Dissertations / Theses: 'Discours muséal'

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Kramer, Emily Hope. "Musical Discourse Coherence." Bowling Green State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1336857806.

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Davies, Alison. "Conceptions of 'talent' in official and student discourses within a music conservatoire : a critical discourse analysis." Thesis, Birmingham City University, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.272089.

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Shcherbina, Ekaterina. "Le discours économique à propos des musées : l'évènement de la création du musée "Louvre Abou Dhabi" dans les médias généralistes." Lyon, Ecole normale supérieure, 2010. http://www.theses.fr/2010ENSL0084.

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De façon générale, dans la société française contemporaine on constate que des domaines jusqu’à présent non-marchands dont les conceptions échappaient à une remise en cause se raréfient sans cesse. On observe ainsi la multiplication des réformes touchant les champs de l’éducation, de la famille, de la santé et singulièrement de la culture dans ses diverses composantes. Les musées n’échappent pas à cette tendance. En effet, au cours des quarante dernières années, ils ont connu un développement et une modernisation considérables. Cette évolution se traduit par l’émergence de nouvelles pratiques directement issues de l’expérience acquise dans les secteurs industriels et commerciaux classiques et qu’il s’agit d’adapter à de nouvelles tâches. Ainsi, à l’heure de ces multiples changements, l’idée de départ de recherche est basée sur l’interrogation : de quelle manière l’économie est-elle entrée dans le monde des musées ? La cristallisation de ces transformations peut être obtenue avec l’analyse d’un événement particulier dans le domaine muséal. Les discours médiatiques peuvent jouer un rôle important dans la construction d’un tel événement. Le travail de recherche effectué porte sur un corpus d’articles de la presse généraliste consacrés à la création du musée « Louvre Abou Dhabi » ainsi qu’à la polémique autour de ce projet afin de répondre à cette question
In general terms, a diminishment of hitherto non-commercial domains, the conception of which was so far not questioned can be observed in the contemporary French society. Thus a multiplication of reforms of the areas of education, the familial cell, health and particularly culture and its various components can be witnessed. Museums don’t escape this trend. As a matter of fact, they have known considerable developments and modernizations throughout the past forty years. This evolution is characterised by the recourse to experience acquired in traditionally industrial and commercial areas that have been converted to new functions. At a time of numerous changes, the starting point of the research therefore is the interrogation: how did the economy enter the realm of museums? The crystallisation of the changes can be obtained through the analysis of the particular event from the world of museums. The discourse of the medias can play a significant role in the construction of such an event. Hence the research was carried out on a corpus of articles of the general press dedicated to the creation of the museum “Louvre Abu Dhabi” as well as the polemic surrounding the project to respond to above mentioned interrogation

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Gentry, Jonathan C. "Memory and hypnotism in Wagner's musical discourse." PDXScholar, 2007. https://pdxscholar.library.pdx.edu/open_access_etds/3660.

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A rich relationship unites the composer Richard Wagner (1813-1883) and the history of psychology, especially if one considers his attempt to make music speak with the clarity of verbal language. Wagner's musical discourse participated in the development of psychology in the nineteenth century in three distinct areas. First, Wagner shared in the non-reductive materialist discourse on mind that characterized many of the thinkers who made psychology into an autonomous intellectual pursuit. Second, Wagner's theories and theatrical productions directly influenced two important psychologists - Friedrich Nietzsche (1844-1900) and Christian von Ehrenfels (1859-1932). Finally, the experiences of music achieved by Wagner at his Bayreuth festivals created greater sensitivity toward psychology, especially among the more sympathetic participants. In tracing a narrative from Wagner's first conception of a festival in 1849 to the premiere of Parsifal in 1882, one can also see several arcs in the evolution of Wagner's musical discourse. These include the shift from mnemonic to hypnotic techniques for giving music a voice, as well as the transition from a socially critical festival to one of personal affirmation. Connected to both of these augmentations of musical discourse was the volatile relationship between music and text in Wagner's compositions. Important in facilitating these transformations was not only Wagner's discovery of Schopenhauer's philosophy, but also the larger contingencies of instituting a festival in the Griinderzeit. In looking at the reception side of theatrical productions, in addition to their staging, this thesis has been able to identify psychologically-related links important to the history of music, science, and culture.

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Lemos, Maya Suemi. "Du discours moral au discours musical : le thème de la vanité dans la musique italienne post-tridentine." Paris 4, 2006. http://www.theses.fr/2006PA040103.

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Le thème de la vanité est sous-jacent à toute l’épistémè des XVIe et XVIIe siècles : véritable discours sur la fugacité de la vie, sur le caractère éphémère et vain de toute chose terrestre, il affecte alors tous les domaines représentatifs – les arts plastiques, la littérature, mais aussi la musique. En effet, les représentations musicales du thème de la vanité foisonnent dans l’Italie post-tridentine, où elles nous apparaissent comme une catégorie à part entière à l’intérieur de l’ensemble de la musique dévotionnelle. S’appropriant à peu près tous les genres musicaux en usage – des genres sacrés aux genres profanes, des genres sérieux et savants aux formes légères –, elles se déclinent en des modalités discursives et opératoires diverses. Cette variété témoigne de la nécessité d’étendre le discours moral qu’elles portent à tous les secteurs sociaux : les Vanités, fussent-elles picturales, littéraires ou musicales, semblent matérialiser, dans leur condensé de significations, le code moral de l’époque. Donnant forme à celui-là elles l’affirment et le diffusent, sans doute, ne contribuant pas moins, pourtant, à l’abolir
The theme of vanity underlies the entire episteme of the sixteenth and seventeenth centuries: veritable discourse on the transience of life, on the ephemeral and vain character of all earthly things, it affects all the domains of artistic expression - literature, the visual arts, but also music. The musical representations on the theme of vanity abound in Post-Tridentine Italy, where they constitute an autonomous category within the ensemble of devotional music. Through the appropriation of almost every musical genre of the time - the sacred and the secular, the serious and learned but also the lighter forms - they take various discursive and operational paths. This variety testifies of the necessity to extend the moral discourse to all parts of society: the Vanities - be they pictorial, literal or musical - seem to materialize, in their condensation of meaning, the moral code of the time. Giving form to it, they affirm it and spread it, but can't, nevertheless, avoid to exhaust it

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Rodrigues, Dias de Camargo Joandre. "Analyse du discours musical d’Antônio Carlos Jobim : les spécificités d’une modernité." Thesis, Toulouse 2, 2012. http://www.theses.fr/2012TOU20129/document.

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Notre sujet de recherche est le compositeur brésilien Antônio Carlos Jobim. Il est né à Rio de Janeiro dans les années 1920, époque de grandes transformations socioculturelles au Brésil, mais aussi en Europe. Il est un compositeur issu de la musique populaire brésilienne, qui sera l’un de principaux acteurs responsables de transformations de cette musique. Son essence est sa caractéristique savante/populaire qui s’illustre symboliquement dans le concept de « l’anthropophagie ». Notre problématique est liée à la «modernité » dont fait partie Jobim, et à ses effets sur la musique populaire. C’est pourquoi nous avons analysé des compositions et des arrangements de Jobim, ce qui nous a servi à élucider son style, tout comme les diverses influences qu’il a reçues. En tant que compositeur et auteur, nous avons choisi une optique interdisciplinaire pour analyser son langage et son discours musical. Les principales sources d’intérêt de cette recherche sont d’abord, qu’elle traite de la musique savante européenne et brésilienne de la fin du 19e et du début du 20e siècle, de certaines musiques populaires, et de la façon dont elles s’incorporent dans la musique « moderne » brésilienne de Jobim. En effet, le manque de travaux universitaires sur le sujet, en tous cas dans cette optique musicologique, a motivé notre recherche. D’autre part, l’impact de ce compositeur à l’échelle internationale est important car, au-delà de synthétiser une partie de la musique populaire à travers son langage, il va s’inscrire comme un compositeur charnière qui aura marqué son époque
The subject of my research pertains to the Brazilian composer Antônio Carlos Jobim. As composer and author, I have chosen an interdisciplinary approach, between music and musicology. There is an analysis of his musical language and his musical speech. He was born in Rio de Janeiro in the 1920s, during the period of the big cultural transformations in Brazil, and also in Europe. The main issue is connected to the brazilian popular music and the "modernity" of which Jobim is a representative. He is a composer bound to the brazilian popular music, and will be one of the main actors responsible for the profound evolutionary transformations of this music. My topic is connected with modernity, a specific feature of Jobim, and its impact over popular music. I have therefore analysed Jobim original themes, as well as its arrangements. From this, we have been able to characterize its style, and its influences. I have also chosen an interdisciplinary approach to analyse its musical language. The main interest of this research is that it deals with the erudite music from Europe and Brazil at the end of 19th century and beginning of 20th century, with some popular music and the way that they get intertwined. Indeed, the lack of university research work in this direction has motivated my research. Eventually, this musician appears as a key composer of its time, with a large international impact, in addition to his large synthesis capacity

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Melani, Pascale. "Les oeuvres d'A. S. Pouchkine dans les opéras de P. I. Tchai͏̈kovski : adaptation dramaturgique, discours poétique et discours musical." Lille 3, 1998. http://www.theses.fr/1998LIL30015.

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Par trois fois (Eugène Onéguine, Mazepa, la Dame de pique), Tchai͏̈kovski s'est inspiré des oeuvres de Pouchkine pour écrire des oopéras qui marquent un renouvellement sensible de la thématique du théâtre lyrique russe. Afin de transformer ces oeuvres en llivrets, Tchäikovski a procédé à un montage des textes originaux, ajoutant des intrigues secondaires et récrivant les sujets sous l'influence de sa propre culture littéraire. Adaptés par Tchai͏̈kovski, les sujets de Pouchkine ont subi des transformations diverses. Glissements stylistiques liés au passage d'un contexte narratif à un contexte scénique, à l'évolution de l'esthétique littéraire prédominante, à la rhétorique propre au genre opéra. Si l'agencement général des fables respecte l'esthétique traditionnelle de l'opéra italien, la fidélité au texte pouchkinien conduit parfois Tchai͏̈kovski à dépasser l'opposition entre air et récitatif. Les personnages ont été réinterprétés par Tchai͏̈kokvski de façon personnelle, mais aussi en fonction de codes spécifiques au genre opéra. Enfin, Tchai͏̈kovski développe un mode de narration duel, combinant les effets de rapprochement et de distanciation par rapport à la sphère subjective des personnages. Envisagée sur le plan sonore, la confrontation entre les oeuvres originales et leur adaptation à l'opéra démontre que, tout en préservant l'autonomie du chant, la réalisation musicale entre rarement en conflit avec le texte poétique dont elle met en relief le sens par des procédés spécifiques

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Berlinghi, Francescu. "Le discours musical populaire de l'île de Corse : pour une philologie musicologique." Corte, 2010. http://www.theses.fr/2010CORT0026.

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Muir, Pauline E. "Sounds mega : musical discourse in Black majority churches in London." Thesis, Birkbeck (University of London), 2018. http://bbktheses.da.ulcc.ac.uk/363/.

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This thesis explores congregational singing through the lens of the local and global in Black Majority Churches (BMCs) in the Royal London Borough of Greenwich, UK. The phenomenal growth of modern-day Pentecostalism is its ability to negotiate the local and the global, and a number of scholars agree that up-tempo, lively music is integral to the Black religious experience. However, there is a paucity of literature in the UK that analyses this area in a detailed and systematic manner. Methodologically, Nattiez's model of musical discourse is employed within a framework of critical discourse analysis to interrogate his 'esthesic', 'immanent' and 'poietic' elements, - that is the experience by the receivers, the music itself and the perspective of the producers - at New Wine Church, (NWC), Woolwich as the primary case study. The perspective of a multimodal analysis has uncovered multiple meaning-making processes within the context of a neo- Pentecostal megachurch with an emphasis on prosperity gospel. Firstly, the esthesic perspective found that the songs popular in the global Christian music industry fulfilled their role as Pentecostal liturgy, whilst simultaneously supporting and reinforcing the tenets of a prosperity gospel. Secondly, the immanent (musicological) analysis revealed simple, easy songs that had been altered through a process of African American 'Blackenizing'. Thirdly, the poietic, from the point of view of the producers, told the story of music in the church, signalling a shift in the musical identity. Further fieldwork confirmed the findings at NWC and similar processes in regard to an undermining and a silencing of African and Caribbean musical identities. The research concludes that the global Christian music industry and its supporting systems are not reflective of UK BMC congregations although these sounds dominated both the large and small churches in the research. These findings make problematic an understanding of the local and the global in congregational singing in BMCs and the privileging of white music forms with its concomitant economic benefits.

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Kanno, Mieko. "Timbre as discourse : contemporary performance practice on the violin." Thesis, University of York, 2001. http://etheses.whiterose.ac.uk/2512/.

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Grosjean, Lætitia. "Un musée des autres ? Discours de l'institution et co-constructions médiatiques." Thesis, Besançon, 2016. http://www.theses.fr/2016BESA1002.

