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Carvalho, Cristiane dos Santos. "Os elementos da performance musical (EPM) na preparação de recitais de grupos de flautas doce." Universidade Federal de Goiás, 2016. http://repositorio.bc.ufg.br/tede/handle/tede/6122.
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Fundação de Amparo à Pesquisa do Estado de Goiás - FAPEG
The Final Product of Masters Degree presented here consists of two required parts: Part A (Artistic Production) and Part B (Scientific Production). The artistic part is composed of concerts presented throughout the process, including the defense recital, directly related to the developed research. The scientific part consists of an article that addresses the preparation of Brazilian recorder‟s ensembles at universities from the perspective of Musical Performance Elements (MPE) concept used as a focus of the research that was developed by RAY (2005). The main objective of the research was to identify the recorder active groups in universities, know how they work and indicate ways to optimize the preparation of this kind of group. The adopted methodological procedure was literature review on the subject and field research to identify the recorder active ensembles in Brazilian universities, followed by the organization and discussion of results. At last, we used the material gathered and discussed as a basis for the development of suggestions for the preparation of recitals in recorder‟s ensemble.
O Produto Final de conclusão de Mestrado aqui apresentado é composto de duas partes obrigatórias: Parte A (Produção Artística) e Parte B (Produção Científica). A parte artística é composta pelos recitais apresentados ao longo do curso, incluindo o recital de defesa, diretamente relacionado com a pesquisa desenvolvida. A parte científica é constituída por um artigo que aborda o processo de preparação de grupos de flautas doces de universidades brasileiras sob a ótica dos Elementos da Performance Musical (EPM), conceito utilizado como foco da pesquisa que foi desenvolvido por RAY (2005). O objetivo principal da pesquisa foi identificar os grupos de flautas doces ativos em universidades, entender como eles funcionam e indicar formas de otimizar a preparação deste tipo de grupo. O procedimento metodológico adotado foi revisão de literatura sobre o tema e pesquisa de campo para identificação dos grupos de flautas doces ativos em universidades brasileiras, seguidos da organização e discussão dos resultados. Ao final, utiliza-se do material reunido e discutido como base para a elaboração de sugestões para a preparação de recitais em grupos de flautas doces.
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Sousa, Sérgio Luiz de. "A prática mental como estratégia pedagógica na preparação para a performance musical /." São Paulo, 2020. http://hdl.handle.net/11449/192947.
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Orientador: Sonia RayResumo: Esta tese investiga o papel da prática mental no processo de preparação para a performance musical. Adota como referencial teórico o conceito de pedagogia da performance musical de Ray (2015), que propõe uma abordagem interdisciplinar entre a educação e a atuação prática do músico. O objetivo geral desta pesquisa é propor a prática mental como estratégia pedagógica na preparação para a performance musical. A metodologia inclui revisão da literatura disponível, pesquisa de campo (questionário aplicado a estudantes e professores de performance musical de cursos graduação e pós-graduação no Brasil) e discussão dos resultados. O trabalho está estruturado em quatro capítulos: 1. Revisão de literatura, 2. Metodologia e pesquisa de campo, 3. Discussão dos resultados, 4. Estratégias pedagógicas para aplicação da prática mental. As conclusões apontam para a confirmação da tese de que a prática mental pode ser uma importante ferramenta pedagógica no processo de preparação para a performance musical.
Abstract: This dissertation investigates the role of mental practice in the process of preparation for musical performance. It has as theoretical reference the concept of music performance pedagogy by Ray (2015), who proposes an interdisciplinary approach between the field of education and the practical acting of the musician. The main objective of this research is to propose mental practice as a pedagogical strategy in preparation for music performance. The methodology includes review of available literature, field research (questionnaire applied to students and teachers of music performance of undergraduate and graduate courses in Brazil) and discussion of the results. The dissertation is divided in four chapters: 1. Literature review, 2. Methodology and field research, 3. Discussion of results, 4. Pedagogical strategies for using mental practice. The conclusions point to the confirmation of the thesis that mental practice can be an important pedagogical tool in the process of preparation for musical performance.
Doutor
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Gardner, David B. "Herbert Howells' Requiem: A guide to preparation and performance." Diss., The University of Arizona, 2003. http://hdl.handle.net/10150/280285.
