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Dissertations / Theses on the topic 'Performance musical instrumental e vocal'

Author: Grafiati

Published: 7 September 2021

Last updated: 29 July 2025

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1

Fonseca, Renata Simões Borges da. "Bioenergética: um caminho de auxílio no processo de ensino-aprendizagem do violino." Universidade Federal da Paraíba, 2011. http://tede.biblioteca.ufpb.br:8080/handle/tede/6597.

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Made available in DSpace on 2015-05-14T12:52:28Z (GMT). No. of bitstreams: 1 Arquivototal.pdf: 3367733 bytes, checksum: 6bf04a4853c4b58bb74f3893826aba70 (MD5) Previous issue date: 2011-08-08<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES<br>Playing an instrument is turning on muscular, affective and mental mechanisms that are closely related. Therefore, in a performance preparation, it is expected from the instrumentalist not just the understanding of the musical speech, but the assimilation and perfection of the motor patterns that will be part of the needed corpor

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2

Marecos, Carlos Fernando da Silva. "Interacção entre estruturas intervalares e estruturas espectrais, na música instrumental/vocal." Doctoral thesis, Universidade de Aveiro, 2011. http://hdl.handle.net/10773/3797.

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Doutoramento em Música<br>A presente tese apresenta-se num formato bipartido, sendo a primeira parte uma investigação teórica e a segunda parte um conjunto de composições originais que procuram estabelecer, directa e indirectamente, uma relação com a temática investigada. A investigação incide sobre as diferentes relações que se podem estabelecer entre estruturas intervalares e estruturas espectrais, a partir de um conjunto representativo de obras de diferentes compositores. As obras originais da segunda parte configuram um objecto final de análise e reflexão. As composições que integr

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3

Walker, Timothy M. "Instrumental differences in characteristics of expressive musical performance." Connect to this title online, 2004. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1092430692.

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Thesis (Ph. D.)--Ohio State University, 2004.<br>Title from first page of PDF file. Document formatted into pages; contains xii, 126 p.; also includes graphics. Includes bibliographical references (p. 118-126).

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4

Roddie, Matthew. "Composition." Thesis, University of York, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.323691.

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5

Harvey, James. "Elder Music, Instrumental Music Performance and Affirmative Aging." Thesis, Griffith University, 2017. http://hdl.handle.net/10072/366040.

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Elder Music, Instrumental Music Performance and Affirmative Aging is a Practice-led research project in Community Music performance. A phenomenological, autoethnographic critique of lived musical experience by a senior, former professional musician returning to an accomplished instrumental music performance practice after a playing hiatus of twenty-four years. Research that arose in response to this personal aesthetic process resulted in a performance-led community music investigation, detailing the journey of a musician returning to active performance, without claiming to be either unique or

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Oliveira, Deborah Moraes Gonçalves de. "A expressividade do corpo na performance vocal." Doctoral thesis, Universidade de Aveiro, 2016. http://hdl.handle.net/10773/22459.

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Doutoramento em Música<br>Apesar da relevância de estudos realizados sobre o papel do corpo no fazer musical, há ainda uma escassez quanto aos que são dedicados ao treinamento e à formação do corpo do cantor como um instrumento de expressão. Geralmente, nos primeiros anos de estudos no Conservatório, os cantores se preocupam mais em treinar o corpo para servir à técnica vocal - o que frequentemente acaba por promover indesejáveis tensões musculares e vícios de postura corporal - e menos preocupados em treinálo para servir à performance. Assim, considerei necessário um trabalho investig

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Borland, Denise. "The singer's psyche : a psychological approach to vocal performance training." Thesis, Edinburgh Napier University, 2011. http://researchrepository.napier.ac.uk/Output/4529.

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Cirino, Giovanni. ""Narrativas musicais: performance e experiência na música popular instrumental brasileira"." Universidade de São Paulo, 2005. http://www.teses.usp.br/teses/disponiveis/8/8134/tde-08082006-164103/.

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A presente dissertação aborda a música popular instrumental brasileira (MPIB) e sua atividade na cidade de São Paulo. A pesquisa visa identificar o conteúdo da MPIB como mediação da sociedade, bem como elucidar questões semânticas e de conteúdo em relação ao termo. Em outras palavras, o trabalho procura levar o leitor a uma das muitas paisagens sonoras da sociedade paulistana e brasileira através da audição da música instrumental. Abordamos a MPIB a partir de dois pontos de vistas: de um lado sua produção, apresentando algumas das circunstâncias de produção (fonográfica e ao vivo) e de o

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9

Maestrello, Dino. "Trompete: aspectos físicos e orgânicos da performance musical - proposta de atividade física para melhor desempenho e manutenção da performance." Universidade de São Paulo, 2010. http://www.teses.usp.br/teses/disponiveis/27/27158/tde-31082015-134355/.

