegiar de um discurso que reflecte as tensões interiores das personagens, a utilização, sob formas diferentes, do simbolismo, a concentração num fragmento de tempo e de espaço que, a partir do exterior, pode abrir caminhos novos nos universos de cada “eu”.
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Milan, Letícia Portella. "Lazer e sociabilidade da elite pelotense : os diários de Clarice Tavares Xavier". Universidade Federal de Pelotas, 2018. http://guaiaca.ufpel.edu.br:8080/handle/prefix/4172.
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Os diários se constituíram como modos típicos da escrita de si feminina. Desde que as mulheres conquistaram o direito à alfabetização, muitas utilizaram da prática da escrita como um instrumento para se colocar no mundo e construir a si. Nesta dissertação é feita uma investigação histórica sobre os espaços de lazer e sociabilidade da elite pelotense, através dos diários íntimos de Clarice Tavares Xavier. Foram acessados os arquivos pessoais de Clarice e utilizado como fonte principal esse material datado entre os anos de 1954 a 1956. Clarice Tavares Xavier era uma jovem pertencente a uma tradicional família gaúcha que, através do seu olhar, descreve o seu cotidiano e as diferentes impressões que tinha sobre os lugares que frequentava na cidade de Pelotas. Em conjunto com fotografias e relatos orais busca-se compreender como as moças de elite circulavam nos espaços sociais que Clarice aponta em suas narrativas. O e1studo procurou analisar as sociabilidades e lazeres dos espaços privados, instituições educacionais, associações recreativas e locais públicos da cidade sob a perspectiva de um olhar feminino. Conclui-se, assim, que a imagem de si criada nos diários pessoais de Clarice Tavares Xavier pode ser entendida (e comparada), a partir do contexto social e dos espaços de lazer ocupados e usufruídos por essa mesma elite. A condição social e as regras estruturais de conduta e comportamento reservados às mulheres abastadas causa, portanto, impacto perceptível num modo de escrita que se pretende privado e particular. Acredita-se que a imagem pessoal cunhada nos diários é um caminho historiográfico importante para que se compreenda os espaços de lazer de elite, mas também como se forma uma dialética entre a expressão pessoal e as estruturas externas, típicas de um gênero e de uma classe específica.
Personal journals were constituted as standard modes of “writing about the self” concerning women. Since women acquired the right to be alphabetised, many of them utilised writing as a tool to place themselves in the world and to build their selfimage. In this dissertation, we will conduct a historical investigation about spaces of leisure and sociability through the personal journals of Clarice Tavares Xavier. By accessing the personal archives of Clarice Tavares Xavier, we were able to utilise, as our main source, her journals, dated from 1954 to 1956. Clarice Tavares Xavier was a young woman who stemmed from a tradition southern family and, through her look onto the world, described her daily life and the different impressions that she had concerning places she circulated in Pelotas. Together with photographs and oral testimonies, we tried to understand how young elite women circulated in social spaces which Clarice described in her narratives. Our research sought to analise the leisure and sociabilities within private spaces, educational institutions, recreational associations and public urban spaces under the perspective of a female look. We conclude, then, that the self-image created in the personal journals of Clarice Tavares Xavier can be understood (and compared to) in relation to the social context and leisure spaces that were occupied and enjoyed by the elite of Pelotas. The social condition and the structural rules of behaviour that were reserved to wealthy women caused, therefore, a considerable impact on a mode of writing that pretended itself private and particular. We believe that the personal image inscribed in journals is a satisfactory historiographical path through which we can understand, in this case, not only leisure spaces of the elite, but also how a dialectical relation is formed between personal expression and external structures – structures common to a specific gender and a specific class.
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Marques, Nayara Cristina. "O humano, o real e o divino em A paixão segundo G.H., de Clarice Lispector : intertextualidade e paródia /". São José do Rio Preto, 2019. http://hdl.handle.net/11449/181213.