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Although composed in the 1930s, Herbert Howells' Requiem for unaccompanied voices was not performed or published until the early 1980s. The long period between its composition and publication has left many questions about its origins unanswered. The document attempts to clarify the confusing genesis of Howell's Requiem, and suggests that the motivation behind its composition was the commemoration of those who died in World War I, and not, as has been previously supposed, the death of Howells' son Michael in 1935. The development of Howells' own compositional style is traced through musical influences, and the difficult circumstances of Howells' formative years. Three stylistic influences are discussed: the generation of English composers immediately preceding Howells, the generation of English composers from the sixteenth century, and the English countryside and the tunes of its people. The last two chapters deal with the Requiem in detail, providing conductors with textual and musical analyses and with suggestions for score preparation, rehearsal techniques, and performance logistics.
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Lee, Sheri Renee. "Four Twelve-Tone Violin Compositions: Performance Practice and Preparation." Cincinnati, Ohio : University of Cincinnati, 2009. http://rave.ohiolink.edu/etdc/view.cgi?acc_num=ucin1242516300.
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Thesis (Dr. of Musical Arts)--University of Cincinnati, 2009.Advisor: Steven Cahn. Title from electronic thesis title page (viewed Aug. 11, 2009). Includes abstract. Keywords: twelve-tone; violin. Includes bibliographical references.
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Michalak, Filip. "Piano Competitions : Preparation and Purpose." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2854.
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Domenech, Mauro [UNESP]. "Música de câmara na formação do músico profissional: aspectos pedagógicos, escolha e adaptação de seu repertório." Universidade Estadual Paulista (UNESP), 2018. http://hdl.handle.net/11449/157182.
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Este trabalho discute a música de câmara na formação do músico profissional, seus aspectos pedagógicos, a escolha e adaptação de seu repertório. Apresenta a prática da música de câmara como parte fundamental na formação do músico (instrumentista/cantor), com suas peculiaridades e características na educação musical, especialmente em relação à interpretação musical, às práticas de conjunto e à preparação para a performance. A metodologia consistiu em um estudo de caso de uma instituição de ensino profissionalizante representativa nacionalmente, situada na cidade de São Paulo, a Escola Municipal de Música de São Paulo – EMMSP, onde o pesquisador é professor de música de câmara. Envolveu coleta de dados de fontes disponíveis online e publicações, com aplicação do método teórico-reflexivo, implicando em revisão de literatura e estudo da estrutura pedagógica relacionada à disciplina música de câmara. O trabalho está organizado em três partes. Na primeira, apresenta-se uma revisão de literatura, discutindo o estado atual da questão no meio acadêmico. Na segunda, parte discute-se a função pedagógica da música de câmara enquanto disciplina na escola de formação profissional e faz-se uma proposta de metodologia para esta disciplina. Na terceira, discute-se a escolha e adaptação do repertório didaticamente orientado à disciplina, a disponibilidade de partituras e aplicabilidade da transcrição na adequação deste repertório em função da realidade cotidiana do professor.
This work discusses chamber music in the development of the professional musician, its pedagogical aspects and the choice and adaptation of its repertoire. The study presents the practice of chamber music as a fundamental part in the musician’s training (instrumentalist/singer) as well as its peculiarities and characteristics in musical education, especially as relative to musical interpretation, group practice and the preparation for performance. The methodology consists of a case study of a representative vocational training institution, located in the city of São Paulo, the Municipal School of Music of São Paulo – EMMSP, where the author of this study is a chamber music teacher. The research involved the collection of data from online sources and printed material, with application of the theoretical-reflexive method involving literature review and study of the pedagogical structure as related to the chamber music class. The work is organized in three parts. The first presents a literature review and a discussion of the state of the art in the academic environment. The second discusses the pedagogical function of chamber music as a discipline in the curriculum of the school and the proposed methodology in the class. The third discusses the choice and adaptation of the repertoire for use in the class, the availability of scores and the applicability of transcription for use in the daily routine of the teacher.
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Burdette, Joy L. "Thomas Pasatieri's Letter to Warsaw: An Examination of Style for Performance Preparation." University of Cincinnati / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1377872551.