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A performance no trompete apresenta, além do contexto estético e musical, considerável componente físico, uma vez que o instrumento amplifica os sons \"produzidos\" pelo corpo. Neste ponto, o trabalho coordenado das diversas estruturas corporais (físicas e orgânicas) empregadas na execução do trompete exige do músico certo grau de desenvolvimento físico. O objetivo da pesquisa pauta-se na análise destas estruturas sobre uma proposta de atividades físicas, em sentido a manter e melhorar a performance no instrumento. Em um primeiro momento procura-se definir a atividade física em seu âmbito gera

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10

Thompson, Shirley J. "Towards a new aesthetic in contemporary instrumental ensemble, vocal and chamber opera composition." Thesis, Brunel University, 2011. http://bura.brunel.ac.uk/handle/2438/13862.

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This submission for the degree of Doctor of Philosophy focuses on works for large instrumental ensemble in conjunction with the voice. Instrumental ensemble and vocal mediums such as the orchestral art song, the song cycle and the opera in one act, provide platforms to explore the expressiveness of the lyrical dramatic voice and the dialectic tension between composing for the solo voice with a range of instrumental ensemble forces. The portfolio of compositions includes the orchestral song, The Woman Who Refused to Dance; the orchestral song trilogy, Spirit Songs; and the opera in one act, Que

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Trevor, Caitlyn M. "Three Studies of Emotional Cues in Instrumental Music Inspired by Acoustical Cues in Vocal Affect." The Ohio State University, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=osu1460991596.

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12

Martin, Stephanie Parke. "An exploration of factors which have an impact on the vocal performance and vocal effectiveness of newly qualified teachers/lecturers." Thesis, University of Greenwich, 2003. http://gala.gre.ac.uk/8761/.

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The aim of this project was to explore whether voice care and development, prior to qualification, could mitigate potential vocal attrition in newly qualified teachers/lecturers within their first year of teaching. A specific focus of the research was to see if any causative relationship could be seen to exist between vocal change, specifically change in vocal quality, and the exigencies of the teaching role. Vocal quality in this instance is defined as the way in which individual voices demonstrate discrete features of pitch, resonance, degree of breathiness and clarity of the note. The sum o

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Conde, André Manuel Fialho. "A linguagem instrumental e a linha vocal: a performance de Lieder de Richard Strauss em trombone tenor." Doctoral thesis, Universidade de Évora, 2019. http://hdl.handle.net/10174/31063.

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A presente tese de Doutoramento em Música e Musicologia, especialidade Interpretação - Trombone visa, enquanto instrumentista que somos, experienciar e dar a conhecer as potencialidades do instrumento em domínios pouco trabalhados entre nós, de molde a ampliar o repertório trombonístico. Face aos desafios colocados aos executantes nas suas performances, procurámos a novidade ao propor a exploração pelo trombone de obras inicialmente compostas para serem cantadas. Dessas composições, os chamados Lieder, que dominaram as realidades alemã e austríaca do período romântico, elegemos a obra de Richa

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Alves, Vasco. "A.·.418: Um método de sistematização da concepção musical interpretativa." Doctoral thesis, Universidade de Aveiro, 2011. http://hdl.handle.net/10198/7076.

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Este trabalho consiste numa proposta metodológica, denominada A∴418, que visa abordar a actividade especulativa dos performers no que diz respeito às suas concepções interpretativas dos discursos musicais. Foram identificados dois factores inerentes a esta actividade – as concepções expressiva e técnica – como estando na base da configuração final deste processo. O A∴418 resulta de um processo de aplicação de técnicas de análise musical vocacionadas para o estudo da interpretação musical, são elas a Análise da Intenção Musical Interpretativa (direccionada para a concepção expressiva da narrati

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Yang, Chuan-Tsing. "The Crucifixion." Thesis, University of North Texas, 1993. https://digital.library.unt.edu/ark:/67531/metadc501140/.