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La thèse porte sur le discours institutionnel du Musée du Quai Branly (MQB) sous deux angles : la mise en oeuvre de l'interdisciplinarité déclarée entre anthropologie et histoire de l'art, et la manière dont le musée se propose d'être un lieu « où dialoguent les cultures », selon sa devise. La construction et la circulation du sens sont étudiées d’une part, en retraçant l’élaboration progressive du concept muséal à travers l'analyse de l’interaction entre les discours des acteurs institutionnels et les discours sociaux dans la presse (1996-2006) ; d’autre part, en travaillant sur le processus de médiation et de médiatisation des productions culturelles du MQB après son ouverture (2006-2013).La démarche proposée est une lecture-analyse socio-sémiotique de la communication muséale qui s’attache aux représentations de l’altérité, en s’appuyant sur une topique sociale du sens commun et une théorisation de la trivialité culturelle. Les méthodologies sont adaptées aux corpus complémentaires convoqués. Ainsi, un corpus de presse quotidienne (1996-2006) est étudié en analyse du discours au sein d'un moment discursif organisé dans un dispositif événementiel, des titres d'expositions temporaires (2006-2013) par une analyse inspirée de la sémantique interprétative, des affiches d'expositions (2006-2013) à partir d'une sémiotique visuelle ; enfin, cinq expositions temporaires (2011-2013) sont analysées en tant que discours expographiques mis en relation avec une circulation de textes (dossiers et communiqués de presse, pages du site internet, catalogues d'exposition et presse culturelle).La thèse identifie un processus d’idéologisation ; entre l'affirmation publique de son ethos préalable et son ethos en action, le MQB privilégie la reconnaissance esthétique de l’altérité ; c’est un musée du Nous qui met en scène les Autres, et qui sert d'outil de promotion de l'art
The thesis focuses on the institutional discourse of the Quai Branly Museum (MQB) from two perspectives: the implementation of a declared interdisciplinarity between anthropology and art history, and the museum’s intention to be a place "where cultures dialogue", as its slogan has it. The study of the construction and circulation of meaning takes two forms: (1) an observation of the gradual development of the concept behind the museum, through analysis of the interaction between the discourse of institutional actors and the social discourses in the media (1996-2006); (2) a study of the mediation process and media coverage of MQB’s cultural productions after its opening (2006-2013). The proposed approach is a socio-semiotic reading-analysis of museum communication that looks into representations of otherness through the prisms of the social topos of common sense and a theorization of cultural triviality. The methodologies are adapted to the complementary corpora investigated. Thus, a daily news corpus (1996-2006) is studied using discourse analysis as a discursive moment contained in an event-type framework, titles of temporary exhibitions (2006-2013) by an analysis inspired by interpretative semantics, exhibition posters (2006-2013) by a visual semiotic, and finally, five exhibitions (2011-2013) are analyzed as expographic discourse linked to text circulation (press kits and press releases, website pages, exhibition catalogs and cultural press). The thesis shows that from the public assertion of its declared ethos to its ethos in action, the MQB is a museum of "us" which stages Others, serving as a tool for the promotion of art

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Kopkas, Jeremy M. "Soundings: Musical Aesthetics in Music Education Discourse from 1907 to 1958." Digital Archive @ GSU, 2011. http://digitalarchive.gsu.edu/eps_diss/81.

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In this dissertation I examine the discourse of music educators as it relates to musical aesthetics in the United States from the creation of the Music Supervisors’ Conference in 1907 to the year of the publication of Basic Concepts of Music Education: The Fifty-Seventh Yearbook of the National Society for the Study of Education, Part 1 in 1958. The purpose of this dissertation is to show that philosophical discussion, especially in relation to musical aesthetics, was much more comprehensive than previously acknowledged. The conventional view that the arguments supporting music education were primarily utilitarian is a limited interpretation of the discourse prior to 1958. In actuality, arguments about music extended beyond its practical social, economic, and political utility. Additional aesthetic theories guided the field and girded ideas of musical understanding and informed instruction. A better understanding of the discourse of this period contributes to more informed conversations about musical aesthetics and its relation to music education. Utilizing philosophical analysis and archival research, I argue in this dissertation that the philosophical discourse relating to musical aesthetics was rich, varied, insightful, and pervasive. The evidence in this dissertation refutes the standard interpretation which eschews the possibility of discourse on aesthetics taking place prior to 1958. I show that there was deeper philosophical analysis than what is currently acknowledged by those who presently make the claim that what was intended to happen generally in the field of music education and during instruction was solely guided by utilitarian philosophy. In other words, it expands the current understanding of philosophical discourse relating to musical aesthetics in music education before the Music Education as Aesthetic Education movement that is argued to begin with the publication of Basic Concepts.

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Langloÿs, Karine. "L'objet de musée entre nature et artifice, entre discours et visiteurs : l'artificialisation des objets de sciences naturelles et ses conséquences sur la médiation muséale." Paris, Muséum national d'histoire naturelle, 2005. http://www.theses.fr/2005MNHN0028.

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Tout spécimen de musée se situe en un point d'un espace d'authenticité, fonction des opérations appliquées depuis son prélèvement dans la nature jusqu'à sa présentation au public. Cet espace est défini par deux axes : la naturalité de l'objet et son réalisme. L'objet partiellement dénaturé, parfois artificialisé, est néanmoins investi par le concepteur d'exposition d'une fonction de médiation à l'intention des visiteurs. Ce travail aborde les questionnements préalables et les contraintes liées à l'artificiel, ainsi que ses avantages. Il montre que l'artificiel ne peut pas être utilisé sans précaution. Enfin, il souligne que même si l'artificialisation peut devenir un obstacle à la médiation, le formidable potentiel des artefacts ne doit pas être nié. Cette étude est utile aux concepteurs qui désirent donner une " vraie " place au " faux " dans leurs expositions. Elle permet de les guider dans le choix de l'objet muséologique adéquat, en harmonie avec le discours de l'exposition souhaité
Each exhibit is located in a space of authenticity. Its localization depends on the operations applied since the original sampling in the nature until the presentation to the public. Two axes define the space of authenticity: naturality and realism of the object. The object, partially denatured, sometimes artificialized, is nevertheless invested a function of mediation for the visitors. This work approaches preliminary questionings as well as constraints and advantages of the artificial. It shows that the artificial cannot be used without precaution. Moreover, even if artificialisation may add difficulties to the mediation purpose, the formidable potential of the artificial artefacts should not be denied. This study is useful for designers who wish to give a "true" place to the "false" in their exhibitions. It permits to help them to make the good choice in what concern the adequate artefact in harmony with the mediation purpose of the exhibition

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Hassid, Sarah. "L'imaginaire musical et la peinture en France entre 1791 et 1863 : mythes, pratiques et discours." Thesis, Paris 1, 2019. http://www.theses.fr/2019PA01H065.

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Durant une large première moitié du dix-neuvième siècle, la musique est érigée en modèle poétique et esthétique. Elle met les artistes au défi d’un idéal invisible, impalpable et éphémère. Du Sommeil d’Endymion de Girodet à la Jeune fille en blanc de Whistler, cette étude tente de comprendre l’origine, les raisons, ainsi que les modalités du dialogue qui s’est opéré, en France, entre un imaginaire sonore revivifié et le domaine pictural. Elle s’attache à en dégager les mythes fondateurs et les expressions concrètes au sein des œuvres, des pratiques et des discours. De Sainte Cécile au poète civilisateur et au musicien virtuose, l’art des sons est incarné par des figures inspirées ou possédées qui contribuent à modeler une nouvelle image de l’artiste. À mesure qu’elle s’affirme comme un phare au sein des Beaux-arts, la musique offre, de plus, des arguments originaux, en faveur d’une régulation ou, au contraire, d’une subversion des pratiques. Les modes d’appropriation qui naissent de ce nouveau paragone révèlent deux grandes tendances. Dès le début des années 1790, plusieurs artistes comme Valenciennes, David, Girodet ou encore Prud’hon s’emparent d’un idéal sonore mythique pour fonder une veine lyrique. Celle-ci se caractérise par des sujets sentimentaux, un essor du paysage, un culte voué à la manière vaporeuse du Corrège ou encore par la représentation de drames intériorisés. Une autre forme de musicalité picturale s’épanouit à partir des années 1820. Elle se traduit par une valorisation de la main du peintre, envisagée selon un rapport d’imitation et de rivalité avec celle du musicien. De Vernet à Ingres et à Delacroix, la “signature” de l’artiste s’exprime sur la toile, par le degré de fini de ses interprétations ou sa manière « symphonique » d’agencer les formes et les couleurs, indépendamment des contingences mimétiques. Absorbées, dès les années 1860, dans le giron baudelairien et wagnérien, cette passion artistique et les musicalités spéculatives qu’elle a générée semblent offrir, une fois mise au jour, un nouveau prisme pour ré-explorer le romantisme pictural et son historiographie
Throughout the first half of the 19th century, broadly-defined, music is instituted as a poetic and aesthetic model. Artists are challenged by its invisible, impalpable and ephemeral ideal. From The Sleep of Endymion by Girodet to The White Girl by Whistler, this thesis focuses on understanding the origins, the rationale as well as the different aspects of the dialogue that took place in France between a revivified musical imaginary and the field of painting. It aims at extracting its founding myths and its concrete manifestations in works, expressions, and discourses. From Saint Cecilia to the civilising poet to the musical virtuoso, the art of sounds is personified by inspirited or captivated figures who contribute to model a new image of the artist. Moreover, as it gradually becomes considered as a guiding light for the Fine arts, music offers original arguments in favour of regulating or, alternatively, subverting artistic techniques. The different modes of appropriation rising from this new paragone unveil two main tendencies. As early as the beginning of the 1790s, several artists like Valenciennes, David, Girodet or Prud'hon use a mythical ideal of music to lay the foundations for their lyricism. This lyricism is characterised by sentimental subject matters, an increase in landscape productions, a passion for Correggio’s misty manner or the representation of inner dramas. Another form of pictorial musicality arises from the 1820s onwards. It materialises through a positive re-evaluation of the painter's hand, either in emulation of or as a rival to the musician's. From Vernet to Ingres to Delacroix, the degree of finish of the artist’s interpretations or his “symphonic” manner to arrange shapes and colours, regardless of mimetic contingencies, express his “signature” on the canvas. Absorbed from the 1860s by the followers of Baudelaire and Wagner, this artistic passion and the speculative musicalities it generated seem to offer, once put to light, a new avenue to explore pictorial Romanticism and its historiography

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Rousselot, Mathias. "Le sens de la musique : Discours argumentatif sur les questions de sens et de signification en musique." Thesis, Aix-Marseille, 2013. http://www.theses.fr/2013AIXM3068.

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Notre étude prend l’allure d’un discours argumentatif sur les questions de sens et de signification en musique. Elle s’interroge dans une première partie sur le sens en général et sur la visée musicologique du sens : y a-t-il une réalité ontologique du sens ? Le sens est-il objet, qualité, propriété, état de choses, visée intentionnelle de la chose, etc.Dans une seconde partie, nous engageons une discussion sur la signification musicale et sur le rapport signification/sens en musique. Elle réactive de nombreuses problématiques de la musicologie : l’épineuse question du signe musical, la communication musicale, le langage musical, le rapport son musical/langage verbal — rapport essentiel, eu égard à l’inféodation de l’homme et de sa pensée au langage verbal. Dans une troisième partie, nous envisagerons le sens sous l’angle d’une trilogie, articulant les trois acceptions courantes du sens : la signification, la sensation et la direction. Nous y expliquons notamment ce que l’on peut entendre par « direction » ou « orientation » en musique. Cette partie décrit le processus sémiotique du son musical, et explique, à travers ce processus, la téléologie de la musique : quelle est sa finalité ? Quelle est sa raison d’être ? Quelle est sa fonction dans l’humanité ? Notre étude utilise la philosophie du sens et les théories du langage pour tenter, humblement, d’expliquer la scandaleuse disproportion entre la puissance à dire de la musique et l’inévidence foncière de ce qu’elle dit , disproportion en laquelle réside selon nous tout son mystère
Our study takes the form of an argumentative speech about the matters of sense and meaning in music. The study will firstly ponder about the Meaning in general and the musicological aim of the sense: Is there an ontological reality to the sense? Is the meaning an object, a quality, a property, a state of object; is it an intentional aim of the object, etc ?In a second part, we do launch a discussion about the musical meaning and about the sense/meaning relation in music. It restarts several musicology issues: the delicate question of the musical sign, musical communication, musical language, musical/verbal language relation –a crucial relationship, with regard to the indentureship of the human and his mind to the verbal language. In a third section, we will consider the sense as a trilogy which structures the three current senses of the word: meaning, feeling and direction. We will especially explain what can be implied by “direction” or “orientation” in music. This part describes the semiotics process of the musical sound, and explain through this process the teleology of music: What is its ambition? What is its reason of being? What is its function in humanity? Our study uses the philosophy of the sense and the language theories to make an, humble, attempt to explain the outrageous disproportion between music’s power of saying and basic non obviousness of it says, disproportion in which lies, according to us, all its mystery

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Kim, Hangyul. "L'usage des maîtres anciens dans le discours de l'art national en France, 1780-1850." Thesis, Paris 1, 2018. http://www.theses.fr/2018PA01H054.