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Lucena, Diuliano Vitor. "Obras para contrabaixo com gêneros da música popular brasileira: performance e aspectos pedagógicos." Universidade Federal de Goiás, 2017. http://repositorio.bc.ufg.br/tede/handle/tede/7213.
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Fundação de Amparo à Pesquisa do Estado de Goiás - FAPEG
This paper addresses interpretative and pedagogical aspects of double bass works within Brazilian popular music genders. The major objective is to update the Brazilian Online Catalog of Erudite Work for Double Bass (RAY, 2005), and discuss interpretative and teaching aspects from the selection of work which presents characteristics of brazilian popular music genders in this collection. The methodology is qualitative and it presents, at first, a discussion of the addressed repertoire. Next, it develops a proposal for pedagogical and interpretation possibilities applicable to the bassist training. The work is organized in three parts: process of catalog update, selection of the work which was debated and discussion about the performance the performance and suggestions for studies of the workpieces. As a result, 81 new workpieces, which were accumulated from 2006 to 2016, were listed and included in the catalog that bear 136 compositions. After this update, the catalog currently bears 222 workpieces, and 81 of these workpieces hold elements of the Brazilian Popular Music Gender. It is concluded with the proposal of a possible pedagogical path in order to study and solve technical problems as articulation (bow stroke and bowing) in repertoire with choro and baião citations, in order to exemplify and suggest how to perform works with citations of MPB genders in concert music.
Este trabalho trata de aspectos pedagógicos e interpretativos em obras para contrabaixo que se enquadram em gêneros da música popular brasileira. O objetivo principal é atualizar o Catálogo Brasileiro de Obras Eruditas para Contrabaixo On-Line (RAY, 2005) e discutir aspectos pedagógicos e interpretativos, a partir da seleção de obras que apresentam características dos gêneros da música popular brasileira neste acervo. A metodologia tem caráter qualitativo e apresenta, num primeiro momento, uma análise reflexiva sobre o repertório abordado. Em seguida, desenvolve uma proposta pedagógica e de interpretação aplicável nos estudos do contrabaixista. O trabalho está organizado em três partes: processo de atualização do catálogo, seleção das obras discutidas, discussão sobre a performance e sugestões de estudo das obras. Como resultado, foram listadas e incluídas no catálogo que continha 136 composições, mais 81 novas peças que foram acumuladas de 2006 até 2016. Com essa atualização o catálogo está atualmente com 222 peças, sendo que 81 dessas contêm elementos de Gênero da Musica popular Brasileira. Conclui-se com a proposta um possível caminho pedagógico para o estudo e resoluções de problemas técnicos como a articulação (golpe de arco e arcadas) em repertório com citação de choro e baião, a título de exemplo e sugestão de como lidar com citações de gêneros da MPB na música de concerto.
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KAMINSKI, Leonardo Casarin. "Preparação e planejamento da performance do violonista: estudo da obra homenagem a Villa-Lobos Op.46 de Marlos Nobre." Universidade Federal de Goiás, 2012. http://repositorio.bc.ufg.br/tede/handle/tde/2715.
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Previous issue date: 2012-04-03This paper presents the preparation and planning for the performance of a piece for solo guitar. For this purpose, the guitarist used pre-selected teaching and instrumental materials over the course this investigation. The criteria used to choose the piece were that it should reflect the technical and musical aspects of the repertoire commonly involved in academic training of guitar students. The piece Homenagem a Villa-Lobos op.46 by the composer Marlos Nobre was chosen. The preparation of this piece was divided into four stages: 1) Definition of goals and objectives; 2) scheduling, planning the construction of the performance ; 3) Choice of the fingering; 4) Solution of motor difficulties; 5) musical memorization. The accomplishment of these steps in this investigation was based on the theoretical references chosen. This end-of-course article is divided into two main parts. The first part contains materials from the literature search and selected during the research. Finally, a report about the preparation of the musical work was prepared, in which the steps and processes of choices are described on the basis of the previously established literature for the preparation of an instrumental work.