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The Crucifixion, a composition for three vocal soloists, four-part mixed chorus, and instrumental ensemble, is a setting of passages taken from the four Gospels of the Holy Bible. It describes the mocking of Christ and includes the Seven Last Words of Christ on the cross. It uses serial technique in the structuring of pitches and rhythm. Special attention is paid in designing and combining pitch and rhythm to create monophonic, homophonic and polyphonic textures. Besides traditional performance techniques, the work employs some modern vocal and instrumental techniques.

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Mota, Maier Regina Helena Cunha 1963. "Percepção corporal do cantor : um estudo etnográfico sobre a performance vocal." [s.n.], 2013. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284488.

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Orientador: Sara Pereira Lopes<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-23T23:02:01Z (GMT). No. of bitstreams: 1 MotaMaier_ReginaHelenaCunha_M.pdf: 2269037 bytes, checksum: 050b989b94ea1add4165330c31806262 (MD5) Previous issue date: 2013<br>Resumo: A presente dissertação investiga a corporalidade do cantor em cena. O trabalho estuda possibilidades expressivas do canto e sua relação com a pedagogia da voz. O eixo que direciona o trabalho é a constituição da pesquisadora enquanto cantora e professora de canto e a (

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Simões, Thays Peneda. "O gesto corporal na performance coral - estudo de dois grupos corais." Master's thesis, Universidade de Aveiro, 2012. http://hdl.handle.net/10773/9630.

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Mestrado em Música<br>Este estudo propõe uma reflexão em torno das potencialidades do gesto na performance coral. Parte da discussão do termo “gesto”, a partir de contributos teóricos de diferentes disciplinas, para a definição de uma tipologia que permita sistematizar os gestos explorados por dois grupos corais. Contextualiza historicamente esse fenómeno no quadro da prática do canto em coro na “música ocidental”. Através do trabalho de campo e da pesquisa ação, desenvolve um estudo em torno dos grupos corais: o Coro Infantil da Universidade de Lisboa localizado em Lisboa - Portugal,

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Araújo, Pedro André Guerreiro Martins de. "Describing vocal performance of Portuguese cantadeiras of Alto Minho." Doctoral thesis, Universidade de Aveiro, 2015. http://hdl.handle.net/10773/14676.

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Doutoramento em Música<br>Portugal has strong musical traditions, which have been perpetrated by decades through folkloristic activities. In folk groups from Alto Minho (north of Portugal), folk singing is mostly performed by cantadeiras, amateur female solo singers who learn this style orally. Their vocal characteristics are distinctive when compared with other regions of the country; however, deep understanding of these vocal practices is still missing. The present work aims at studying Alto Minho cantadeira’s vocal performance in a multidimensional perspective, envisioning social, cultural

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Ribeiro, Joana Maria Dias. "A importância e a eficácia da utilização de exercícios de semi-oclusão do trato vocal na preparação vocal de coros." Master's thesis, Universidade de Aveiro, 2016. http://hdl.handle.net/10773/17880.

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Mestrado em Ensino de Música<br>Sendo a prática de exercícios de aquecimento vocal importante para uma boa preparação performativa vocal, também na preparação vocal da disciplina de Classe de Conjunto é importante que seja realizado um trabalho vocal nesse sentido. O presente estudo constitui uma tentativa de verificar se um plano específico de aquecimento vocal produziria melhorias na performance vocal conjunta. Neste sentido, foram realizadas duas gravações com um ensemble vocal constituído por 6 alunos, espaçadas por um período de 3 meses. Entre a primeira e a segunda gravações foi a

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Fernandes, Osvaldo Samuel da Silva. "Da criação à performance: Coro de Pequenos Cantores de Esposende." Master's thesis, Universidade de Aveiro, 2012. http://hdl.handle.net/10773/10035.

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Mestrado em Ensino de Música<br>A presente dissertação propõe-se abordar a importância da associação de um compositor a um coro infantil para a promoção do desenvolvimento pessoal e musical dos coralistas, a partir da análise de vários estádios desta colaboração, desde a criação musical até à performance. O trabalho avalia, numa primeira parte, o contributo que um coro pode oferecer à sua comunidade na perspetiva de vários pedagogos e também de vários compositores. Na segunda parte apresenta a minha criação de quatro obras para o Coro de Pequenos Cantores de Esposende em dialogia com a

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Giménez, Andrea Beatriz Wozniak [UNESP]. "Renovação poético-musical engajamento e performance artística em Mercedes Sosa e Elis Regina (1960-1970)." Universidade Estadual Paulista (UNESP), 2016. http://hdl.handle.net/11449/150706.