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Ce travail étudie la place particulière accordée aux « maîtres anciens » dans la littérature artistique et les pratiques muséales depuis la Révolution jusqu’au milieu du XIXe siècle en France. Dès la fin de l’Ancien Régime, la définition des « maîtres anciens » connaît une transition progressive : des artistes de la Grèce antique aux fondateurs de l’École nationale. Par l’usage de leurs noms et de leurs vertus artistiques mais aussi morales, l’art national en France doit acquérir une notoriété digne d’une République nouvelle qui puisse rivaliser avec les autres écoles nationales prééminentes. Cette nouvelle prépondérance des maîtres anciens français doit répondre au souci républicain de l’instruction publique, en assurant la diffusion de la connaissance de l’histoire nationale et des qualités édifiantes par voie de la « vision » : leurs œuvres exposées dans des espaces ad hoc et leur image représentée dans la production artistique contemporaine en tant que grands hommes, héros et pères de la Nation. Les textes d’Alexandre Lenoir, d’Émeric-David et de La Décade ont été explorés dans cette optique, avant la considération de la disposition d’œuvres dans les musées et des catalogues, en particulier les Annales de Landon, et des créations artistiques dédiées à l’image des maîtres anciens. Redécouverts à dessein, les maîtres anciens contribuent à la construction d’une identité culturelle nationale et collective
This thesis problematises in historical context the identity of the ‘Old Masters’ in the literature on art and practices of museums in France from the time of the French Revolution until the mid-nineteenth century. Since the end of the Old Regime, the definition of the ‘Old Masters’ was transformed: a transition of principal elements, from the classical Greek artists to the founders of the National School, took place. This transition reflected the anxiety of the newborn French Republic facing an international rivalry in art history and myriad obstacles to its social and political goals. To meet the concerns of competition and emulation, the names as well as the artistic and moral qualities of ‘Masters’ were recognised, with emphasis, as being closely linked to public instruction and national history. The thesis analyses the texts and museum theories of Alexandre Lenoir and Toussaint-Bernard Émeric-David and the discussion of ‘Old Masters’ in the republican journal La Décade. Also analysed in this context are the displays of the Old Masters in the museums, catalogues (with a focus of Landon’s Annales) and works of art during the Revolution and the first half of the nineteenth century recreating the images of the Old Masters as national heroes or fathers of French art. This consciously performed reconstruction of the ‘Old Masters’ during the French Revolution made a crucial contribution to the formation of the cultural identity of France

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Robichaud, Bianca. "Le groupe musical des Six, conséquences d'une identité nationale : (lien entre le discours politique de la droite nationaliste et le discours esthétique du Groupe des Six)." Paris, EHESS, 2005. http://www.theses.fr/2005EHES0133.

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Cette thèse tente de démontrer la corrélation des discours politique et esthétique en France à la suite de la défaite de Sedan et ce jusque dans les années vingt, et ainsi prouver que la formation du Groupe des Six au lendemain de la Première Guerre mondiale s'inscrit dans une suite logique de recherche d'une esthétique nationale. La naissance de cette formation musicale coïncide avec un moment crucial de l'histoire politique française et son discours esthétique semble justement parfois correspondre au discours politique de la droite nationaliste de l'époque. Le sentiment antigermanique est au plus fort et la défense de la culture nationale est une partie importante du discours esthétique de ce groupe musical. Considérant le contexte politique de l'époque et le discours de la droite nationaliste, il est important de nous demander si l'esthétique des Six a pu d'une certaine façon être influencée par le discours politique
This thesis tries to show the correlation of the political and esthetical discourse in France following the defeat of Sedan until the early Twenties, and thus to prove that the creation of the "Group des Six" shortly after the First World War, falls under a logical continuation of search for a national aesthetic. The birth of this musical formation coincides with one crucial moment of the French political history and its aesthetic discourse seems to correspond to the right-wing nationalist policy of the time. The antigermanic feeling is at the height and the defense of the national culture is a significant part of the aesthetic discourse of this musical group. Considering the political context of the time and the nationalist line speech, it is significant to ask us wether the aesthetic of the "Groupe des Six" could in a certain way be influenced by the political speech

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Dalzell, Victoria Marie. "Freedom, Margins and Music| Musical Discourses of Tharu Ethnicity in Nepal." Thesis, University of California, Riverside, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=3731835.

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The Tharu are reportedly the fourth largest minority group in Nepal. Yet despite their numerical strength, their social experience in modern Nepal largely consists of marginalization. A culturally and linguistically diverse people indigenous to the flat, southern Terai region of Nepal, the Tharu have claimed an ethnic group identity in the past sixty years in light of their shared geographic location and state exploitation, as well as the rise of ethnic politics in Nepal. I examine how performance practices and musical experiences are central to the Tharu’s group identity formation. First, I examine how the Tharu combat their social exploitation largely through musical means. I focus on the role of sociomusical practices in community ritual, its transformation through folkloricization, and extension as tools for activism. The cultural significance of these practices shift as the Tharu come into contact not only with Nepal’s changing political, social and economic scenes, but also paradigms of global indigenism and human rights. However, even as a marginalized people, the Tharu have their own internal politics. Second, I examine how musical practices are locations for productive friction within Tharu communities. Musical performances constitute intense community negotiation and contestation concerning Tharu womanhood and religious identity, and are places where the Tharu produce situated knowledge about development and modernity. While not ignoring political, historical, and global frameworks, my focus on sociomusical practices brings attention to how an ethnic identity is generated and embodied on a local level.

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Calcagno, Mauro P. "Staging musical discourses in seventeenth-century Venice : Francesco Cavalli's Eliogabalo (1667) /." Ann Arbor (Mich.) : UMI, 2005. http://catalogue.bnf.fr/ark:/12148/cb40050069g.

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Harper, Anne Elizabeth. "Musical expression and the social and political discourse of the Jacobean entertainments, 1603-1625 /." Title page, contents and summary only, 1994. http://web4.library.adelaide.edu.au/theses/09AR/09arh2935.pdf.

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21

Gohon, Kevin. "Critique du discours musical et émergence d’une pensée « mixte » dans les œuvres électroacoustiques de Pierre Boulez et Luigi Nono." Thesis, Rennes 2, 2018. http://www.theses.fr/2018REN20056.

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Alors qu’il est interrogé sur la nature fragmentaire de l’écriture se faisant jour dans ses dernières œuvres, Luigi Nono affirme : « la logique du discours est pour moi quelque chose de terrifiant. » En signifiant ainsi son opposition au discours musical, le compositeur italien ne revendique pas seulement le refus du principe de déduction et l’univocité du développement : c’est le fondement même de l’expression musicale occidentale qu’il considère comme caduc. Car la musique écrite appartient aux disciplines du logos, domaine de la pensée et de sa loi d’intelligibilité auquel elle a longtemps été inféodée, même lorsque ses théoriciens ont revendiqué son autonomie. Aussi, la notion de discours musical se rapporte à un modèle de raisonnement hérité de la pensée syllogistique issue de la rhétorique aristotélicienne. Décliné au cours de son Histoire sous les méthodes du contrepoint, du développement ou encore de la variation, le principe d’engendrement causal de la forme révèle néanmoins son aporie à partir de la première moitié du XXe siècle. La génération de compositeurs se retrouvant à Darmstadt au lendemain de la Seconde Guerre Mondiale se confronte alors à une double difficulté. D’une part, le renouvellement des structures logiques de la musique apparaît comme une véritable urgence afin de libérer l’écriture musicale de la rigidité des systèmes qui l’ont dirigée depuis la fin de la Renaissance. D’autre part, l’avènement des nouvelles technologies dévoile la richesse du phénomène sonore et intime à repenser l’expression musicale au contact de ce matériau inédit qui ne peut se réduire aux procédés compositionnels instrumentaux. Dès lors, l’acte d’écriture s’enrichit d’une responsabilité critique, en ce qu’il doit se satisfaire à l’exigence d’une articulation logique tout en rompant avec la rigidité d’un discours univoque imposé à l’écoute. C’est dans ce contexte que Pierre Boulez et Luigi Nono propose une esthétique musicale mixte fondée sur la virtualité, l’espace et la résonance au cours des années 1980, instaurant un régime discursif unifiant l’hétérogène sans le contraindre ni l’abolir
When he is questioned about the fragmentary nature of the writing appearing in his last works, Luigi Nono asserts: “the logic of the discourse is something terrifying for me.” By standing against the musical discourse, the Italian composer does not just claim his refusal of the principle of deduction and the univocity of the development: he also considers the foundation of the western musical expression as obsolete. Indeed, written music belongs to the disciplines of the logos, the domain of the thought and its law of comprehensibility in which it was enfeoffed for centuries, even when the theorists claimed its autonomy. So, the notion of musical discourse relates to a model of reasoning inherited from the syllogistic thought of the Aristotelian rhetoric. Declined during its History under the methods of the counterpoint, the development or the variation, the principle of causal establishment of the form reveals its aporia since the first half of the 20th century.Then, the composers who went to Darmstadt after the World War II confront themselves with a double difficulty. On one hand, the renewal of the logical structures of the music appears as an urgency to release the musical writing of the rigidity of the systems which managed it since the end of the Renaissance. On the other hand, the advent of the new technologies reveals the richness of the sound phenomenon and suggest to reconsider the musical expression in order to integrate this material, which cannot be reduced to the writing processes of instrumental music. Therefore, the act of composing is enhanced by a critical responsibility because the composer has to fulfill the requirement of a logical articulation while he abolished the rigidity of an unambiguous discourse imposed on the listening. It is in this context that Pierre Boulez and Luigi Nono propose an electroacoustic aesthetics based on virtuality, space and resonance during the 1980s, establishing a discursive regime which unifies the heterogeneous without forcing it nor abolishing it

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22

Statherou, Stamatia. "Forming a musical discourse : 'voice interchangeability' and prolongation as structural devices and means of development." Thesis, Goldsmiths College (University of London), 2014. http://research.gold.ac.uk/10463/.

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The purpose of this compositional research has been to shape inner compositional thinking processes and turn them into a musical discourse by developing a structural system that could depict these processes to the outer world. The research process is initialized by compositional concerns on aesthetic and stylistic issues as well as on sonic hearing and listening. This pre-compositional preparation is necessary for developing a deeper understanding on already established stylistic compositional preferences and sound relationships. Experimentation on various interrelations and interconnections of linear contrapuntal motivic fragments combined by certain groups of vertical sonorities and exploration on concepts of structural protraction and extension of material led to the development of a structural procedure based on ‘voice interchangeability’ and ‘prolongation’. Sectional approach was applied as the main structural form in all nine original compositions of the research.

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Gripper, Derek. "The margin and the mainstream : positioning Harry Partch's theories within the broader discourse of musical aesthetics." Master's thesis, University of Cape Town, 2002. http://hdl.handle.net/11427/8792.

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Bibliography: leaves 102-106.
The dissertation examines the broader musical value of microtonal composer Harry Partch's musical theories by locating his critique of abstract music within mainstream compositional theory and aesthetics. This contextualisation aims to deconstruct Partch's iconoclastic image so as to understand his contribution within a wider realm of critical discourse. The work of composers that follow in Partch's footsteps becomes important in this context, especially that of his one-time student Ben Johnston whose own microtonal aesthetic is firmly rooted in European aesthetics from Debussy to Schoenberg. By a study of Johnston's utilisation of Partch's theory of just intonation the dissertation attempts to arrive at a more inclusive compositional theory, one which continues to address those aspects of Partch's theories that serve as a valid and constructive critique of traditional musical values. Taking Adorno's view that musical critique must deal with the problem of reification at the level of musical materials, the author proposes a reading of Partch's corporeal philosophy that is applicable beyond the confines of narrative musical drama. By creating a distinction between historical models of organisation and 'second nature' forms of musical presentation, it is suggested that critique does not necessarily prefigure alienation from the mainstream, but can rather be situated within musical discourse in such a way that a new image of the latter's forms results. On a practical level, the dissertation explores the validity of expanded just intonation as a means of achieving this immanent critique, both in the realm of compositional theory and, implicitly, in that of analytical theory, concluding with the description of a tuning system with the capacity to synthesise the range of compositional theories explored.

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Monteiro, Ricardo Nogueira de Castro. "Análise do discurso musical: uma abordagem semiótica." Universidade de São Paulo, 1997. http://www.teses.usp.br/teses/disponiveis/8/8139/tde-21012008-131652/.

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A dissertação \'Análise do discurso musical: uma abordagem semiótica\' discute e propõe soluções para a questão da aplicação do modelo de percurso gerativo de sentido à análise do discurso musical. A partir de uma exposição inicial onde se procura situar essa proposta analítica dentro da evolução da musicologia e da semiótica francesa, passa-se a uma discussão em profundidade da aplicação do modelo semiótico no que diz respeito à estrutura dos níveis fundamental e narrativo, tanto no que tange à organização sintática quanto semântica de cada patamar da significação. As explanações teóricas são fundamentadas diretamente a partir da análise de textos significativos do repertório ocidental, como a 5.a Sinfonia de Beethoven, a 4.a Sinfonia de Tchaikovski e a Fuga I do Cravo bem temperado de Bach. Em linhas gerais, o trabalho conclui por defender uma abordagem analítica que parte das aspectualizações presentes no nível de superfície para determinar a organização semântica do nível profundo no que diz respeito às modulações tensivofóricas e à ordenação de seu campo valencial. Postulada e justificada a presença de uma instância discretizadora responsável pela conversão das modulações em modalidades e das valências em valores, passa-se ao estudo do nível narrativo, que culmina com; a) a importante descoberta em nível musicológico do papel da dimensão semântica no processo de variação motívica e na geração da macroforma musical; b) uma investigação semiótica da paixão na música.
The dissertation named\' Analysis of the musical discourse: a semiotical approach\' discusses the application on musical analysis of the model championed by lithuanian linguist Algirdas Julien Greimas which conceives the process of generation of meaning as a path from abstract oppositions to narrative structures and hence to the discourse itself, which is called meaning generation path. The first chapter brings a general exposition which situates its analytical proposal in terms of the historical development of both musicology and the french branch of semiotical studies, which is committed with Structuralism. On chapter II, a detailed application of the theoretical model is presented step by step with the help of commented examples regarding some of the most appealing compositions of western repertory such as Beethoven\'s 5th. Symphony, Tschaikovsky\'s 4th Symphony and the first fugue of Bach\'s Well-tempered keyboard. The conclusion suggests that a semiotical approach on music should start with considering the superficial aspects of musical discourse so that its tensive and phorical course can be inferred and conceived as a complex of modulations where its internal relationships of attraction and repulsion may be ordinated in terms of valence. Based on the hypothesis of the existence of an instance of discreteness which converts the valences of the fundamental level into values of the narrative level and modulations into modalities, the study of narrative brings forth two main contributions. First, a semantical approach which explains the relationship between theme and musical form and revolutionizes the concept of musical variation. Second, a semiotical research on passion in music.