Este trabalho apresenta a preparação e planejamento da performance em uma obra para violão solo. Para isso, o violonista utilizou materiais didáticos e instrumentais previamente estabelecidos, no decorrer da presente investigação. Os critérios utilizados para a escolha da obra foram de que esta deveria refletir aspectos técnicos e musicais do repertório comumente abordados na formação acadêmica dos estudantes de violão. Para isso foi eleita a Homenagem a Villa-Lobos op.46 do compositor Marlos Nobre. Para a realização do processo de preparação da peça musical em questão, foram escolhidas algumas etapas que nortearam a presente investigação, dentre elas: 1) definição de metas e objetivos; 2) agendamento, planejamento da construção da performance; 3) escolha das digitações; 4) resolução das dificuldades motoras; 5) memorização musical. A realização dessas etapas na presente investigação foram subsidiadas pelos referenciais teóricos escolhidos. Este artigo de conclusão de curso está dividido em duas partes principais. Na parte inicial são apresentados os materiais extraídos e selecionados durante pesquisa bibliográfica. Por último, há um relatório sobre a preparação da obra musical, na qual estão discriminadas as etapas e processos de escolhas acerca da literatura previamente estabelecida.
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Williams, Bede. "Preparation, rehearsal, performance and reflection : a conductor's autoethnographical study of the process of interpretation." Thesis, University of St Andrews, 2018. http://hdl.handle.net/10023/15665.
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In this study the author investigates his interpretive practice as a conductor, revealing how interpretive operations occur not as discrete and isolated activities, but rather an intertwined cyclic process. The study was based on an experiment of the author conducting five scores on two different occasions separated in time by between one day and several months. The study design included extensive content analysis of over 30 hours of video in which more than 12,000 codes were applied and collated. The study design also included traditional texted research, autoethnographic writing (a 25,000-word practice journal), semi-structured interviews, the use of Sonic Visualiser, and the documentation of a range of score study methods which the author describes as ‘listening in silence'. Although there are numerous studies that compare different performances of the same piece, and consider the extent to which differences are intentional and/or creative, none has been undertaken by a conductor in the role of artist-researcher. The study develops what the author calls the ‘ethos of multiple interpretability', suggesting that a conductor can be ‘animated by' the belief that there is no single correct way to perform a work specified by a score.
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Blosser, Cyril Andrew. "Ernest John Moeran: Seven Poems of James Joyce A Singer's Guide to Preparation and Performance." The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1249616424.
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Sousa, Aurélio Nogueira de. "Ansiedade na preparação da performance no ensino de instrumentos de banda." Universidade Federal de Goiás, 2015. http://repositorio.bc.ufg.br/tede/handle/tede/5022.
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The present text approaches the performance preparation process of the students in the music bands from Goiânia, particularly the impact that anxiety can cause in this process. Since the mid-twentieth century the studies about the preparation for a musical performance with support in other fields such as psychology and neuroscience have intensified. In the reality of the bands, some studies observe that students and teachers need to deal with problems of a psychological nature that interfere in many ways in the teaching-learning process. With the intent of contributing to the advance of these studies, this work aims mainly at detecting what is the impact caused by anxiety in the performance preparation process of the students in the music bands from Goiânia. The methodology has been divided in two main stages. The first was a literature revision about the collective teaching of band instruments and about the musicalization process in the music bands in Brazil. The second was a field research in which the K-MPAI inventory was applied and a specific consultation about performance practice in the music bands from Goiânia has taken place. As the main result of this stage of the research, it was possible to conclude that t level of anxiety in the process of preparation for performance in the students in the 3 music bands investigated from the city of Goiânia is moderate. However, it was detected that some individuals present high levels of anxiety associated with pain, with the lack of information about music psychology as well as unawareness about body maintenance in the musical practice, what indicates that younger musicians are in the need for prevention actions.