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Submitted by ANDREA BEATRIZ WOZNIAK GIMÉNEZ GIMÉNEZ (andrea.wozniak@hotmail.com) on 2017-05-19T19:20:09Z No. of bitstreams: 1 Tese_AndreaBWGIMENEZ_2016_RepositorioUNESP.pdf: 11827448 bytes, checksum: bcaf0c3fb5014942df09dc4d81bb5b94 (MD5)<br>Approved for entry into archive by Luiz Galeffi (luizgaleffi@gmail.com) on 2017-05-19T19:24:39Z (GMT) No. of bitstreams: 1 gimenez_abw_dr_fran.pdf: 11827448 bytes, checksum: bcaf0c3fb5014942df09dc4d81bb5b94 (MD5)<br>Made available in DSpace on 2017-05-19T19:24:39Z (GMT). No. of bitstreams: 1 gimenez_abw_dr_fran.pdf: 11827448 bytes, checksum: bcaf0c3fb5

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Benetti, Junior Alfonso. "Expressividade e performance pianística." Doctoral thesis, Universidade de Aveiro, 2013. http://hdl.handle.net/10773/12360.

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Doutoramento em Música<br>Esta tese consiste em uma pesquisa empírica sobre a expressividade musical. Os principais objetivos foram: identificar padrões e estratégias para o aprimoramento expressivo aplicados por profissionais de excelência; identificar como os performers conceitualizam a expressividade; identificar os principais componentes da expressividade; verificar relações entre a expressividade e o momento da performance; elaborar estratégias de estudo a partir das informações obtidas e aplicar estas estratégias na prática; verificar a sua pertinência e realizar uma avaliação qualitativ

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Park, Sang Hee. "A Performance Guide to the Dramatic, Vocal, and Musical Challenges of Judith Weir’s Opera, King Harald’s Saga." Thesis, University of North Texas, 2014. https://digital.library.unt.edu/ark:/67531/metadc700055/.

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Judith Weir (b. 1954) composed King Harald’s Saga: Grand Opera in Three Acts for Unaccompanied Solo Soprano Singing Eight Rôles (1979) for radio broadcast. She wrote the libretto for the opera based on Snorri Sturluson’s book, King Harald’s Saga. This opera illustrates Weir’s remarkable compositional style, including her treatment of the libretto in narrative style and her representation of multiple characters by one singer. Despite Weir’s fame as an opera composer, King Harald’s Saga is rarely performed owing to three major musical and performing challenges. These challenges are performer’s a

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Bruzadelli, Victor Creti. "Chega de saudosismo: a tradição musical brasileira, o riso e a paródia performatizados pela Tropicália (1967-1970)." Universidade Federal de Goiás, 2016. http://repositorio.bc.ufg.br/tede/handle/tede/7582.

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Submitted by Erika Demachki (erikademachki@gmail.com) on 2017-07-13T17:10:30Z No. of bitstreams: 2 Dissertação - Victor Creti Bruzadelli - 2016.pdf: 4602574 bytes, checksum: 7e0701484a6ead0a51a1f7fcf73e8673 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5)<br>Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2017-07-14T10:53:32Z (GMT) No. of bitstreams: 2 Dissertação - Victor Creti Bruzadelli - 2016.pdf: 4602574 bytes, checksum: 7e0701484a6ead0a51a1f7fcf73e8673 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5)<br>M

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Barros, Luís Cláudio. "A pesquisa empírica sobre o planejamento da execução instrumental : uma reflexão crítica do sujeito de um estudo de caso." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2008. http://hdl.handle.net/10183/13245.

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Este trabalho propõe discutir o planejamento da execução instrumental (piano) na área de Práticas Interpretativas. Foram examinadas as diferentes abordagens e os posicionamentos de especialistas na área proposta através da reflexão crítica do conhecimento produzido pelas pesquisas empíricas. O objetivo foi examinar as temáticas, as estratégias de estudo, o campo teórico, os procedimentos metodológicos, a sistematização do processo de aprendizagem do repertório pianístico e as relações interatuantes ocorrentes nas pesquisas descritivas de delineamento experimental, nos estudos de caso, estudos

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Winter, Angela K. "Using Baroque Vocal Music to Introduce Horn Students to the Musical Concepts of Expression, Articulation, Phrasing, and Tempo." Thesis, University of North Texas, 2014. https://digital.library.unt.edu/ark:/67531/metadc500178/.