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Orientador: Arnaldo Franco JuniorBanca: Luciene Marie Pavanelo
Banca: Adriana Monteiro Piromali Guarizo
Resumo: A obra de Clarice Lispector apresenta uma permanente reflexão sobre temas relacionados à filosofia e ao misticismo, tais como a morte, a divindade, a natureza, etc. Em A Paixão segundo G.H. (1964), essas questões são problematizadas ao longo da narrativa e são ampliadas e dramatizadas por meio da linguagem (NUNES, 1989). A partir desses fatos, nossa dissertação tem como objetivo estudar como o romance, ao abordar e problematizar ideias filosóficas e místicas, parodia, de forma intertextual, textos de filosofia e ritos fundamentais para o pensamento e crenças Ocidentais. Para tanto, nos deteremos na análise intertextual do romance em comparação com a Alegoria da Caverna, de Platão e o ritual da comunhão cristã. Analisaremos de que modo as ideias relacionadas ao humano, ao real e ao divino apresentadas no texto de filosofia e no ritual religioso são ressignificados e invertidos pelo romance de Lispector. A fim de observar como estes conceitos aparecem nas narrativas a serem estudadas, serão utilizados como fundamentação teórica Ceia (1998), Coelho (2009) e Erculino (2004) tendo em vista os estudos da Alegoria de Platão; Girard (1990-2004) e Bittencourt (2012), que nos servirão de base para o desenvolvimento do capítulo sobre o ritual da comunhão cristã; Nunes (1989) e Pessanha (1989), os quais funcionam como embasamento teórico-crítico para a análise crítico-interpretativa da obra; e, por fim, Sá (1979-1983) e Dumas (2005), que nos servirão de base para o estudo sobre a...
Abstract: The work of Clarice Lispector presents a permanent reflection about themes related to philosophy and mysticism, such as death, divinity, nature, etc. In The Passion According G.H. (1964), these questions are problematized over the narrative and they are expanded and dramatized through language (NUNES, 1989). Light of these facts, our dissertation aims to study the novel, how the novel approaches and problematizes philosophical, mystics ideas and parodies, intertextually, philosophy texts and fundamentals rites for Occidental thoughts and believes. Therefore, we will focus our intertextual analysis on the novel in comparison with The Allegory of the Cave, from Plato and the holy Christian communion. We will analyze how the ideas related to human, real and divinity, presented in the philosophical text and the religious rite, are resignified and inverted by Lispector's novel. In order to observe how these concepts appear in the narratives we will study, we will utilize as a theoretical foundation Ceia (1998), Coelho (2009) and Erculino (2004), bearing in mind the studies about the Plato's Allegory; Girard (1990-2004) and Bittencout (2012), whose studies will serve as the theoretical basis for a critical interpretative analysis of the work; and, in conclusion, Sá (1979-1983) and Dumas (2005), serving as fundamental understanding about the intertextuality and parody in the novel The Passion According G.H., by Clarice Lispector
Mestre
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Dunlap, Heather K. "A Study of American Collecting Styles and Their Impact on American Museums: an Intimate View of the Havemeyer, Stein, Cone, and Phillips Collection". Kent State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=kent1342806081.
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Santos, Poliana dos. "Desordem e resistência no romance A Hora Da Estrela : uma leitura do Brasil em Clarice Lispector". Universidade Federal de Alagoas, 2009. http://repositorio.ufal.br/handle/riufal/459.
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Cette dissertation fait une analyse dialectique du Roman L heure de l étoile , ayant
pour objectif comprendre la façon par laquelle le plan esthétique du livre masque
une réalité brésilienne donnée. On a verifié que l oeuvre est mouvementée dans sa
totalité par l ambiguïté de temps et de discours multiples, et par une tension qui se
fonde dans l idée de l ordre et dans la construction du désordre. Ainsi, il est défendu
que l ambiguïté et les tensions, présentées dans le roman, représentent
artistiquement des péculiarités du Brésil du régime militaire. En raison de tout cela,
cette recherche se constitue à partir du concept de réduction structurelle, de
résistance et d inachevé.Fundação de Amparo a Pesquisa do Estado de Alagoas
Esta dissertação faz uma análise dialética do romance A hora da estrela e tem o objetivo de entender como o plano estético do livro mimetiza uma dada realidade brasileira. Verificamos que a obra é movida na sua totalidade pela ambiguidade de tempos e discursos múltiplos, e por uma tensão que se funda na ideia de ordem e na construção da desordem. Assim, tem-se defendido que a ambiguidade e as tensões, apresentadas no romance, representam artisticamente peculiaridades do Brasil do regime militar. Em face disso, esta pesquisa se constitui a partir do conceito de redução estrutural, de resistência e de inacabado.
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Mallea, Toledo Macarena. "Clarice Lispector cronista: autofiguración, estilo y tecnología en algunas crónicas publicadas en el Jornal do Brasil (1967-1973) / Macarena Mallea Toledo ; profesoras guía: Claudia Darrigrandi Navarro y Natalia Cisterna Jara. Clarice Lispector cronista: autofiguración, estilo y tecnología en algunas crónicas publicadas en el Jornal do Brasil (1967-1973)". Tesis, Universidad de Chile, 2018. http://repositorio.uchile.cl/handle/2250/171011.