O presente trabalho aborda o processo de preparação da performance dos alunos das bandas de música de Goiânia, particularmente o impacto que a ansiedade pode causar nesse processo. Desde meados do século XX, os estudos sobre a preparação para a performance musical com apoio em outras áreas do conhecimento como a psicologia e a neurociência intensificaram-se. Na realidade das bandas, alguns estudos observam que alunos e professores precisam lidar com problemas de ordem psicológica que interferem de várias formas no processo de ensino-aprendizado. No sentido de contribuir para o avanço desses estudos, este trabalho tem por objetivo principal identificar qual o impacto causado pela ansiedade no processo de preparação da performance dos alunos das bandas de música de Goiânia. A metodologia foi dividida em duas etapas principais. A primeira foi uma revisão da literatura sobre ensino coletivo de instrumentos de banda e sobre o processo de musicalização nas bandas de música no Brasil. A segunda etapa foi a aplicação do K-MPAI – Kenny Music Performance Anxiety Inventory, e da consulta específica sobre prática da performance dos músicos das bandas de música de Goiânia. Como resultado parcial da etapa de aplicação do inventário desta pesquisa, pode-se concluir que o nível da ansiedade no processo de preparação para a performance dos alunos nas vinte bandas goianienses investigadas é moderado. Contudo, detectou-se que alguns indivíduos mais experientes apresentam níveis de ansiedade altos associados a dores, à falta de informação sobre psicologia da música, bem como desconhecimento sobre cuidados do corpo na prática musical indicando que os músicos mais novos carecem de medidas de prevenção.
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Lagerstrom, Elizabeth Hope. "Preparation for Music Degree Programs: Undergraduate Music Majors’ Perceptions of the Degree Program and the Activities that Helped Them Prepare." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1306941925.
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Griggs, Nicholas E. "War & peace - a themed choral concert: a comprehensive examination of the process of preparation and performance." Kansas State University, 2013. http://hdl.handle.net/2097/16208.
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Master of MusicSchool of Music, Theatre, and Dance
Julie Yu
This document examines five choral octavos for a themed choral concert. The McPherson High School Concert Choir will present a themed choral concert, “War and Peace”, which includes these five octavos, on October 14, 2013 at 7:30pm. The selections reflect the program theme and include historical and theoretical analysis. Along with the analysis, this document also contains rehearsal plans and examines common practices of selecting and preparing literature for a themed choral concert. The choral octavos examined are: The Sword of Bunker Hill arranged by Matthew Armstrong, Lift Up Your Heads arranged by Hal H. Hopson, Down By The Riverside arranged by Rosephanye Powell, Tell My Father arranged by Andrea Ramsey, and Joshua Fit The Battle of Jericho arranged by Mark Hayes.
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Seebacher, Robert J. "AN EXAMINATION OF A CONDUCTOR’S PERFORMANCE PREPARATION OF THE MENDELSSOHN VIOLIN CONCERTO IN E MINOR." UKnowledge, 2014. http://uknowledge.uky.edu/music_etds/29.
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The music of Felix Mendelssohn-Bartholdy (1809-47) has earned a prominent position in the orchestral repertoire. One of his greatest works, and certainly one of the most performed, is his Violin Concerto in E minor, Op. 64. The work enjoys much popularity with, and recognition by, soloists, orchestras, and conductors alike. Even with its fame and familiarity, it remains a work that must be carefully studied and prepared by the conductor. This document presents an examination of a conductor’s performance preparation of the Mendelssohn Violin Concerto. The purpose of this examination is to equip the conductor with a depth of knowledge that will yield rehearsals and performances of the concerto that are stylistically appropriate, well informed, and efficient. Major sections include an examination of the concerto’s 1844 and 1845 versions and available performance materials, tempo selection and execution, size, balance and composition of the orchestra, stylistic traits, and aspects of performance practice.
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Ferguson, Katherine. "HIGH SCHOOL BAND SIGHT READING IN THE UNITED STATES:PROCEDURES, PREPARATION, ATTITUDES, AND EXPERIENCES." Kent State University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=kent1492776380156841.
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Bunte, James. "A Player’s Guide to the Music of Ryo Noda: Performance and Preparation of Improvisation I and Mai." University of Cincinnati / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1282578051.
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Caldwell, Lisa Marie 1964. "The partsongs of Blas Galindo Dimas (1910-1993): The implications of nationalistic compositional techniques on the conductor's preparation and performance." Diss., The University of Arizona, 1996. http://hdl.handle.net/10150/290623.