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Baroque music is an area largely neglected in the music education of young horn students and wind players in general. Baroque horn repertoire is very demanding primarily due to the range. Baroque composers wrote for horn using the uppermost register of the instrument. In this range the partials are closer together, allowing for more melodic writing. This music requires an advanced level of technique, endurance, and ability. Often this repertoire is not suitable for students until they are well into their collegiate years of study. Frequently this music is performed on descant horns. Sin

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Crowden, David. ""Alla tromba della fama" (To the trumpet of fame): the impact of instrumental idiom on vocal performance practice in trumpet arias." Thesis, The University of Sydney, 2014. http://hdl.handle.net/2123/10428.

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Manchester, Cassone, Burkhart and Jacobs, amongst many others, have argued for the commonly accepted theory that the historically informed trumpeter of baroque repertoire should imitate the voice. This is based upon the following statement by author of one of the major historical treatises on playing the trumpet, J.E. Altenburg: ‘It is well known the human voice is supposed to serve as the model for all instruments thus the clarino player should try to imitate it as much as possible, and should seek to bring forth the so-‐‑called cantabile on his instrument’1. There is certainly much evidence

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Silva, Bruno Rejan. "Improvisação na música popular brasileira instrumental (MPBI): Aspectos da performance do contrabaixo acústico." Universidade Federal de Goiás, 2011. http://repositorio.bc.ufg.br/tede/handle/tde/3026.

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Submitted by Erika Demachki (erikademachki@gmail.com) on 2014-09-05T19:34:20Z No. of bitstreams: 2 Produto Final de Mestrado.pdf: 6376276 bytes, checksum: 8ef196a5237a5a463c4b6437557f0a8d (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5)<br>Made available in DSpace on 2014-09-05T19:34:20Z (GMT). No. of bitstreams: 2 Produto Final de Mestrado.pdf: 6376276 bytes, checksum: 8ef196a5237a5a463c4b6437557f0a8d (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Previous issue date: 2011-04-30<br>This paper deals with improvisation procedur

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Waddell, Simone. "Communicating artistry through gesture by legendary Australian jazz singer Kerrie Biddell." Thesis, The University of Sydney, 2018. http://hdl.handle.net/2123/18635.

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Singers communicate with audiences using a sophisticated blend of vocal, musical and physical gestures. While gestures appear naturalistic and spontaneous, they are the culmination of extensive preparation, reflection and rehearsal. The late Kerrie Biddell, (1947-2014) was arguably the most influential jazz singer in Australian Jazz history (Carriage 2000) and an expert in communication with her audiences. The aim of the study was to explore how Biddell designed and transmitted vocal, musical and physical gestures in performance and how she transmitted these to her colleagues and students. Fi

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DeSilva, Bryan Edward. "A SURVEY OF THE CURRENT STATE OF CONTEMPORARY COMMERCIAL MUSIC (CCM) VOCAL PEDAGOGY TRAINING AT THE GRADUATE LEVEL." Diss., Temple University Libraries, 2016. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/380835.

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Music Performance<br>D.M.A.<br>In 2008, the American Academy of Teachers of Singing released a paper in support of further research and training in the teaching of non-classical music or Contemporary Commercial Music (CCM). CCM can be defined as encompassing (but not limited to) the following genres: musical theatre, pop, rock, gospel, R&B, soul, hip-hop, rap, country, folk, and experimental music. Despite the increase in number of musical theatre and CCM degree programs at American universities, and the that national voice pedagogy organizations have begun to include musical theatre competiti

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Cunha, Andre Sinico da. "A qualidade da execução instrumental e a sua relação com a ansiedade de performance musical de estudantes de flauta." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2017. http://hdl.handle.net/10183/159376.

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O presente estudo visou investigar a qualidade da execução instrumental por meio do excerto orquestral do Prélude à l´après-midi d´um faune, de Claude Debussy e sua relação com a ansiedade de performance musical de estudantes de flauta. O pressuposto teórico utilizado para a avaliação da qualidade da execução instrumental encontra-se baseado no Modelo de Processo de Avaliação da Execução Musical, de McPherson & Thompson (1998), enquanto que a ansiedade de performance musical está subsidiada pelo modelo tríplice, desenvolvido por Wilson & Roland (2002) e Valentine (2002), além da Teoria Cogniti

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Roll, Christianne Knauer. "Female musical theater belting in the 21st century| A study of the pedagogy of the vocal practice and performance." Thesis, Teachers College, Columbia University, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=3621794.