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Tesis para optar al grado de Magíster en LiteraturaEl presente trabajo de investigación tiene por objeto estudiar y analizar una selección de 14 crónicas escritas por Clarice Lispector para el Jornal do Brasil, en tanto estas son representativas para la lectura de tres temas fundamentales en la propuesta cronística de la autora: (1) la ubicación del yo en el centro de sus textos en conjunto con la reflexión en torno al estilo que asume en el ejercicio de este género; (2) la representación de la máquina de escribir como una extensión del sujeto escritural; y (3) el espacio privado en tanto lugar propicio para su producción cronística. Desde mi lectura, se entiende que la autora propone un nuevo tipo de crónica que cruza estas tres áreas, que desarrollo en cada uno de los capítulos de esta tesis, y que la construyen en una escritora incómoda con el género y, en base a ello, en constante autofiguración.
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Machuca, Jaqueline Castilho. "O segredo de Macabéas = relações entre A hora da estrela, de Clarice Lispector, e o filme homônimo de Suzana Amaral". [s.n.], 2010. http://repositorio.unicamp.br/jspui/handle/REPOSIP/270319.
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Orientador: Suzi Frankl SperberDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
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Resumo: O trabalho aqui proposto aborda as relações existentes entre o romance A Hora da Estrela, publicado em 1977, por Clarice Lispector, e o filme homônimo de Suzana Amaral, lançado em 1985. Os elementos que estruturam a literatura e o cinema são diferentes e estabelecer parâmetros de comparação fez-se necessário. Assim, as análises aqui expostas estão centradas, sobretudo, no confronto entre a caracterização proposta para Macabéa no livro e no longa metragem. Para tanto, foram utilizadas diferentes correntes teóricas, que vão da teoria da literatura aos estudos sobre cinema. As especificidades de cada texto, livro e filme, ao mesmo tempo em que facilitam a pesquisa, já que os objetos de análise têm características próprias e podem, portanto, ser analisados separadamente, enredam-nos a possibilidades antes não pensadas, pois a transposição da história de Macabéa para o cinema suprime e insere elementos que devem ser confrontados: o texto de Suzana Amaral parece dizer a mesma coisa que o de Lispector, mas com recursos e linguagens diferentes. A supressão do narrador Rodrigo S.M., tão caro ao texto de Lispector, dá ao longa metragem maior destaque à sensibilidade da protagonista que, marcante no livro, é mesclada à tentativa de S.M. em comicizar e ridicularizar a heroína com o intuito de se afirmar dentro da sociedade. Rodrigo não existe no filme, fato que faz com que o texto de Suzana ganhe significações diferentes, pois a datilógrafa passa a ser vista através do olhar das demais personagens e não mais de um narrador. Mas é através do perfil sensível que Macabéa deve ser percebida, tanto em um texto quanto em outro, pois, no romance, a protagonista se desprende de S.M. através de pequenos luxos, pequenos prazeres, que são transpostos em grande número para o texto de Amaral. A emoção sentida por Macabéa em certas passagens ganha vida com a interpretação de Marcélia Cartaxo, que com poucas falas no filme, consegue traduzir para o cinema os sentimentos e as emoções de uma heroína, aparentemente calada por ser marginal, mas que na verdade usa a parcimônia como uma arma para enfrentar o sistema
Abstract: This essay shows the relations between the novel The Hour of the Star, published in 1977, by Clarice Lispector, and the movie, with the same title, directed by Suzana Amaral and released in 1985. The elements which structure literature and cinema are different , so it was necessary to establish parameters to compare them.. This way, the analysis exposed here is centered, specially, comparing Macabea's characterization in the novel and in the movie, as well. For that, were used many theoretical thoughts, which go from literature theory to cinema studies. The particularities of the both texts, novel and movie, when analyzed separately, can make the research easier, because the objects that are analyzed have own characteristics and may be studied with their specifies. In the other hand, the translation of Macabea's story to the cinema leave out and place elements which must be studied together with the both texts: Amaral film seems to say the same thing that Lispector's novel, but with different resources. The narrator suppression , so important to the novel, gives to the movie other focus, like Macabea's sensibility, which is presented in the book, but is mixed with Rodrigo S.M. tentative to ridicule the main character , narrator who aims to confirm himself inside the society. Rodrigo doesn't exist in the movie, that's why, Suzana's text wins different meanings, after all the dactylographer can be seen by the other characters and not anymore only by the narrator eyes. But, it is through the sensitive profile that Macabea can be seen : she has little luxuries, little pleasures, which are transported to Amaral's text. The emotion expressed by Macabea in the novel is in the movie with Marcelia Cartaxo interpretation, who has few speeches in the movie, but can translate to the film Macabea's feelings and emotions, apparently quiet because she is marginal, however she uses the silence to face up the society
Mestrado
Literatura e Outras Produções Culturais
Mestre em Teoria e História Literária
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Jara, Natalia. "Entre la casa y la ciudad: la representación de la experiencia del sujeto femenino en los espacios público y privado en las novelas de mujeres latinoamericanas de la primera mitad del siglo XX". Tesis, Universidad de Chile, 2009. http://www.repositorio.uchile.cl/handle/2250/108568.