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The partsongs of Mexican composer, Blas Galindo Dimas (1910-1993) contain elements of pre-cortesian Mexican music and Mexican mestizo folk music. Galindo's musical background, and the nationalistic currents of thought that were present in Mexico during his youth and education influenced his compositional style. Galindo utilizes specific Mexican folk and indigenous traits. The information available to Galindo regarding pre-cortesian indigenous music is investigated. In addition, the Mexican folk form son is described. The alternation of meter in six and meter in three is known as sesquialtera, and is a defining characteristic of the son, subsequently used by Galindo in the partsongs. The inclusion of Mexican folk and indigenous style traits in Galindo's partsongs has implications for the choral conductor. Nationalistic traits in Galindo's works should be emphasized using proper Mexican folkloric performance practice. In addition, Galindo shows a high degree of sensitivity to the text. His declamation of the text preserves the natural word stress and paints word meanings with musical conventions. Descriptions of selected partsongs seek to identify nationalistic traits and the relationship of rhythm and meter to the text. The conductor is given rehearsal and performance suggestions for dealing appropriately with those traits.
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Freccia, Gustavo Weiss. "Critérios de elaboração de programas e seus reflexos na preparação de recitais de canto." Universidade Federal de Goiás, 2015. http://repositorio.bc.ufg.br/tede/handle/tede/4710.
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Fundação de Amparo à Pesquisa do Estado de Goiás - FAPEG
This work discusses the problem of performance preparation focusing on the repertoire choice for a voice recital and also analyses how the pieces selection and their sequence affect the interpreter during the recital preparation as well as the possible effects of such selection on performance. This work is divided in two parts (A and B): part A being ARTISTIC PRODUCTION, composed by two recitals with a diverse repertoire which were publicly presented and judged by a jury, the second one with repertoire related with the research; and part B being SCIENTIFIC PRODUCTION, composed by a scientific article publishable in the parameters of research in music. The literature on performance preparation points to a certain tradition of organizing the pieces sequence in a chronological way, usually including pieces which are representative of certain periods of Western music History, often focusing on the 18th and 19th century and the first half of the 20th century also. However, such way of organizing the pieces sequence is not always the most organic one for interpreters. Therefore, it is important to investigate how adopting flexible and general criteria (for the recital program structuring) and how applying study strategies might contribute for an optimized artistic performance. We take into account the possibility that a singer can, when performing, be affected by such things as anxiety triggered by an improper pieces sequence selection considering the singer‟s voice and the occasion. Thus, such factors, too, play a major role in the research. This hypothesis is investigated through a review of the performance preparation literature and performance psychology as well as by a survey interviewing singers and going through recital programs (the singers interviewed were music faculty teachers). Finally, the research is concluded that applying such strategies to pieces sequence and selection in singing program repertoire (as part of a performance preparation) brings more satisfactory results for interpreters.
Este trabalho discute a preparação para a performance com enfoque na escolha de repertório para um recital de canto, e analisa como a seleção das peças e sua disposição impactam o intérprete no momento da preparação para um recital, bem como as possíveis interferências desta seleção na performance. O trabalho é dividido em duas partes, a saber: PARTE A: PRODUÇÃO ARTÍSTICA, composta por dois recitais com repertório variado, apresentados publicamente e apreciados por banca sendo o segundo apresentado na defesa com repertório diretamente relacionado com a pesquisa; e PARTE B: PRODUÇÃO CIENTÍFICA, composta por um artigo publicável seguindo modelos da área de música. O texto mostra que a literatura sobre preparação para performance aponta certa tradição de se manter as obras em ordem cronológica, com inclusão de peças representativas de alguns períodos da história da Música Ocidental – geralmente concentrada nos séculos XVIII, XIX e início do XX. Essa, no entanto, nem sempre é a disposição mais orgânica para os intérpretes. Por isso, é pertinente investigar em que medida a adoção de critérios flexíveis e abrangentes na estruturação do programa de recital e na aplicação de estratégias de estudo podem contribuir para um melhor desempenho artístico. Leva-se em conta, nesta investigação, a possibilidade do cantor ser impactado, no momento da performance, por ansiedade, desencadeados por uma escolha e/ou sequência inadequada de obras, ou ainda inadequação à voz do cantor ou à ocasião da performance. Tais fatores são investigados mediante revisão de literatura sobre preparação para performance e psicologia da performance, bem como com a aplicação e avaliação de duas consultas e de programas de recitais realizados por cantores atuantes como docentes em cursos de nível superior. Ao final do artigo confirma-se que a aplicação de estratégias na escolha/ordenação de repertório num programa de canto, durante a preparação para a performance, resulta em resultados mais satisfatórios para os intérpretes.