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<p> The female musical theater belt voice has been heard onstage for almost one hundred years, yet the demands for this type of singing continue to evolve. While the style dominates Broadway, an understanding of successful teaching of the female belt voice seems to be lacking. Therefore, this study was undertaken to appropriately address the needs of female musical theater singers, and to establish effective strategies for teaching the female belt voice.</p><p> Individual case studies of four nationally recognized master teachers of female belting were created from observations in the stud

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GARCIA, Ricardo Rosembergue. "Distonia focal e a atividade do instrumentista de sopro." Universidade Federal de Goiás, 2012. http://repositorio.bc.ufg.br/tede/handle/tde/2711.

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Made available in DSpace on 2014-07-29T16:25:13Z (GMT). No. of bitstreams: 1 ARTIGO FINAL - Ricardo Rosembergue.pdf: 1546157 bytes, checksum: 1e6c96e6efa16325f1f9490114d77c2c (MD5) Previous issue date: 2012-03-31<br>This paper discusses the musician's dystonia and its relationship to performance on wind instruments. The work presents from the literature review on the subject the concept of dystonia, as well as the musician's focal dystonia of its main causes and symptoms related to instrumental practice and lists possible ways of prevention based on the aspects of preparation and holding of

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Délécraz, Cyril. "La paramétrisation du geste dans les formes musicales scéniques : L'exemple du théâtre musical contemporain : état de l'art, historiographie, analyse." Thesis, Université Côte d'Azur (ComUE), 2019. http://www.theses.fr/2019AZUR2015/document.

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Au cours du XXe siècle, le geste est progressivement devenu un paramètre de composition musicale dans les répertoires de tradition savante occidentale. Les avant-gardes (Dada, futurisme, Bauhaus, expressionnisme, etc.) sont à l’origine du concept de performance tandis que le bruitisme élargit le domaine des sons esthétiquement audibles. Rejetant le grand opéra romantique et tous ses attributs (technique de chant lyrique, suprématie du texte dramatique sur la musique, fosse d’orchestre, illusion de la réalité, opulence orchestrale, entractes, etc.) les compositeurs ressentent le besoin de s’exp

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Canchola, Amy. ""Para qué recorder": Preserving the Legacy of María Grever through Selected Vocal Compositions for Study and Performance." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1505196/.

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María Grever (1885-1951) overcame racism and gender bias during a pivotal era in American music history to become the first commercially successful Mexican female composer and more specifically, a pioneer of popular music during the first half of the 20th century. Though named the "Madonna of song," her legacy is largely overshadowed by other compositional giants of the era, such as the Gershwin brothers, Cole Porter, and Irving Berlin. Grever's music is sophisticated, heartfelt, and worthy of attention. Her colorful, genuine music adds distinctiveness and variety to recital programs. Grever's

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Wu, Man-Mei. "Three Voices for voices, woodwind, percussion, and string instruments." Thesis, University of North Texas, 2000. https://digital.library.unt.edu/ark:/67531/metadc2684/.

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Composed for soprano, tenor, and baritone voices, woodwind, percussion, and string instruments, Three Voices is a polyglotic work that includes German, Chinese, and Spanish texts. The texts are chosen from Brecht Bertolt's Das Schiff, Po Chu I's Lang T'ao Sha, and Frederico Garcia Lorcá's Mar. Significant features of the piece are 1) application of Chinese operatic singing methods to vocal material in the sections that use Chinese text, 2) use of western instruments to emulate the sound of certain Chinese instruments, and 3) employment of Sprechstimme and dramatically inflected speech to crea

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Visi, Federico. "Methods and technologies for the analysis and interactive use of body movements in instrumental music performance." Thesis, University of Plymouth, 2017. http://hdl.handle.net/10026.1/8805.

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A constantly growing corpus of interdisciplinary studies support the idea that music is a complex multimodal medium that is experienced not only by means of sounds but also through body movement. From this perspective, musical instruments can be seen as technological objects coupled with a repertoire of performance gestures. This repertoire is part of an ecological knowledge shared by musicians and listeners alike. It is part of the engine that guides musical experience and has a considerable expressive potential. This thesis explores technical and conceptual issues related to the analysis and

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Freitas, Stefanie Grace Azevedo de. "Modelagem como estratégia para o desenvolvimento de recursos expressivos na performance pianistica : três estudos de casos." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2013. http://hdl.handle.net/10183/71790.