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Reyes, Josmar de Oliveira. "Le film comme lecteur du texte littéraire : L'Heure de l'étoile et Les Nuits du sertão". Paris 3, 2008. http://www.theses.fr/2008PA030055.
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Il s´agit d´une réflexion sur l´adaptation littéraire qui amène à penser différemment le phénomène sémio-narratologique transformationnel du passage du littéraire vers le filmique. Qu´est-ce que l´adaptation? Pourquoi le besoin de transformer un texte? Comment s´opère-t-il cette transformation, ce passage d´un médium à l´autre? Comment peut-on aborder la problématique de la transformation? Où et quand opère-t-il dans ses reconstructions, comment retravaille-t-il le matériau qu'il emprunte? Quel en est le résultat? Quelle en est la signification? Pour répondre à toutes ces questions, on a fait appel aux différentes théories du texte telles que le dialogisme, la réception textuelle, l´herméneutique, l´intertextualité, la lecture, la réécriture, la traduction etc. Pour répondre à la question de comment cette transformation s´effectue, c´est-à-dire dans une perspective analytique sémio-narratologique, on a choisi deux films brésiliens des années 80 (L`Heure de l´Étoile de Susana Amaral et Les Nuits du Sertão de Carlos Alberto Prates Correa) dont le point de départ explicite est un texte narratif littéraire, également d´auteurs brésiliens: Clarice Lispector et João Guimarães Rosa. Cette analyse a permit d´observer d´une façon plus aigüe la pertinence de diverses distinctions théoriques vis-à-vis de ce phénomèneThis work is a reflexion on the literary adaptation. It brings to think differently the phenomenon semio-narratologic of the passage from the literary form towards the filmic one. What`s the adaptation? Why the need to transform a text? How does this transformation take place, this passage from one medium to another? How we can approach the problems of the transformation? Where and when does this text operate in these reconstructions, how does it rewrite the material it borrows? Which is the result? Which is the significance? To answer all these questions, we studied the various theories of the text such as the dialogism, the textual reception, the hermeneutics, the intertextuality, the reading, the rewriting, translation etc. To answer the question of how this transformation is carried out, i. E. From the semio-narratologic analytical point of view, we chose two Brazilian films of the Eighties (Susana Amaral´s L`Heure de l´Étoile and Carlos Alberto Prates Correa`s Les Nuits du Sertão) adaptaded from a literary narrative text, also of Brazilian authors: Clarice Lispector and João Guimarães Rosa. This analysis allowed to observe in an acuter way the relevance of various theories concerning this phenomenon
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"Adding to the Bass Clarinet Repertoire Through Informed Transcription". Doctoral diss., 2020. http://hdl.handle.net/2286/R.I.63042.