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Stowman, William J. (William John). "A Guide for the Preparation, Analysis and Performance of the Brass Quintet Literature of Thom Ritter George, with Three Recitals of Selected Works by Bach, Bitsch, Handel, Torelli, Suderberg, Ketting and Others." Thesis, University of North Texas, 1998. https://digital.library.unt.edu/ark:/67531/metadc935818/.
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An examination of the musical style, compositional techniques and performance practice issues of American composer Thom Ritter George with special attention paid to his Quintet No. 4 written in 1986. The document also includes a short history of brass instruments in chamber music, history of the brass quintet in America, discussion of the role of the trumpet in the quintet, overview of the composers contributions to music and brass quintet in America, discussion of the role of the trumpet in the quintet, overview of the composers contributions to music and brass quintet, and background information on the composer.
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Hugne, Martin. "Formtoppning : Kan brassmusiker lära sig något av idrottare i fråga om förberedelser?" Thesis, Karlstad University, Division for Ingesund College of Music, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-4838.
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I denna undersökning har jag undersökt idrottares och brassmusikers förberedelser inför prestationstillfällen, d.v.s. konsert, provspelning respektive träning eller match.Min hypotes inför undersökningen var att brassmusiker skulle ha mycket att lära av idrottare som eventuellt har ett mer utvecklat metodiskt tänkande kring hur man förbereder sig fysiskt och mentalt för att kunna prestera med självförtroende på en hög och stabil nivå. Till viss del visade sig detta stämma men i vissa avseenden blev jag förvånad så väl över brassmusikernas medvetenhet som idrottarnas omedvetenhet.Min undersökning består i två enkäter varav den ena riktade sig till brassmusiker och den andra riktade sig till idrottare (utan någon specifikation när det gällde idrottsgren).Dessa enkäter var utformade så lika varandra som möjligt för att möjliggöra så korrekta jämförelser det gick trots de båda gruppernas uppenbara olikheter.
In this study, I have investigated athletes and brass musicians, and their preparation for tense situations that demand performance at a high level. Examples of that could be concerts, auditions respectively competitions, or matches.My hypothesis before this study was that brass musicians could learn from athletes who possibly have a more well-developed methodic thinking with regard to preparations, both physical and mental, with an aim to be able to deliver with self confidence on a high and stabile level of performance.This proved to be partially correct, but in some aspects I was surprised, both considering the musicians’ awareness, but also considering the athletes lack thereof.The research consists of two questionnaires, in which one is directed to brass musicians and the other directed to athletes (without any specification of specific area or sport).These questionnaires were constructed to be as similar as possible to enable as correct comparisons as possible despite the two group’s obvious differences.
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Calite, Iveta. "Piano Concerto in G by Maurice Ravel : The performance preparation process in the context of various influences on the performer." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3017.
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In this study, I do a research on my own ways and the influences that helped me to prepare Ravel’s Piano Concerto in G interpretation and performance. Is it an intuition, inspiration from a recording or something I have learned in a master- class. I went through Ravels’ piano music to see the development of the interpretation that blossomed into the Concerto. I looked at the preparation process that I did on my own, then together with the second pianist and at the end with the conductor. I have described my feelings after the performance as well as looked into different recordings of famous artists. The various influences are hard to measure since the artistic process is always under a constant change and development but looking closer to the sources of inspiration made me realize that everything I have experienced in connection to Ravel’s music has influenced my understanding and interpretation of the Concerto, most of all the master-classes with J.Hlinka, P.Roberts and M.Sturfält.
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McDannald, Brandon K. "Performance Editions of Three Works for Winds by Gyorgy Druschetzky." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1248398/.
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Gyorgy Druschetzky was a noted Czech composer of Harmoniemusik, who wrote more than 150 partitas and serenades, along with at least thirty-two other selections for larger wind groups. This is in addition to twenty-seven symphonies, eleven concertos (most for wind instruments), two fantasias, forty-seven string quartets, two operas, a ballet that is lost, and other miscellaneous chamber music for various combinations of wind/string instruments. Three of his works for winds have existed only in manuscript form since their composition: Concerto in E-flat pour 2 clarinett en B, 2 cors en E-flat, 2 fagott; Overture to Mozart's Die Zauberflöte; and Partitta a la camera a corno di bassetto primo, secondo, terzo, due corno di caccia, due fagotti. These works remain remarkably interesting to modern ears and deserve to be heard in the twenty-first century. Along with a brief examination of Druschetzky's life and how it figures into the history of Harmoniemusik, this work presents each piece edited into a modern performance edition.