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Neste trabalho discutimos três estudos de caso com o objetivo de investigar empiricamente a modelagem como ferramenta de estudo no desenvolvimento musical e pianístico de alunos do Bacharelado em Instrumento/Piano da UFRGS. Durante a pesquisa, cada um dos três participantes foi instruído a ouvir atentamente uma gravação de pianista de renome internacional como modelo a ser seguido. Na etapa da coleta de dados, os participantes realizaram três gravações de dois trechos contrastantes de uma obra do seu repertório e gravaram cinco entrevistas semiestruturadas. A análise dos dados baseou-se nos re

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Lau, Hiu Yan Crystal. "Objective Measure of Two Musical Interpretations of an Excerpt from Berlioz's "La Mort d'Ophelie"." Bowling Green State University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1586877620452912.

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Dean, Stephanie C. "The Cross Empowerment of Singing and Acting." VCU Scholars Compass, 2007. http://scholarscompass.vcu.edu/etd/813.

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This thesis details my process in teaching a class I devised, entitled, "Singing for Actors and Acting for Singers," in an attempt to develop a pedagogical bridge between singing and acting. In this thesis, I discuss the need for creating this course and evaluate how effectual it was. Additionally, I detail my research, curricular development and students' responses to the material.

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Alferes, Sidnei. "A "Collecção de Modinhas de Bom Gosto" de João Francisco Leal : um estudo interpretativo por meio de sua contextualização historico-estetico-musical." [s.n.], 2008. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284006.

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Orientador: Adriana Giarola Kayama<br>Acompanha 1 CD-ROM<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-14T23:10:00Z (GMT). No. of bitstreams: 1 Alferes_Sidnei_M.pdf: 15389440 bytes, checksum: c9f5f9ac7bbadbb817a05e45a5367ea6 (MD5) Previous issue date: 2008<br>Resumo: Esta pesquisa teve por finalidade tornar acessível ao público a "Collecção de modinhas de bom gosto" (1830) de João F. Leal, por meio de um estudo histórico-estético-musical da obra; uma nova editoração das partituras originais com sugestões de como distr

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Wheeler, John E. (John Eby). "The Music for Solo Clarinet by Arnold Cooke: The Influence of Paul Hindemith and a Comparison of the Music for Solo Clarinet by Both Composers: A Lecture Recital, Together with Three Recitals of Selected Works by C. Nielsen, J. Françaix, and Others." Thesis, North Texas State University, 1987. https://digital.library.unt.edu/ark:/67531/metadc331904/.

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This dissertation is an analytical comparison of the works for solo clarinet by Paul Hindemith and his student Arnold Cooke. A total of seven compositions are studied and analyzed for style, covering aspects of melody, harmony, rhythm, form, and texture. From this data, conclusions concerning the accessibility of Cooke's music for solo clarinet to the player and listener are made. Although Hindemith's music for solo clarinet is more often played, it is this author's conclusion that Cooke's works are more satisfactory in their accessibility and ease of performance.

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Leffner, Josephine. "BLACK CATS, BERLIN, BROADWAY AND BEYOND: CABARET HISTORY IN THE MAKING." Master's thesis, University of Central Florida, 2006. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/2664.

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Cabaret as a genre has influenced and is influenced by musical theatre. As cabaret has evolved throughout history, musical theatre has often paralleled its journey. Cabaret thrived before the term "musical theatre" was coined and suffered hard times during the Golden Age of Musical Theatre. The correlation of the two genres cannot be denied, and exploring cabaret history will reveal how deeply the connection lies. My collaborator Debbie Tedrick and I will attempt to define cabaret through a two-woman cabaret show we will write, produce, and perform together. The show, Black Cats, Berlin, Broad

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Tedrick, Deborah. "BLACK CATS, BERLIN, BROADWAY AND BEYOND: THE GENRE OF CABARET." Master's thesis, University of Central Florida, 2006. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/2668.

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Music and Theatre have always captivated me. As a child, my parents would take me to live performances and cinematic shows and I would sit rapt, watching the theatrical events and emotional moments unfold before my eyes. Movie musicals and live shows that combined music and theatre were my favorite, especially theatrical banter and improvisation or sketch comedy. Some of my favorite youthful memories were my annual family summer trips to Las Vegas to visit my grandparents for six weeks. As a youngster, I got to experience the "old school" Las Vegas, replete with extravaganza, spectacle, cabare

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Carvalho, Luís Filipe Leal de. "A décima sinfonia de Gustav Mahler – obra aberta? : premissas para uma nova abordagem à realização da obra." Doctoral thesis, Universidade de Aveiro, 2015. http://hdl.handle.net/10773/14245.