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Webber, A. J. "Sexuality, discourse and the self in the works of Georg Trakl and Robert Musil." Thesis, University of Cambridge, 1986. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.234015.

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The main concern of my thesis is to show that sexuality, and in particular the motifs of bisexuality and sexual violence, which were generally mere modish accessories in the Austrian literature of the fin-de-siecle, have a crucial, constitutive function in the works of these two authors. It seeks thereby to redress the prevalent view of the sexual thematic in both writers as a marginal curiosity rather than as fundamental to the economy of their, in other respects, very different oeuvres. There are striking affinities; in either case a narcissistic ideal of androgynous union with the sister is set up, only to be revoked by the counter-motif of incestuous 'Lustmord'. The problem of sexual antagonism is exploited by both writers as symbolic ground for the exploration of the crisis in the sense of self. At the same time it determines the discursive structures of the works, as sensuality subverts both the characters' quest for a 'common sense' in language, and their creators' pursuit of a more authentic aesthetic discourse and form. The section on Trakl concentrates on the corruption of semiotic patterns in the poetry by sexual desire. The signs are conceived as metatexts (images of the text within the text); their disarray, and the resultant disorientation of 'readers' within the poetic landscape, at once allegorises the predicament of the poet as seer and the reader's quest for a sense of direction in the text. My discussion of the problematics of sexuality, discourse and the self will turn on the crucial motif of the mirror. The mirror coordinates all three of these themes, maintaining a multiple function as medium for narcissistic desire, as metaphor for poetic creativity, and as the space inhabited by the 'Doppelgáger'. It is also identified as a corollary of the narcissistic sister-figure; the disfigurement which both are made to suffer in the later poetry is seen as symptomatic of a more general threat to the poet's figurative enterprise. The section on Musil also centres on the twin motifs of the mirror and the double. Here the interrelation of psycho-sexuality and problems of discourse is shown to be related to theories of the psyche contemporary with Musil's work (Weininger,Freud and Rank). In its sophistication it is also seen to anticipate certain post-Freudian developments in psychoanalytic theory, with key ideas from the thought of Lacan being applied in the exegesis of the texts. In Tóeβ the protagonist's sexual and epistemological crises are shown to be inextricably meshed, indicating a far closer affinity with Freud's early work than critics have been willing to recognise. In the Vereinigungen novellas the emphasis is on the correlation between the deferral of desire and the failure of dialogue between the sexes, focusing on the partitive intervention of the 'Vorwand'. There follows an analysis of key chapters from Der Mann ohne Eigenschaften where the problematic association of sexual identity, discursive integrity, and the sense of self, is most acutely in evidence. My argument culminates in the proposition that the sense/sensuality dichotomy is fundamental to the problem of finding a true end for the text.

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Reraki, Fotini. "La musique imaginaire : discours, identités et représentations dans l’enseignement grec contemporain." Thesis, Paris 4, 2017. http://www.theses.fr/2017PA040018.

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La présente thèse explore l’espace formel de l’enseignement de la musique en Grèce actuelle en tant qu’un espace de confrontation et de négociation de sens autour du musical. L’introduction de la musique traditionnelle au sein de cet espace sert de paradigme à une étude sur « la gestion de l’altérité musicale » à partir d’une enquête ethnographique de terrain (observation participante et entretiens non directifs), qui s’intéresse plus particulièrement aux conditions de cohabitation entre des enseignants-musiciens aux parcours différents, aux conditions donc de cohabitation entre des pratiques d’apprentissage, des discours et des imaginaires qui tantôt s’entrecroisent, tantôt se concurrencent. L’objectif ultime de ce travail est, à cet égard, de mettre en évidence que les façons dont les individus se représentent la musique et tout ce qui s’y rattache, forment un système symbolique qui renvoie à la manière dont ils se définissent eux-mêmes et ils se situent envers les autres
The present thesis explores the formal space of music education in Greece as an area of confrontation and negotiation of meanings around music. The introduction of Greek traditional music in this educational space serves as a paradigm for a study on “the management of musical otherness”, based on a field survey (participant observation and non-directive interviews) which focuses in particular on the conditions of cohabitation between teachers-musicians with different musical trajectories, thus on the conditions of cohabitation between learning practices, discourses and imaginaries which sometimes intertwine, sometimes they compete with one another. In this regard, the ultimate aim of this work is to bring to light that the ways individuals represent music and everything related to it, form a symbolic system referring to the manner in which they define and situate themselves in relation to others

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Fernandes, Cleyton Vieira. "Semiótica e construção do sentido no discurso musical: propostas teóricas e aplicações." Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/8/8139/tde-08112012-110808/.

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O pesquisador que opta pela Semiótica de linha francesa para o desenvolvimento de seu projeto acadêmico, lança sua âncora nos estudos da linguagem humana e encontra um arcabouço teórico inaugurado por Saussure no Curso de Linguística Geral (Saussure, 1997). Partindo desta base teórica, discutiremos a pertinência da aplicação dos princípios da Teoria Semiótica, também chamada greimasiana, na análise do discurso musical. Num primeiro momento, apresentaremos um modelo de apreensão do objeto estético a partir de elementos extraídos da obra Da imperfeição, onde Greimas discute o Acontecimento Estésico. Em seguida, proporemos algumas formas distintas de discretizar e sistematizar o discurso musical, debatendo algumas das tomadas de posição entre os semioticistas da Música. Vencidas tais etapas, aplicaremos aos parâmetros das Alturas, Intervalos Simultâneos e Timbre, alguns conceitos extraídos, sobretudo, da Semiótica Tensiva, conforme as propostas de Claude Zilberberg. Finalmente, por meio da análise de dois importantes movimentos na história do Jazz, o Swing e o Bebop, traremos algumas formulações sobre o conceito de Cena Enunciativa e sua implicação na construção do sentido do discurso musical.
The researcher who opts for the French Semiotics to develop their academic project casts his anchor in the study of the human language and finds the theoretical framework inaugurated by Saussure in the Curso de Linguística Geral (Saussure, 1997). From this theoretical basis, we discuss the relevance of the principles of the Semiotic Theory, also called greimasien, in the analysis of musical discourse. At first, we present a model of aesthetic apprehension of the object based on elements from the work Da Imperfeição, when Greimas discusses the Event Aesthesic. Then, we propose some different ways to discretize and systematize the musical discourse, debating some of the positions among music semioticians. After these steps, we will apply to the parameters of Heights, Simultaneous Intervals and Timbre, some concepts extracted especially from Tensive Semiotics, according to Claude Zilberberg proposals. Finally, by means of the analysis of two important movements in the history of Jazz, Swing and Bebop, we will bring some of the formulations on the concept of Enunciative Scene and its implication in the senses construction of musical discourse.

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Dietrich, Peter. "Semiótica do discurso musical: uma discussão a partir das canções de Chico Buarque." Universidade de São Paulo, 2008. http://www.teses.usp.br/teses/disponiveis/8/8139/tde-12012009-155735/.

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Ao longo das últimas três décadas observamos o progressivo interesse que a semiótica da canção popular desenvolvida por Luiz Tatit a partir da semiótica greimasiana vem despertando no meio acadêmico. Situada na fronteira dos domínios da lingüística e da música, e justamente por isso, a canção se apresenta como um objeto de difícil análise. Teorias específicas para o componente verbal e musical raramente se compatibilizam a ponto de permitirem uma análise homogênea. O êxito obtido até agora pela semiótica greimasiana pode em parte ser explicado por sua forte vocação para a multidisciplinaridade, a despeito de sua origem e tradição lingüística. Em suas formulações iniciais foram considerados apenas alguns parâmetros musicais que estruturam a melodia da canção. Dessa maneira, poderíamos afirmar que em um primeiro momento a canção foi considerada uma palavra cantada, opondo-se a palavra falada da nossa fala cotidiana. Percebemos que parte dos esforços dos pesquisadores que se dedicam ao desenvolvimento dessa teoria consiste em tentar incorporar cada vez mais elementos musicais. A partir de uma revisão crítica da literatura atual, esse trabalho discute e propõe procedimentos de semiotização do material musical, especialmente no que se refere ao timbre e às questões de harmonia. Para garantir a coerência necessária com os fundamentos da teoria, propusemos a distinção entre o discurso da produção musical e o discurso musical propriamente dito, discutimos a relação entre plano da expressão e plano do conteúdo no discurso musical, assim como sua organização hierárquica. Dentro dessa diversidade de assuntos e abordagens, elegemos como fio condutor do trabalho a obra cancional de Chico Buarque, que representa a um só tempo a fonte de indagações e a sustentação dos resultados obtidos.
Throughout the last three decades it has been observed the increasing interest of the academic environment on the semiotic theory of popular song developed by Luiz Tatit, based on greimasian semiotics. Situated midway between linguistics and music, and exactly because of that, songs are difficult to analyse. Specific theories for the verbal and the musical components are rarely compatible enough to allow an homogeneous analysis. The success achieved so far by greimasian semiotics can in part be explained by its strong multidisciplinary vocation , in spite of its linguistic origin. In its initial formulation, only musical parameters that structuralyze the songs melody had been considered. Therefore, it could be said that, at first, the song was considered a \"sung word\", as opposed to the \"spoken word\" of our daily speech. Part of the efforts of the researchers dedicated to the development of this theory consists in trying to incorporate increasingly more musical elements. Based on a critical review of the current literature, the present work discusses and proposes semiotization procedures of the musical material, especially timbre and harmony aspects. To guarantee the necessary coherence with the theorys foundations, we propose the distinction between the speech of musical production and the musical speech per se; we discuss the relationship between expression and content in the musical speech, as well as its hierarchic organization. Within this diversity of subjects and approaches, we chose the songs composed by Chico Buarque as a guideline, as a source of the investigation as well as a support of the results.

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Ferreira, Cristiane da Silva. "Ethos discursivo na constituência lítero-musical da moda de viola." Pontifícia Universidade Católica de São Paulo, 2015. https://tede2.pucsp.br/handle/handle/14371.

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This study deals with the discursive ethos in the literary and musical constituency of country music manner- songs written in verse based on oral narratives that express their composers rural context and whose musical accompaniment is made only by the guitar - produced in 1950 s in São Paulo. Our main objective is to examine how the incorporation of the discursive ethos s intersemiotic traits operates in the construction of the identity of the country music manner songs enunciator s discourse and provides us with different interdiscourses evincing their underlying pretexts. This work s subject has great social and academic relevance, contributing to studies of one of the main cultural expressions of the people who compound São Paulo s historic, social and cultural scenario, which is the country music manner, as well as discussing the ethos s efficiency in the literary and musical genesis. Thus, we advocate that the discursive ethos - comprehended in its intersemiotic dimension, including the linguistic and melodic components - reveals an enshrined corpus, revealing the founding intentions of country music manner s discourse. The corpus is composed of song lyrics, which are nowadays, according to Ribeiro (2006b), the most known and played ones. For this purpose, we based this study on the theoretical and methodological assumptions of the French Discourse Analysis, specifically Maingueneau s theoretical works and the studies of Costa (2011) about the literary and musical discourse. In view of a more consistent apprehension of the discursive ethos, we introduced the methodology of song analysis proposed by Tatit. The analyses showed that the enunciator invests himself of an ethos which values the identity practices established in the discursive memory of the co- enunciator, revealing the founding intentions of the country music manner songs discourse
Esta pesquisa trata sobre o ethos discursivo na constituência lítero-musical da moda de viola produzida na década de 1950, em São Paulo. Para tanto, traçamos como objetivo principal examinar de que forma a incorporação dos traços intersemióticos do ethos discursivo opera na construção da identidade do enunciador do discurso da moda de viola e nos oferece elementos para identificarmos diferentes interdiscursos que comprovem sua ação fundadora. O tema mostra-se de grande relevância social e acadêmica, pois amplia o estudo de uma das principais manifestações culturais de sujeitos que compuseram o cenário histórico-social e cultural de São Paulo, que é a moda de viola; além de discutir sobre a eficácia do ethos no processo de constituência lítero-musical. Diante disso, defendemos a tese de que o ethos discursivo, apreendido em sua dimensão intersemiótica, que compreende os componentes linguístico e melódico, explicita um corpo consagrado, de forma a revelar a ação fundadora do discurso da moda de viola. O corpus é constituído por textos da moda de viola os quais, conforme Ribeiro (2006b), são exemplos dos mais conhecidos e tocados atualmente. Para tanto, embasamo-nos nos pressupostos teórico-metodológicos da Análise do Discurso de linha francesa, advindos dos estudos de Maingueneau (1997, 2007, 2008, 2009, 2010, 2013, 2015) e nos estudos de Costa (2011), acerca do discurso lítero-musical. Tendo em vista uma apreensão mais consistente do ethos discursivo, inserimos a metodologia de análise de canção proposta por Tatit (2012). As análises apontam que o enunciador investe-se de um ethos que valoriza as práticas identitárias alojadas na memória discursiva do co-enunciador, de modo a revelar a ação fundadora do discurso da moda de viola

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Mello, Felipe Marques de. "Elaboração discursiva da performance musical enquanto evento estético /." São Paulo, 2020. http://hdl.handle.net/11449/192208.