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abstract: The bass clarinet, developed almost a century after the soprano clarinet, isrelatively young compared to many modern instruments and consequently possesses a
comparatively small repertoire. Until the mid-20th century, composers did not view the
bass clarinet as a solo instrument and instead perceived it as cumbersome due to its low
pitch and predominant use as an accompaniment instrument, resulting in a dearth of solo
repertory for the bass clarinet before this time. Bass clarinetists desiring to perform
repertoire from the Baroque, Classical, and Romantic periods must then appropriate
music from other instruments. Through this study, I identify and detail a process for
creating informed transcriptions of music for the bass clarinet to increase its body of solo
and chamber literature. I examine the original scores and existing transcriptions of
Concerto in C minor by Henri Casadesus (attributed to Johann Christian Bach) for cello,
Bassoon Concerto Op. 75 by Carl Maria von Weber, Trios, Hob. IV:1-4 “London Trios”
by Joseph Haydn, Kol Nidrei, Op. 47 by Max Bruch, and Clarinet Concerto in A Major,
K. 622 by Wolfgang Amadeus Mozart to identify methods for the transcription process. I
compare this to the transcription process for other instruments through examination of the
Clarinet Sonatas, Op. 120, Nos. 1 and 2 by Johannes Brahms, which were transcribed
from clarinet to viola by the composer himself. In this document, I discuss the historical
background of the selected pieces, the selection process, editing considerations,
performance practice, and the usage of transcriptions as a pedagogical tool. Although
transcriptions for the bass clarinet already exist, appropriation of music from other
instruments will continue to supplement and diversify its repertoire. These pieces serve to
develop important technical and musical skills and allow the bass clarinetist to play
music across various style periods. In this project, I select and transcribe three pieces for
the bass clarinet: Sonata for Cello No. 1 in F Major by Benedetto Marcello, Grand
Concerto for Bassoon and Orchestra by Johann Nepomuk Hummel, and Serenade in F
minor, Op. 73, by Robert Kahn. The transcribed scores are included in the appendices of
this document.Dissertation/Thesis
Doctoral Dissertation Music 2020
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"Morton Feldman's clarinet works: A study through the words of the note man". Thesis, 2010. http://hdl.handle.net/1911/62094.
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Morton Feldman's writings, lectures, and interviews reveal a unified and consistent compositional drive towards a static musical rhetoric, or, to use his term, Time Undisturbed. Essential to his outlook was the notion of orchestration as the primary compositional determinant: Feldman's starting point was not a theme in the conventional sense, but the sound of a particular instrument playing a particular note. His works for clarinet--- Two Pieces for Clarinet and String Quartet (1961), Three Clarinets, Cello, and Piano (1971), Bass Clarinet and Percussion (1981), and Clarinet and String Quartet (1983) cover the major periods of Feldman's career. As such, they are touchstone works for studying the evolution of Feldman's methods; because they share the clarinet in common, they provide an ideal means for studying Feldman's abiding pre-occupation with timbre as his primary material. Feldman's unique notational styles vary considerably from piece to piece, but he strategically orients each in such a way as to pursue his fundamental goal of Time Undisturbed. Feldman is the rare composer where verbal intention and musical means form an unshakable and poetic bond. Drawing on Feldman's writings and close analyses of the scores, this paper will demonstrate how all of these works reflect Feldman's central concerns, drawing on the potentials of their respective orchestrations to articulate Feldman's unique musical vision.
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Coburn, Robert. "Time's shadow for clarinet and ensemble, and, Object and shadow as visual/spatial schemata in the composition of Time's shadow". Thesis, 1995. http://hdl.handle.net/1828/5965.
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"Feminist vision: Visual art, the act of writing, and the female body in the novels of Clarice Lispector, Lya Luft, and Diamela Eltit". Tulane University, 2007.
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Feminist Vision: Visual Art, the Act of Writing, and the Female Body in the Novels of Clarice Lispector, Lya Luft, and Diamela Eltit analyzes the metaphor of the female body as enclosed space, the themes of gender, writing, and language, and how these themes and metaphors relate to representations of figurative visual art that appear or are described within the novels. Chapter 1 ('O Corpo Quarto Corpus: Clarice Lispector, Lya Luft, and Diamela Eltit on the Body, Gender, and Writing') considers the use of the female body as architectural space in the three authors' novels and the how each author approaches the theme of meta-writing, by looking at both characters who write and also characters whose bodies serve as text and/or the ground or space of writing. Throughout, I refer to and critique various theories concerning sex, gender, and the body as they relate or conflict with Luft, Eltit, and Lispector's projects. The subsequent three chapters (Chapter 2: 'The Writer as Visual Artist: Text and Graphism in Clarice Lispector's A Paixao Segundo G.H.'; Chapter 3: ''Copia de um Original que Ninguem Conhecia': A 'German' Painting in Luft's O Quarto Fechado'; and Chapter 4: 'Acciones de Arte' in the Public Square: Documenting and Fictionalizing State Violence in Diamela Eltit's Lumperica') analyze Lispector, Luft, and Eltit's representations of figurative visual art within the work of fiction. The critical readings of visual artwork that Lispector, Luft, and Eltit carry out in their novels present the body on both linguistic and visual levels, and as both subject and object of the gaze. This space that the characters inhabit, as well as the pictorial space of the works of art in the novels can be read as a philosophical, psychological, and social or public space. The interaction between the protagonists and the works of art provides a vision of the three authors' cultural critique of the Brazilian and Chilean societies from which they writeacase@tulane.edu