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Doutoramento em Música<br>O presente trabalho tem por objetivo propor uma nova leitura dos esboços deixados por Gustav Mahler para a sua final e inacabada Sinfonia nº10, em fá maior. O estado incompleto do esboço torna esta numa obra aberta, que permite supor resoluções diferentes para o seu paradoxo criativo: por um lado estruturada na plenitude do ponto de vista extrínseco; por outro inconsequente enquanto obra de arte plena. Assim propõe-se aqui uma nova leitura daqueles rascunhos, concebida de raiz para um ensemble de 21 instrumentistas. Para tal realizou-se um estudo aprofundado do

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Klein, Eve Elizabeth. "The pomegranate cycle : reconfiguring opera through performance, technology & composition." Thesis, Queensland University of Technology, 2011. https://eprints.qut.edu.au/51175/1/Eve_Klein_Thesis.pdf.

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The Pomegranate Cycle is a practice-led enquiry consisting of a creative work and an exegesis. This project investigates the potential of self-directed, technologically mediated composition as a means of reconfiguring gender stereotypes within the operatic tradition. This practice confronts two primary stereotypes: the positioning of female performing bodies within narratives of violence and the absence of women from authorial roles that construct and regulate the operatic tradition. The Pomegranate Cycle redresses these stereotypes by presenting a new narrative trajectory of healing for its c

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Bacot, Baptiste. "Geste et instrument dans la musique électronique : organologie des pratiques de création contemporaines." Thesis, Paris, EHESS, 2017. http://www.theses.fr/2017EHES0172.

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Les moyens technologiques de la musique électronique reconfigurent les pratiques musicales. Du fait des procédures de computation et d’automation inhérentes aux machines qui médiatisent le phénomène sonore, ces moyens ont notamment la particularité d’introduire une rupture dans le rapport causal entre le geste instrumental et le son produit. Que signifie alors jouer de la musique électronique ? Comment comprendre ici les concepts de geste et d’instrument de musique qui sont traditionnellement mobilisés pour analyser les pratiques musicales ?Pour répondre à ces questions, nous avons mené entre

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Seelig, Timothy. "Six Odes by C.F. Gellert set by C.P.E. Bach and Ludwig van Beethoven: A Comparative Analysis, a Lecture Recital Together with Three Recitals of Selected Works by Monteverdi, Caldara, Mozart, Brahms, Mendelssohn, Ives, Honegger, and Others." Thesis, North Texas State University, 1987. https://digital.library.unt.edu/ark:/67531/metadc331707/.

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The lecture recital was given on July 13, 1987. The discussion of the poetry by C. F. Gellert and the musical settings by C. P. E. Bach and Ludwig van Beethoven including analyses of all the pieces was followed by their performance. In addition to the lecture recital, three other public recitals were given: three of solo literature for voice and piano and one of vocal chamber literature. These included the works of Monteverdi, Caldara, Mozart, Brahms, Strauss, Mendelssohn, Ives, Honegger, Debussy, Faure", and others. All of these recitals were recorded on magnetic tape and filed along with t

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Mateus, Ana Teresa da Silva. "Ensino informal da música: a voz cantada como um recurso no desempenho intrumental." Master's thesis, 2014. http://hdl.handle.net/10362/14359.

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Pais, Sofia Raquel Lopes Carneiro. "Auto-percepção auditiva na performance musical: o uso da gravação como método de desenvolvimento da audição do próprio performer." Master's thesis, 2020. http://hdl.handle.net/10773/31983.

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Ao longo do meu percurso académico, a utilização da gravação áudio no meu estudo individual teve um papel importante no meu desenvolvimento auditivo e, consequentemente, performativo. Na minha experiência, muitos aspectos que não eram perceptíveis no momento da performance passaram a sê-lo, graças ao estímulo dado pela audição posterior do seu registo áudio. Partindo destes pressupostos, decidi fazer o presente trabalho de investigação, cujo principal objectivo é comprovar se, na generalidade dos performers, há diferença ou não entre a percepção auditiva obtida no momento da performance e a p

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