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Orientador: Gisela Gomes Pupo Nogueira
Resumo: A partir de uma abordagem discursiva, o presente trabalho propõe ferramentas para descrever os eventos estéticos e os tipos de discurso musical que permeiam a música instrumental contemporânea, mais especificamente nas escolhas enunciativas que cabem ao intérprete musical. Inicialmente, são definidos alguns preceitos acerca da interpretação musical, passando pelas correntes interpretativas e pelas funções do intérprete até chegar à reflexão sobre o ato musical em si. Após a apresentação desse panorama das discussões sobre a atividade interpretativa, a atenção se volta para a construção de sentido na música, de onde se entende que os próprios eventos estéticos – acontecimentos de grande impacto – guiam os fazeres musicais. Para tal finalidade, é utilizado o ferramental de certa linhagem da semiótica francesa. É Greimas, mais especificamente no livro Da Imperfeição, quem diz que as linguagens sensíveis são caracterizadas por eventos (estéticos ou estésicos) que rompem com um sentido discursivo mais abrangente, análogo à própria vida cotidiana, agregando-lhe valor. Os autores Zilberberg e Landowski, em suas trajetórias teóricas, buscaram sistematizar o livro Da Imperfeição cada um a seu modo, ainda que com diversas congruências: Zilberberg, partindo das reflexões de Greimas sobre as fraturas, estabelece a sua acepção de acontecimento, que busca dar conta do evento que acarreta um verdadeiro rompimento do sentido, cuja restauração se daria na própria resolução do acontecimento, q... (Resumo completo, clicar acesso eletrônico abaixo)
Abstract: Based on a discursive approach, the present work offers tools to describe aesthetic events and the types of musical discourse present in contemporary instrumental music, particularly in enunciative choices made by musical performers. First, some precepts related to musical performance are defined; later, interpretative currents and the functions of the performer are brought to the debate until finally reflecting upon the musical act itself. After presenting this overview of discussions on the interpretative activity, construction of meaning in music is contemplated, reaching an understanding that the aesthetic events themselves - events of great impact - guide musical activities. For such, the tooling of a certain line of French semiotics is used. Greimas is the one who – in the book De l’imperfection – says that sensitive languages are characterized by (aesthetic or aesthesial) events that enable a more comprehensive discourse meaning – which is similar to everyday life itself – increasing its value. Throughout their theoretical trajectories, authors Zilberberg and Landowski sought to systematize the book De l’imperfection, each in their own way, but with different congruences: Zilberberg, based on Greimas' reflections on fractures, establishes his meaning of event, which tries to present an incident that causes a real disruption of meaning, whose restoration would take place in the very resolution of such incident, gradually turning into discursive grandeur; Landowski, on t... (Complete abstract click electronic access below)
Doutor

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Pontara, Tobias. "Brev från den autonoma musikens värld : Den diskursiva konstruktionen av musikalisk autonomi i den samtida klassiska CD-skivan." Doctoral thesis, Stockholm University, Department of Musicology and Performance Studies, 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-6652.

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The purpose of the present thesis is to demonstrate in detail and by concrete example the construction of music as autonomous. It studies how the basic categories constituting the discourse of musical autonomy get reproduced in commercialized and mass-produced and at the same time institutionally authorized texts. The texts under examination consist of a number of sleeve-notes all concerned with the symphonies of Johannes Brahms.

In the first two chapters the purposes as well as the theoretical framework and the methodological procedures of the study are presented. The third chapter provides an historical account of the discourse of musical autonomy. In the fourth chapter the basic categories of this discourse are identified. Each of these categories is discussed at length and their implications clarified. The fifth chapter comprises a text- and discourse analysis that purports to elucidate the internal structure of the texts as well as the relation between text and context. The sixth chapter seeks to determine the extent to which the texts can be seen as structured in accordance with the central categories of musical autonomy. The chapter argues that the texts under examination must indeed be understood as representing the symphonies of Johannes Brahms as autonomous and self-sufficient objects. The seventh and last chapter is concerned with the complex relation between power, knowledge and the constitution of subjectivity in the discourse of musical autonomy. The chapter identifies and discusses some of the operations of power relating to the constitution of the listening subject and to the disciplining of the human body, operations inextricably tied to the production and communication of knowledge within the discourse of musical autonomy.

Thus, the real subject of this thesis is the discourse of musical autonomy itself. Its contribution to the ongoing discussion of musical autonomy lies at the level of exemplification: it picks out one of the places where this discourse gets reproduced and demonstrates in detail how that reproduction comes about. But it goes further than that in its attempt to highlight the power relations lying at the heart of the representation and communication of apparently autonomous musical works.

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Bogossian, Pedro Paulo. "A música no teatro: o sentido do jogo na comédia musical." Universidade Presbiteriana Mackenzie, 2013. http://tede.mackenzie.br/jspui/handle/tede/2141.

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Universidade Presbiteriana Mackenzie
This dissertation addresses issues related to the syncretization of the musical language to the dramatized scene. Considering the idea that there is a game between the sensory substances, from an act in concert among different expressed plans, we intend to describe, in the expressed plans and in the purport of the drama enunciation, how the music is organized and how it contributes to the construction of the scenic narrative and speech. The corpus of this research is a video recording of a scene chosen among various performances of a theater group from São Paulo, Circo Grafitti. Their work is characterized by musical comedy plays, that have not been performed yet, and they are produced based on a collaborative research, composition or adaptation of scripts and songs. The theoretical framework of the analysis of this dissertation is the French Semiotics by Greimas, because it considers the purport plan of the texts in several planes of expression as well as the syncretization in terms of expression, also it understands the script as an organization which carries the effects of meaning.
A presente dissertação aborda questões referentes à sincretização da linguagem musical à cena teatral. A partir da ideia de jogo entre as substâncias sensoriais, do contracenar entre diversos planos da expressão, visamos a descrever, nos planos da expressão e do conteúdo da enunciação teatral, de que modo a música se organiza e contribui para a construção da narrativa e do discurso cênicos. O corpus desta pesquisa constitui-se da gravação em vídeo de uma cena escolhida dentre vários espetáculos do grupo teatral paulistano Circo Grafitti. O trabalho da companhia se caracteriza por montagens que cultivam o gênero da comédia musical, sempre inéditas, em processo colaborativo no trabalho de pesquisa, composição ou adaptação de textos e canções. O quadro teórico utilizado para proceder à análise é o da Semiótica de linha francesa, greimasiana, por esta trabalhar com o plano de conteúdo dos textos em diversos planos de expressão e com a sincretização no plano da expressão, bem como por entender o texto como uma organização que produz efeitos de sentido.

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Aka-Evy, Jean-Luc. "L'image des arts d'Afrique Noire dans le discours esthétique occidental moderne : de la Renaissance au temps de Picasso puis de "l'art primitif" aux "arts premiers"." Paris 1, 2006. http://www.theses.fr/2006PA010608.

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Par conséquent, l'objectif de cette recherche fondamentale est de circonscrire, aussi précisément que possible, l'image des arts d'Afrique Noire, telle qu'elle a été pensée et aménagée dans le discours esthétique occidental moderne; de procéder à l'archéologie des différentes positions de ce discours à propos de ces arts, et de déterminer les impacts de ce dernier dans le processus de la création artistique européenne contemporaine et de (re)situer sa (re)découverte et sa réappropriation dans l'imaginaire plastique africain d'aujourd’hui.

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Barry, Jennifer. "Stories and gaps : a study of narrative, discourse and musical awareness in a group of year six children's responses to music." Thesis, University of Canterbury. School of Educational Studies and Human Development, 2006. http://hdl.handle.net/10092/3597.

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Music educators in the classroom aim to expose students to a variety of styles and genre of music through active listening. Engaging children in listening to music that is unfamiliar to them is problematic. This study sets out to explore what Year Six children respond to in the music they prefer and how this compares to their responses to examples of 'classical' music in an effort to find areas of commonality and transferability. A constructivist perspective underpins this study. In examining the children's responses to music in their own words, their understandings about music and how it shapes their lives becomes evident. Case study is used to examine the listening responses of Year Six children. Children express in their own terms what they listen to and for within music: music of their own choice, and then "classical" music. They share their expectations and give examples of "good" music. The findings that emerge from this study fall into two broad themes: those relating to children's choices, and those that relate to the nature and importance of the discourses about listening to music within the educational setting. These findings have a number of implications. Firstly, they indicate the importance of "stories" the children gained from the music listened to. Secondly, they suggest the significance of the relationship children form with music. Thirdly, they mark the importance of an awareness of the different perspectives and cultural settings from which music listening and appreciation is viewed. This study focuses on Year Six children's responses to and relationships with music. However, while it examines a single aspect of music education at this level, the implications may be explored within other levels and curriculum areas.

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NEDER, ALVARO SIMOES CORREA. "THE ENIGMA OF MPB AND THE WEB/CONSPIRACY OF THE VOICES: IDENTITY AND INTERTEXTUALITY IN THE MUSICAL DISCOURSE OF THE SIXTIES." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2007. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=10071@1.

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COORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR
CONSELHO NACIONAL DE DESENVOLVIMENTO CIENTÍFICO E TECNOLÓGICO
A MPB é uma prática musical popular surgida no início dos anos 60 que ainda está longe de ter sua polissemia esgotada pelos estudos de cultura. A abordagem adotada busca estudá-la como fato integral: como texto - sons musicais, em complexa relação com suas letras, performances, discursos extramusicais e o contexto mais amplo. Nesta tese argumenta-se que tais sons, organizados em gêneros musicais, são discursos - processos de produção social de sentidos -, e, como tal, não apenas são mediados pelos discursos verbais, mas também os medeiam. Através da construção de um modelo teórico a partir do conceito de intertextualidade de Julia Kristeva busca-se ressaltar a especificidade de cada texto em seu impacto sobre o corpo físico e social, recuperando-se a complexidade da MPB. Um gênero musical é visto como um código que conecta detalhes musicais ao contexto sócio-histórico mais amplo, construindo identidades que também podem ser desconstruídas pela contínua migração entre diferentes posições produzidas pela pluralidade de discursos musicais que atravessam a MPB. Estudando-se o gênero musical como produção do coletivo anônimo enfatiza-se a alteridade radical presente na MPB dos anos 60, que é entendida como se expandindo para além de uma classe média universitária metropolitana para abranger o contínuo social em todo o Brasil. Movimentos e líderes são situados como discursos de grupos sociais amplos que os utilizam para se fazer representar no espaço contraditório da música de massas. Outras versões e narrativas marginais são apresentadas para a bossa nova, a Jovem Guarda, a Tropicália e suas relações com a MPB, objetivando a desconstrução de dicotomias e hierarquias. A ideologia nacionalista e esquerdista (o nacional-popular) é compreendido como apenas um entre os muitos discursos conflitantes no espaço heterogêneo demarcado pela MPB, que também discutiu em seus textos a situação do negro, da mulher e de centros, setores e tradições culturais dominantes. As conclusões obtidas levam a entender a MPB como campo de forças multiforme e contraditório, empregando, pela primeira vez na história da música popular brasileira, uma caleidoscópica pluralidade de gêneros musicais (discursos). Priorizando o conflito, o debate e a contradição, a MPB desestruturou construções identitárias reificadas e possibilitou múltiplas subjetivações e posicionamentos, produzindo no interior da sociedade brasileira um avanço político e cultural influente e duradouro.
MPB is a musical practice appeared in the beginning of the 1960s whose polysemy is far from being exhausted by studies of culture. The approach adopted in this dissertation seeks to study it comprehensively as a text - musical sounds, in complex relationships with its lyrics, performances, extramusical discourses and the broader context. I argument that such sounds, organized in musical genres, are discourses - processes of social production of meanings. As such, they are not only mediated by verbal discourses, but also mediate them. Through the construction of a theoretical model that builds on Julia Kristeva s concept of intertextuality I try to stress each text s specificity as it impacts the physical and social body, thus recovering MPB s complexity. A musical genre is seen as a code which connects musical details to the broader social- historic context, constructing identities that also can be deconstructed by the continuous migration between different positions produced by the plurality of musical discourses traversing MPB. By studying musical genres as produced by the collective anonymous, this view emphasizes MPB´s radical alterity. This practice is thus seen as expanding itself beyond a metropolitan university middle class to embrace the social continuum in all Brazil. Musical movements and leaders are situated as discourses of ample social groups which use them to make themselves represented in the contradictory space of mass mediated music. Alternative versions and narratives are presented to account for bossa nova, Jovem Guarda, Tropicália and their relationships to MPB, aiming at the deconstruction of dychotomies and hierarchies. Nationalist and leftist ideology (the national-popular) is seen as only one among the many conflicting discourses that met in the heterogeneous space demarked by MPB, which also discussed in its texts the situation of blacks, women and of dominant cultural centers, sectors, and traditions. The conclusions obtained in this dissertation indicate MPB as a multiform and contradictory field of forces, employing, for the first time in the history of Brazilian popular music, a kaleidoscopic plurality of musical genres (discourses). Prioritizing conflict, debate and contradiction, MPB destructured reified identitary constructions and made multiple subjectivations and positionings possible, producing an influent and lasting political and cultural advancement in the body of Brazilian society.

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Ratcliffe, Robert James. "New forms of hybrid musical discourse; an exploration of stylistic and procedural cross-fertilisation between contemporary art music and electronic dance music." Thesis, Keele University, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.572424.

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This portfolio explores stylistic and procedural cross-fertilisation between contemporary art music and electronic dance music through musicological investigation and creative practice. Comprised of six compositional 'projects', the creative work examines the hybridisation of the two main genres under consideration, involving both a formalisation of hybrid compositional procedures and an exploration of established and newly developed forms of musical borrowing, which function as tools of negotiation in the transference of materials within my own creative practice. The musicological component includes an overview of musical borrowing as manifested in electronic dance music in the form of digital sampling, considering the practice as a contemporary form of transformative imitation and offering a proposed typology of sampled material within the genre. It traces the links between early and modem forms of musical borrowing, from the pre-digital sampler in hip hop and the evolution of early sample-based compositional procedures through to the role of the digital sampler and the impact of technological innovation on the evolution of genre. An important part of the research has comprised of looking in detail at the tools of production used in the creation of electronic dance music by various artists. The output of this research into the functionality of the equipment and deliberate 'creative subversion' of its intended normative use has been used to develop a vocabulary of compositional techniques for use within my own work. A series of case studies (acid house, big beat, the 'remix') have been used to trace the relationship between genres, specific hardware and software, its idiomatic use, and the characteristics of the creative outputs associated with each genre. These case studies have significantly influenced the nature of the techniques evolved for use within my own compositional work.

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Lachaux-Lefebvre, Dany. "Le discours dans le spectacle en musique de 1661 à 1686 : des comédies de divertissements de Molière aux tragédies lyriques de Quinault." Aix-Marseille 1, 1993. http://www.theses.fr/1993AIX10041.

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A l'instar des etudes de style de leo spitzer, ce travail est ne du reperage de deux "details" dans les ouvrages de spectacle de moliere et quinault : les frequences moindre des longs developpements et superieure du lexeme amour, relativement a leurs autres productions. Il restutue d'abord l'itinaire generique conduisant des facheux a armide, par une comparaison des masses discursives au plan de leurs longueur et frequence, des effets de rythme, tonalites, voix et enchainements leur afferant, et de leur integration a deux formes propres au musical, les prologues et les chants. Il determine ensuite la "color amoratus" des discours par une analyse d'amour et de ses entours dansles domaines plastique, syntaxique, semique et logique, avec les figures rhetoriques et la dispositio les rehaussant. Il revele, outre l'influence patente des arts connexes sur le discours, dans les "details" initiaux, les traits pertinents (formel et thematique) de la specificite generique de la comedie de divertissement (genre percu transitoire) et de la tragedie lyrique (genre partie syncretique et fixe) ; et distingue les styles galants simple des comedies de divertissements bourgeoises, moyen des heroiques, et eleve des tragedies lyriques, montrant qu'y subsiste toujours la magie du texte
In the same way as leo spitzer's stylistic studies, this work originates in the locating of two "details" in moliere and quinault's spectacle plays : the lesser frequency of long developments and the greater one of the lexeme amour, in relation to their other plays. It first restores the generic itinerary leading from les facheux to armide, by a speech masses comparison of their length and frequency, their rhythm, tonality, voice and chain pertaining effects, and their integration into two proper musical forms, the prologues and songs. It secondly determines the speeches "color amoratus" by an analysis of amour and surroundings in the plastic, syntactic, semic and logic domains, with the rhetoric figures and the dispositio setting them off. It reveals beyond the obvious influence of convergent arts on the speech, in the starting "details", the pertinent (formal and thematic) marks of the generic specificity of la comedie de divertissement (a genre perceived transitional) and la tragedie lyrique (a genre to some extent syncretic and fixed). Then it discerns the "simple" gallant style of the bourgeois divertimento comedies, the "middle" one of the heroic comedies, and the "elevated" one of the lyric tragedies, showing their ever present textual magic

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Macedo, Iolanda. "O discurso musical Rap: expressão local de um fenômeno mundial e sua interface com a educação." Universidade Estadual do Oeste do Parana, 2010. http://tede.unioeste.br:8080/tede/handle/tede/919.

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This study aims at examining the educational processes that are inherent to hip hop. This cultural movement emerged in the United States, created primarily by young people from African American and Latin American communities in the suburbs of New York city in the late 1970s. Four elements are present in the constitution of hip hop: the DJ, MC, breaking and graffiti writing; later, knowledge was included as another element. The performance of the DJ and the MC originates the rap genre. This musical genre is widely consumed, mainly by young people from many countries, since the rap style has gone through a process of globalization, in which the cultural industry, especially the North American one, played a key role. The movement has complex roots and, consequently, presents a heterogeneous context. In this sense, even though hip hop is related to a common collective universe, in the emergence of the street culture, it presents conflicts and contradictions, as in any other community. The hip hop movement came to Brazil through the media, but we consider that this transposition process was not based solely on the passive consumption, but on its reappropriation. This way, Brazilian hip hop is constituted as a local expression of a worldwide phenomenon. Rap, besides being a musical genre consumed by young people from the Brazilian suburbs, is also a generator of meanings, and its musical discourse is characterized as one of the stages of this production. Thus, besides listening to the songs, the public also wants to know who make them, and what their opinions, ideas and understanding of reality are. This production of meaning also permeates an aesthetic, behavioral, political and ideological construction. In order to explain such debate, we also use the concept of identity. The understanding of the educational processes intrinsic to rap is mainly due to the understanding of education in its broadest sense. In this sense, we consider that rap, as an deliberate musical discourse, propitiates a process of informal education. We aim at identifying in Brazilian rap, in which crime and violence are prevalent in the presentation of discourse, how the rappers try to convince the public to share a certain understanding of the historical reality, in particular the economic and social segregation experienced in the suburbs. Through this discourse and informal educational act, the rappers also aim at stimulating a change of behavior in his listeners, trying to lead them to participate of their action strategy towards a social change.
Este trabalho tem como objetivo compreender os processos educativos inerentes ao hip hop. O movimento cultural foi criado nos Estados Unidos primordialmente por jovens afro-descendentes e latinos, moradores de regiões periféricas da cidade de Nova Iorque, no final da década de 1970. Na constituição do hip hop aglutinaram-se quatro elementos: o DJ, MC, break e graffite, posteriormente, o conhecimento foi incluído neste conjunto. A atuação do DJ e do MC origina o rap. O gênero musical é amplamente consumido, preferencialmente por jovens de inúmeros países, pois o rap atravessou um processo de mundialização, em que a indústria cultural, sobretudo norte-americana, teve um papel fundamental. O movimento possui raízes complexas, como conseqüência, apresenta um contexto heterogêneo. Neste sentido, mesmo que o hip hop esteja relacionado a um universo coletivo comum, no âmbito da emergência da cultura de rua, é dotado de conflitos e contradições assim como em qualquer outra coletividade. O movimento hip hop chegou ao Brasil através da mídia, mas entendemos que este processo de transposição não esteve fundamentado apenas no consumo passivo, mas na sua reapropriação. Desta forma, o hip hop brasileiro se constitui como expressão local de um fenômeno mundial. O rap, além de ser um gênero musical consumido pelos jovens das periferias brasileiras, também é gerador de sentidos, cujo discurso musical se caracteriza como uma das etapas dessa produção. Assim, o público, além de ouvir as canções, busca conhecer quem as produz, ouvir suas opiniões e idéias, seu entendimento sobre a realidade. Esta produção de sentido também perpassa por uma construção estética, comportamental, política e ideológica. Para explicar tal debate, recorremos ainda ao conceito de identidade. A compreensão em relação aos processos educativos intrínsecos ao rap decorre, sobretudo, no entendimento da educação em seu sentido amplo. Nesta acepção, entendemos que o rap enquanto discurso musical deliberado possibilita um processo de educação informal. Busca-se identificar através do segmento do rap brasileiro, em que a criminalidade e a violência são predominantes na exposição do discurso, como os rappers objetivam o convencimento do público para que este compartilhe de um determinado entendimento da realidade histórica, em particular, a segregação econômica e social vivenciada pela periferia. Através deste discurso e ato educativo informal, os rappers também pretendem estimular uma mudança de comportamento em seus ouvintes para que estes participem da estratégia de ação que construíram e que almeja uma mudança social.

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Roth, Catherine. "La Nation entre les lignes. Médias invisibles, discours implicites et invention de tradition chez les Saxons de Transylvanie." Thesis, Paris 2, 2013. http://www.theses.fr/2013PA020056.

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Les communautés s’imaginent (Anderson, Hobsbawm, Gellner), mais comment l’invention est-elle diffusée et transformée en identité collective ? Cette théorie communicationnelle de la nation clarifie le concept flou d’invention de tradition en distinguant invention, transmission par un média (F. d’Almeida, J. Assmann), et transformation de l’invention en tradition, du présent en passé. L’hypothèse est que le plus important n’est pas dit : le message est implicite, et le média est invisible en tant que tel. L’implicite permet une naturalisation qui s’adresse en partie à l’inconscient, garant de l’intangibilité de la nation (C. Kerbrat-Orecchioni, M. Douglas). Les Saxons de Transylvanie, minorité allemande de Roumanie, ont choisi en 1990 l’émigration collective en Allemagne ; avec un début au XIIe siècle, une fin au XXIe, et des mutations identitaires dans un monde multiculturel, puis tendant vers la monoculturalité, et aujourd’hui la transculturalité, ils sont un terrain d’observation particulièrement pertinent. L’étude de leur historiographie, musée, Eglise, et club de montagne montre qu’ils ont entre les lignes réinventé le temps, l’espace public et le territoire, pendant que l’implicite figeait le temps, sacralisait la société et géologisait le territoire. Selon Karl W. Deutsch, un peuple est une communauté de communication, qui échange plus intensivement vers l’intérieur que vers l’extérieur. Un pont est ainsi créé entre théories des nations et nationalismes et Sciences de l’information et de la communication. Les différents implicites président à la fois à la construction nationale, au maintien des Etats-nations et à celui des dictatures, avec des similitudes troublantes entre les nations et les époques
Communities imagine themselves (Anderson, Hobsbawm, Gellner), but how is the invention spread and transformed into collective identity? This communication theory of nation clarifies the blurred concept of invention of tradition by distinguishing invention, transmission by a media (F. d’Almedia, J. Assmann), and transformation of invention into tradition, of present into past. The hypothesis is that the most important is not being said: the message is implicit and the media is invisible as such. Implicit meaning allows a naturalization that appeals in part to the unconscious – the guarantor of the nation’s intangibility (C. Kerbrat-Orecchioni, M. Douglas). Transylvanian Saxons, a German minority in Romania, chose collective emigration to Germany in 1990. With a beginning in the 12th century, an end in the 21st century, and identity transformations in a world first multicultural, then tending to monoculturality, and today to transculturality, they are a particularly relevant field observation. Studies of their historiography, museum, church and mountain club show that they have between the lines reinvented time, public space and territory, while the implicit froze time, sanctified society and ‘‘geologyzed’’ the territory. According to Karl W. Deutsch, a population is a community of communication who exchanges intensively more to the inside than the outside. Thus, a bridge is being built between the theories of nations and nationalism and communication studies. The different forms of implicit steer invisibly the national construction, the maintain of Nation-states and also of dictatorships with disturbing similarities between nations and eras

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Roberto, Cristina. "O pop não poupa ninguém : moda, música e consumo." Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/100/100133/tde-24102017-185403/.

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Esta pesquisa propõe uma reflexão sobre as convergências entre a moda, a música e o consumo, ressaltando a influência da cultura pop na sociedade capitalista contemporânea. Faz-se um paralelo com o rock brasileiro dos anos 1980 e 1990, mais especificamente com o discurso lítero-musical enquanto prática discursiva contestadora que nos dará suporte para discorrer sobre o consumo de moda e de outros produtos que servem como passaporte de inserção social do sujeito. Pretendese explicitar que o discurso empreendido nas letras do rock destas décadas apresentam críticas em relação à cultura pop, aos meios de comunicação de massa e ao consumismo. Neste sentido a relação entre a moda e o rock pode ser considerada como um processo de produção de significado, bem como, símbolo de identidade, destacando tendências e transformações. Demonstra-se aqui, a importância tanto da moda, quanto da música, não apenas com uma aglomeração de produtos de bens e consumo, mais sim, como uma produção social e artística, pois, estes meios de expressão podem reproduzir acontecimentos do cotidiano num contexto amplo, político, sociológico, histórico e cultural. Neste contexto discutiremos questões que nos instigam sobre sociedade de consumo, consumismo e a estreita relação estabelecida com os meios de comunicação. A pesquisa apresenta uma abordagem descritiva, fundamentada por meio de bibliografias sobre moda, música, indústria cultural e comportamento de consumo
This research proposes a reflection on the convergence between fashion, music and consumption, emphasizing the influence of \"pop culture\" in contemporary capitalist society. Is a parallel with the Brazilian rock of the 1980s and 1990s, more specifically with the literary-musical discourse as oppositional discursive practice that will give us support to discuss the consumption of fashion and other products that serve as a passport to social inclusion of the subject. It is intended to clarify that the discourse undertaken in rock lyrics of these decades have criticisms of the \"pop culture, the mass media and consumerism. It is intended to clarify that the discursive practice of rock lyrics of this decade can be considered as a meaningful production process, as well as a symbol of identity, highlighting trends and transformations, incorporating the broad sense of fashion. It is shown here, the importance of both the fashion, the music, not just an agglomeration of products of consumer goods and, more so, as a social and artistic production, since these means of expression can reproduce everyday events in a broader political, sociological, historical and cultural context. In this context we will discuss issues that prompt us about consumer society, consumerism and the close relationship established with the media. This research has a descriptive character, founded on bibliographies the fashion, music, cultural industry and consumer behavior

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Grassy, Elsa. "Le lieu musical : du texte à l’espace, un itinéraire sémantique. Poétique des catégories géographiques dans les musiques populaires américaines (1920-2007)." Thesis, Paris 4, 2010. http://www.theses.fr/2010PA040118.

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Il existe dans le discours de la presse musicale américaine de nombreux de termes géographiques, dont la fonction n’est pas uniquement de localiser l’origine des courants musicaux ou d’opérer leur catégorisation par genre ou sous-genre : ces mots sont l’indice d’une véritable esthétique géomusicale, par laquelle lieux et musique se donnent sens et valeur. L’ancrage dans un lieu confère à la musique la valeur de vérité et de réalité que recouvre la notion d’authenticité, et donne lieu à des jugements esthétiques imprégnés de déterminisme géographique. Cependant, le lien avec un lieu étant considéré comme un gage de qualité, celui-ci a pu être renforcé ou fabriqué de toutes pièces par l’industrie musicale : paradoxalement, la géomusicalité serait le signe d’une manipulation, du factice, de l’inauthentique. Malgré tout, la musique ayant le pouvoir de rendre le lieu magnétique, en ce qu’il devient l’objet du désir des fans, la fiction musicale peut générer sa propre réalité. Ceci est d’autant plus le cas lorsqu’elle retient l’attention des responsables locaux, et est exploitée dans le cadre d’initiatives de développement économique, notamment sous l’angle touristique – ce qui correspond à une géomusicalité appliquée. Cette étude se donne pour objectif d’explorer les mécanismes de l’esthétique géomusicale, du discours journalistique à ses applications sur le territoire américains. Elle se conclut par une analyse des représentations de la Nouvelle-Orléans en tant que ville musicale au lendemain de l’ouragan Katrina. Les discours qui ont entouré la reconstruction du « berceau du jazz » permettent de mesurer les enjeux de l’association entre musique et lieu aux Etats-Unis, et leurs répercussions sur les identités locales
The discourse on American popular music is fraught with geographical terms whose function is not merely to situate or to categorize music. This lexical field points to the existence of a geomusical imagination around American popular music, which attributes value and meaning to genres and styles that can be traced back to specific locales. Such rootedness is interpreted as a sign of authenticity in the musical discourse. For that reason, geographic authenticity has been fabricated by the music industry in order to increase the value of cultural products. In the same way, local authorities and the tourism industry have promoted the musical image of specifc places in order to make them more attractive to residents and visitors alike. Such initiatives can be considered as applied geomusicality, and decrease the gap between geomusical fiction and geographic reality. This study explores the many facets of geomusicality, from the American journalistic discourse to local initiatives that aim at promoting the musical image of places. It closes on a case study devoted to New Orleans after hurricane Katrina. The way the “cradle of jazz” was represented in the news and in official discourses as well as the musical reactions to the hurricane allow one to assess the many implications of geomusicality and its hold on popular imaginations

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Monteiro, Ricardo Nogueira de Castro. "O sentido na música: semiotização de estruturas paradigmáticas e sintagmáticas na geração de sentido musical." Universidade de São Paulo, 2002. http://www.teses.usp.br/teses/disponiveis/8/8139/tde-06032007-190915/.

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Partindo inicialmente da proposta de se estender a um repertório não-ocidental o corpus do modelo analítico desenvolvido na dissertação de mestrado Análise do discurso musical: uma abordagem semiótica, a tese de doutorado O Sentido na Música: semiotização de estruturas paradigmáticas e sintagmáticas na geração de sentido musical termina por se debruçar sobre as relações semi-simbólicas que organizam e estruturam as diferentes instâncias de produção de sentido na música e na canção. A partir de uma semiotização da métrica greco-latina, desenvolve uma estratégia sintética de abordagem das instâncias rítmica (plano da expressão) e tensiva (plano do conteúdo) na música. A partir da análise comparativa de três versões da canção egípcia ya garat al-wadi, identifica como principais diferenciais entre a música ocidental e árabe-mediterrânea a utilização por parte desta das configurações melismáticas enquanto estratégia de estruturação melódica e o emprego da estruturação intervalar em detrimento do pensamento motívico que caracteriza o idioma musical ocidental. Também a partir daí verifica-se a insuficiência do modelo de aspectualizações modulatórias de Greimas e Fontanille, todas de caráter linear, e propõe-se os fundamentos para um estudo das modulações cíclicas, divididas em circulares (convergentes, associadas ao efeito de sentido de realização) e espirais (divergentes, associadas à potencialização). As modulações cíclicas mostram sua eficiência enquanto ferramentas metodológicas ao serem capazes de abordar sinteticamente fenômenos gerativos comuns tanto à simplicidade da música mântrica quanto à complexidade das grandes composições sinfônicas. Por fim, ao examinar a questão da influência moura sobre a música tradicional nordestina, chega-se a um estudo da semiotização das estruturas rímicas do plano de expressão verbal capaz de subsumir o conjunto de relações semi-simbólicas que organizam e inter-relacionam sincreticamente os planos de expressão e conteúdo das instâncias verbal e musical na canção.
The thesis Meaning in Music: semiotization of paradigmatic and synthagmatic structures in the production of musical sense was firstly conceived as an extension of a previous work, Musical Analysis: a semiotical approach. Its main target was to verify the efficiency of the previously developed model when applied to a non-western repertory. Eventually, the research was redirected towards the study of the semi-symbolic relations which ultimately orchestrate and organize the production of meaning in the various instances of the musical discourse. A new rhythmical approach was developed based on the Greek-roman theory on metric, and its advantages with respect to an orthodox consideration of duration noted in western musical writing were largely proved. The first piece of non-western repertory to be analyzed was the Egyptian song ya garat al-wadi. Three different versions were compared so that the essence of Eastern-Mediterranean music was found, and it was summarized in two main principles: the melismatic organization of melody and the absence of motivical structures were the semiotization of intervals themselves prevails. Also, the propositions on modulatory aspects by Greimas and Fontanille were considered insufficient to deal with the cyclical modulations that are extremely frequent in Eastern music. A new approach on cyclical modulations was thus proposed, discussing its two main possibilities: convergent or circular modulations, associated with the effect of realization, and divergent or spiral modulations, related with greimasian concept of potentialization. Finally, the focus was directed towards the presence of moor influence on Brazilian traditional music. Although consistent historical or analytical proof was not found, the chapter abandoned its previous diachronical approach to dive into a synchronic investigation on the semiotizatin of rhyme and its effects on the semi-symbolic relations which regulate the balance between verbal and musical instances in songs, thus establishing the basis to a new synchretic approach to the study of songs.

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Lin, Hoi Wai. "Discord, intransigence, ambivalence, and ultimate coherence : relationships between the musical surface and its underlying structures in Fauré’s nocturne no. 6, op. 63." Thesis, University of British Columbia, 2014. http://hdl.handle.net/2429/50812.

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The Sixth Nocturne of Gabriel Fauré has long been acclaimed and widely performed. However, its musical and compositional values sadly lack reflection in the music-analytical literature. The Nocturne’s style is eclectic, incorporating chromatic, modal, and non-tonal (symmetric) collections into diatonic tonality. That the frame of traditional, functional tonality is made to accommodate these diverse constructs suggests many questions and implies the need for advanced analysis. In Chapter 1 I identify specific complexities encountered in this work, including deformed voice leading, temporally skewed counterpoint, subtle metric dissonance, recourse to the whole-tone and octatonic collections, modal mixture in local and global context, and ambiguity of tonic and dominant functions. Their presence serves as my justification in searching for a simpler, more fundamental and continuous underlying structure, of the sort aimed at by Schenkerian analysis. Because this type of analysis must be adapted for late nineteenth-century music, the Chapter also summarizes prior work along these lines that I found suggestive. A 1993 article by Edward Phillips was of primary importance to me, but I also summarize noteworthy contributions by James Sobaskie, Taylor Greer and Robert Morgan. Chapter 2 presents a complete Schenkerian two-leveled graph (the standard background graph is omitted), accompanied by a detailed commentary. Finally, Chapter 3 summarizes four significant structural features of the Nocturne that my experience suggests are of general importance to the composer’s style. They are 1) Discord: when what may seem “wrong” at the surface sounds “right” at a deeper level; 2) Intransigence: conflict in the harmonic-melodic structure due to skewed counterpoint and persisting, sometimes migratory scale degrees; 3) Ambivalence: blurring between tonic and dominant harmonies and 4) Coherence: modality and mixture in the large and the small. Ultimately, I hope this study successfully portrays the delightful equilibrium that constitutes the distinctive “flavor of Fauré”––between innovation and tradition, the clouded and the clear, the conflicted and the concordant; and that it captures some of the ways in which these balances operate, thereby shedding additional aesthetic light on one of the gems of the piano repertoire.
Arts, Faculty of
Music, School of
Graduate

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Casswell, Nicholas James. "Portfolio of original musical compositions with written commentary subtitled : 'Temporal continuities and discontinuities : a study of time and discourse in music by composition, analysis and musicological enquiry'." Thesis, University of Leeds, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.403049.

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Ansari, Dezfoul Mona. "Transposition des valeurs des voitures européennes à travers la bande-son des spots publicitaires produits à l'année 2012." Thesis, Limoges, 2016. http://www.theses.fr/2016LIMO0059/document.

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Le son, sur un support audio-visuel, est le vecteur d’un sens supplémentaire pour l’image. La captation de ce sens concerne trois attitudes de l’individu vis-à-vis de la bande-son: réaction affective, cognitive et comportementale. Cette recherche aborde la réaction cognitive de l’individu par rapport à une bande-son publicitaire produite, en 2012, pour les voitures européennes. Ce travail de recherche vérifie quelles modalités des éléments constitutifs d’une bande-son sont adéquates aux valeurs « dynamisme, modernité et sécurité» des voitures européennes. La méthodologie de cette recherche comporte deux parties. La première partie est l’analyse de la structure narrative de chaque spot publicitaire afin de découvrir les stratégies narratives de chaque spot publicitaire de notre corpus. L’autre partie consiste à effectuer une expérimentation dans le cadre d’un entretien directif avec deux échantillons: l’un comprend des consommateurs potentiels quelconques, et l’autre sera constitué de consommateurs potentiels experts. L’entretien avec ces deux groupes nous permet de faire une comparaison entre la réaction cognitive des experts et celle des non experts vis-à-vis de la même bande-son
The sound, on an audio visual support, is the vector of meaning to the image. The capture of this sense covers three attitudes of the individual vis-a-vis the soundtrack: emotional response, cognitive and behavioral. This research addresses the cognitive reaction of the individual in relation to soundtracks advertising produced in 2012, for European cars. This research verifies what terms the constituent elements of a soundt rack are adequate values "dynamism, modernity and security" of european cars. The methodology of this research has two parts. The first part is the analysis of the narrative structure of each commercial to discover the narrative strategies of each commer cial of our corpus. The other part is to perform an experiment in the context of a structured interview with two samples: one comprises any potential consumers, and the other will consist of potential consumer’s experts. The meeting with these groups allows us to make a comparison between the cognitive response of experts and of noun experts vis-a-vis the same soundtrack

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Silva, Luciene Helena da. "A construÃÃo discursiva da noÃÃo de amor pelo posicionamento romÃntico em canÃÃes brasileiras na dÃcada de 1970." Universidade Federal do CearÃ, 2014. http://www.teses.ufc.br/tde_busca/arquivo.php?codArquivo=12663.

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Conselho Nacional de Desenvolvimento CientÃfico e TecnolÃgico
Neste trabalho, analisamos a construÃÃo discursiva da noÃÃo de amor em canÃÃes produzidas pelo posicionamento romÃntico durante a dÃcada de 1970. Enfocamos o amor, sentimento universal, cuja temÃtica perpassa todos os posicionamentos da mÃsica Popular Brasileira e que tem espaÃo privilegiado na canÃÃo romÃntica. O recorte temporal se justifica pela importÃncia histÃrica do perÃodo marcado pela ditadura militar e pelo auge da canÃÃo romÃntica no Brasil. Dessa maneira, o corpus constitui-se de canÃÃes que alcanÃaram grande sucesso midiÃtico, interpretadas por cantores do posicionamento romÃntico durante o perÃodo delimitado. Seguimos como orientaÃÃo teÃrica a AnÃlise do Discurso, sob o enfoque dado a partir dos trabalhos desenvolvidos por Dominique Maingueneau. Dada as especificidades de nossa investigaÃÃo, recorremos a Maingueneau (1997, 2008a, 2008b, 2009), para tratarmos dos conceitos fundamentais nos quais baseamos a nossa pesquisa; a Costa (2012), para tratarmos do discurso literomusical brasileiro e a Costa (1998), para analisarmos a noÃÃo de amor. A partir da articulaÃÃo dessas abordagens e da anÃlise do investimento nas categorias discursivas â cenografia e ethos â desenvolvidas por Maingueneau (1997, 2008a, 2008b, 2009), analisamos a noÃÃo de amor construÃda pelo posicionamento romÃntico. ConcluÃmos que a noÃÃo de amor nÃo Ã Ãnica, mas, sim, caracteriza-se por ser estruturada em diferentes formas de narrativas, na qual se verificam: a declaraÃÃo amorosa, a conjunÃÃo e disjunÃÃo afetivas, o sofrimento e a sensualidade. A cenografia Ã construÃda a partir do enunciador, validando a noÃÃo de amor que se pretende prÃpria desse posicionamento e contribuindo para a construÃÃo de uma noÃÃo que caracteriza o amor como sendo exacerbado, intenso. Constatamos que as canÃÃes romÃnticas analisadas nÃo trazem, explicitamente, topografia ou cronografia. Quando o fazem, referem-se a um lugar paradisÃaco, ao lar ou ao local em que o casal realiza os encontros amorosos. Quanto ao investimento Ãtico, predomina o enunciador masculino cantando para sua amada, declarando seu amor. O amor se apresenta como uma possibilidade de fuga da realidade, em que se vive plenamente o sentimento amoroso e na qual a amada Ã o meio para alcanÃar tal plenitude. Predomina a noÃÃo de amor sensualizado e sexualizado, confirmando a imagem romÃntica do amor, de modo que Ã essa a noÃÃo que domina o imaginÃrio em torno do sentimento amoroso. Assim, as canÃÃes romÃnticas representativas da dÃcada de 1970 traduzem uma noÃÃo de amor erotizado que, em consonÃncia com os movimentos juvenis e feministas nascidos nos anos 60, sugerem a relaÃÃo sexual como forma de realizaÃÃo do amor.
In this paper, we analyze the discursive construction of the notion of love in songs composed by the romantic positioning during the 1970s. We have focused on love, universal feeling, whose theme is present in all the positions adopted by Brazilian Popular Music, and which has privileged place in romantic songs. The temporal cut is justified by the historic importance of the period marked by the military dictatorship and by the peak of romantic songs in Brazil. Thus, the corpus is made of songs that had had great success in the media, interpreted by singers of the romantic positioning during the delimited period. We have followed as theoretical orientation the Discourse Analysis, under the focus given by the works developed by Dominique Maingueneau. Given the specificities of our investigation, we have utilized Maingueneau (1997, 2008a, 2008b, 2009), to treat the fundamental concepts in which we have based our research; Costa (2012), to treat the Brazilian literary-musical discourse; and Costa (1998), to analyze the notion of love. From the articulation of these approaches and from the analysis of the investment in the discursive categories â scenography and ethos âdeveloped by Maingueneau (1997, 2008a, 2008b, 2009), we have analyzed the notion of love constructed by the romantic positioning. We have concluded that the notion of love is not unique, but that it characterizes itself by being structured in different forms of narration, in which are verified: the love declaration, the affective conjunction and disjunction, the suffering and the sensuality. The scenography is constructed through the enunciator, validating the notion of love that intends to belong to such positioning and contributing to the construction of a notion that characterizes such feeling as being exacerbated, intense. We have realized that the romantic songs analyzed do not bring, explicitly, topography or chronography. When they do so, they refer to an idyllic place, to home or to the place in which the couples have their romantic meetings. As to the ethical investment, the male enunciator is predominant, singing to his lover, declaring his love. Love presents itself as a possibility of escaping reality, in which one can fully live that feeling and in which the lover is the means to reach such fullness. The notion of love, sensualized and sexualized, is predominant, confirming the romantic image of it, so that it is such notion the one that inhabits the imagination surrounding the feeling of love. Therefore, the romantic songs that represent the 1970s translate an eroticized notion of love that, in line with the juvenile and feminist movements born in the 60s, suggests sexual relation as the means of love fulfillme.

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Guyot, Elsa. "Les représentations du Moyen Âge au Québec à travers les discours muséaux (1944-2014) : pour une histoire du goût, du collectionnement et de la mise en exposition de l'art médiéval au Québec." Thèse, Montpellier 3, 2015. http://hdl.handle.net/1866/13601.

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Cotutelle de thèse France-Québec : Université Paul-Valéry Montpellier 3 et Université de Montréal. Pour respecter les droits d’auteur, la version électronique de cette thèse a été dépouillée de certains documents visuels. La version intégrale de la thèse a été déposée au Service de la gestion des documents et des archives de l'Université de Montréal.
Cette thèse a pour but d’étudier les diverses représentations du Moyen Âge au Québec à travers un corpus d’expositions parcourant le XXe siècle et le début des années 2000. Nous nous intéressons au rôle joué par l’espace muséal québécois dans la diffusion de discours sur cette période européenne. Chaque exposition est replacée dans son contexte de création afin de mettre en évidence les raisons d’ordres religieux, culturels, politiques et linguistiques qui incitent les musées à privilégier telle ou telle représentation du Moyen Âge.
This thesis aims to study the various representations of the Middle Ages in Quebec through a corpus of temporary exhibitions held during the twentieth century and the early 2000s. We question the role played by the Quebec museums in the diffusion of discourses about this European period. In order to highlight the religious, cultural, political or linguistic reasons for museums to focus on a specific representation of the Middle Ages, each exhibition is replaced within its original context of creation.

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Cruz, Eduardo Felipe Cangemi da. "Discos Marcus Pereira : Disco finalmente é cultura! - indústria fonográfica, música popular e memória social do choro /." Franca, 2016. http://hdl.handle.net/11449/144665.

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Orientador: Tânia da Costa Garcia
Banca: José Adriano Fenerick
Banca: Paulo Augusto Castagna
Resumo: A presente pesquisa tem como foco central de análise a produção fonográfica da gravadora independente Discos Marcus Pereira, entre os anos de 1974 e 1978. Este período foi marcado pelo processo de consolidação do mercado de discos no Brasil e pelas discussões em torno de elementos que viriam redimensionar o campo da música popular brasileira, a partir de valores e comportamentos vinculados a certas categorias de apreciação e consumo. A empresa Discos Marcus Pereira lançaria no mercado fonográfico 142 elepês, todos voltados exclusivamente para o registro e divulgação da "autêntica música popular brasileira". Deste universo discográfico estão sendo considerados como fontes desta investigação, àqueles dedicados à música popular instrumental, mais especificamente o choro. A década de 1970 demarcaria um importante momento de rearticulação e de revitalização deste gênero musical. Se de um lado ocorre a "redescoberta" do gênero e de seus artífices, por outro, concorre uma nova safra de compositores e instrumentistas que passam a pensar o choro para além dos modelos "tradicionais" de composição e execução. Essa tensão entre "preservação" e "revitalização" dos repertórios do choro é amealhada ao longo do trabalho, compondo parte do cenário em que circulariam os discos da gravadora. Essas discussões tangenciariam toda a década de 1970, marcada pela necessidade da afirmação da identidade nacional brasileira, para a qual colaborou de forma significativa a esfera da música popular. A esco... (Resumo completo, clicar acesso eletrônico abaixo)
Abstract: A presente pesquisa tem como foco central de análise a produção fonográfica da gravadora independente Discos Marcus Pereira, entre os anos de 1974 e 1978. Este período foi marcado pelo processo de consolidação do mercado de discos no Brasil e pelas discussões em torno de elementos que viriam redimensionar o campo da música popular brasileira, a partir de valores e comportamentos vinculados a certas categorias de apreciação e consumo. A empresa Discos Marcus Pereira lançaria no mercado fonográfico 142 elepês, todos voltados exclusivamente para o registro e divulgação da "autêntica música popular brasileira". Deste universo discográfico estão sendo considerados como fontes desta investigação, àqueles dedicados à música popular instrumental, mais especificamente o choro. A década de 1970 demarcaria um importante momento de rearticulação e de revitalização deste gênero musical. Se de um lado ocorre a "redescoberta" do gênero e de seus artífices, por outro, concorre uma nova safra de compositores e instrumentistas que passam a pensar o choro para além dos modelos "tradicionais" de composição e execução. Essa tensão entre "preservação" e "revitalização" dos repertórios do choro é amealhada ao longo do trabalho, compondo parte do cenário em que circulariam os discos da gravadora. Essas discussões tangenciariam toda a década de 1970, marcada pela necessidade da afirmação da identidade nacional brasileira, para a qual colaborou de forma significativa a esfera da música popular. A escolha dos repertórios e artistas realizados pela gravadora iriam dialogar com a construção de uma tradição musical nacional, negociada e elaborada por memorialistas, musicólogos e folcloristas ao longo do século XX, através de práticas sociais que se constituíram, produzindo representações específicas acerca de uma determinada tradição musical...
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49

Bryntesson, Albin. "Teori i praktiken : Musiklärares konstruktion av relationen mellan musikteori och musikalisk praktik." Thesis, Karlstads universitet, Institutionen för konstnärliga studier (from 2013), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-78166.

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Abstract:

Syftet med denna studie är att undersöka hur lärare i musikteori konstruerar och arbetar med relationen mellan musikteori och musikalisk praktik i undervisning. För att undersöka detta har fokusgrupper bestående av musikteorilärare använts som datainsamlingsmetod. I analysen av intervjuerna har ett diskurspsykologiskt perspektiv använts. Studien har en kvalitativ forskningsansats och en socialkonstruktionistisk epistemologisk utgångspunkt. I resultatet synliggörs tolkningsrepertoarer där lärarna beskriver relationen mellan musikteori och musikalisk praktik. Dessa tolkningsrepertoarer framställs ibland som motstridiga, såsom framställningen av musikteori som något som gynnar kontra hindrar inlärning av klingande musik. Det rådde däremot samstämmighet i tolkningsrepertoaren som framställde musikteori som något som får sin mening endast i och med musikalisk praktik. Resultatet diskuteras i relation till tidigare forskning om musikteoriämnets historiska rötter respektive ämnets relation till nutida musikutövande samt forskning om musikteoriundervisning och dess roll i musikalisk utveckling.
The purpose of this study is to examine how music theory teachers constructs and work with the relationship between music theory and musical practice in teaching. To examine this, focus groups consisting of music theory teachers were used as method for data collection. A discourse psycological view was used to analyze the interviews. The study has a qualitative research approach and a social constructionist epistemological view. The result illuminates’ interpretative repertoires were the teachers describes the relationship between music theory and musical practice. Sometimes these interpretative repertoires are described as conflicting, such as the description of music theory as something that benefits versus obstructs the learning of musical practice. Other interpretative repertoires have been unanimous, such as the rendering that music theory gets its meaning only in association with musical practice. The result is discussed in relation to previous research of the historical roots of music theory in contrast to the subjects’ relationship to contemporary musical performance and also research about music theory education and its role in musical development.

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Iwamoto, Judith de Souza Coimbra. "Encontrar a voz: uma pesquisa-ação na escola de ensino fundamental ajudando crianças a emitir a voz cantada." Universidade de São Paulo, 2010. http://www.teses.usp.br/teses/disponiveis/27/27158/tde-19082015-112943/.

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Este trabalho investigou a questão da desafinação vocal infantil em alunos de uma escola pública de Ensino Fundamental na cidade de Barueri, São Paulo. Essas crianças não conseguiam cantar de maneira satisfatória, apesar da prática do canto coletivo e dos modelos vocais do professor e do colegas nas aulas de Música da escola. Adotada a metodologia da pesquisa-ação (Thiollent, 2008), foram investigadas as causas do problema e tomadas novas medidas pedagógicas que culminaram na elaboração de um programa de atividades vocais. O referencial teórico que serviu de base para esta pesquisa está apoiado nos trabalhos de GARDNER (2002), ILARI (2006), FORCUCCI (1975), LECK (2002), SOBREIRA (2003), RAO (1996-2005), TELFER (2003) e GOETZE (2003). Os resultados do trabalho foram positivos, revelando a possibilidade de melhorar o problema da desafinação em alunos da escola básica, mediante um atendimento individual e ênfase na prática do canto coletivo desde os primeiros anos escolares.
This work investigated the question of the infantile vocal discord in pupils of a public school of Basic Education in the city of Barueri, São Paulo.These children did not obtain to sing in satisfactory way, although of the collective singing practice and of the vocal models of the professor and the colleagues in the lessons of music of the school. Adopted the methodology of the research-action (Thiollent, 2008), was investigated that the causes of the problem and new pedagogical measures had culminated in the elaboration of a program of vocal activities. The theoretical referencial that served of base for this research is supported in the works of GARDNER (2002), ILARI (2006), FORFUCCI (1975), LECK (2002), SOBREIRA (2003), RAO (1996-2005), TELFER (2003) and GOETZE (2003). The results of the work had been positive, disclosing the possibility to improve the problem of the discord in pupils of the basic school, by means of an individual attendance and the emphasis in the practice of collective singing since the first pertaining to school years.

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Dissertations / Theses on the topic 'Discours muséal'

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