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Wood, James J. "A Historical and Analytical Examination of the Stravinsky Octet for Wind Instruments, with a Guide to Performance Preparation of the Two Trumpet Parts." Thesis, connect to online resource, 2007. http://digital.library.unt.edu/permalink/meta-dc-3593.
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Thesis (D.M.A.)--University of North Texas, 2007.System requirements: Adobe Acrobat Reader. Accompanied by recitals, recorded Mar. 22, 1999, Nov. 29, 1999, and Sept. 11, 2006. Includes bibliographical references (p. 52-53).
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Sullivan, Ryan W. "A Performance Edition of the Vespers Settings in Sacri E Festivi Concenti, Opera Nona by Giovanni Legrenzi." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1505211/.
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Giovanni Legrenzi was a prolific composer of vocal music and maestro di cappella at the Basilica di San Marco but his vocal works are not often studied as a part of the Venetian lineage with composers such as Willaert, de Rore, Zarlino, Monteverdi, Cavalli, and Vivaldi. Despite his being a prolific composer who had significant influence on the work of other musicians in the traditional canon, references to Legrenzi in standard music publications (Grout, Taruskin, Grove Music Online, etc.) are at best sparse, and largely biographical. This dissertation is one step to correct that pattern by creating a performance edition of Sacri e festivi concenti, Opera nona, one of Legrenzi's significant works near the beginning of his Venetian period. This collection of sacred music was published on 12 June 1667 in Venice though Legrenzi's exact whereabouts at the time remain uncertain. This phase of his career can be defined by his having sought more prestigious and lucrative employment. Having lived and worked in rural Lombardy and Ferrara, he made unsuccessful overtures in places such as Milan, Bologna, Vienna, and Paris. A full score has been produced by transcribing from the part books of the Bologna Museo copy, which will allow consumers to have insight into Legrenzi's music. A performance edition of these Vespers settings is important because it would increase access to, and understanding of, Giovanni Legrenzi's music. This era of Italian music between Monteverdi and Vivaldi is often underperformed by practitioners. One goal of this project is to broaden the work's circulation through a music publisher that would be willing to include portions of the chapters outlined in this proposal. Doing so would offer the work as a good specimen of the period to a wider audience of performers and scholars alike.
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Wenger, Alan J. "The Solo Compositions for Trumpet of Fisher Aubrey Tull: An Analysis of Structural, Technical, and Stylistic Elements for Performance Preparation, with Three Recitals of Selected Works by Bozza, Fasch, Haydn, Tomasi, and Others." Thesis, view full-text document. Access restricted to the University of North Texas campus, 2002. http://www.library.unt.edu/theses/open/20022/wenger%5Falan%5Fj/index.htm.
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Thesis (D.M.A.)--University of North Texas, 2002.Accompanied by 4 recitals, recorded Nov. 25, 1996, Mar. 1, 1999, Nov. 1, 1999 and Apr. 8, 2002. Includes discography (p. 142-143) and bibliographical references (p. 144-150).
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Spencer, David W. "Performing the Trumpet works of Donald Erb; A Guide to Preparation, Interpretation and Practices: A Lecture Recital, Together with Three Recitals of Selected Works by Purcell, Hindemith, Holmes, Friedman, Koetsier and Others." Thesis, University of North Texas, 2002. https://digital.library.unt.edu/ark:/67531/metadc3207/.
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This study is a guide to the performer on practices associated with the trumpet music of Donald Erb. It examines the following solo and duo compositions for trumpet: the as yet unpublished Sonatina for Trumpet and Piano (1954); Four Duets for Trumpets (1960); Diversion for Two for trumpet & percussion (1966); Concerto for Trumpet and Orchestra (1980); Remembrances for two trumpets (1994); and Dance, You Monster, To My Soft Song for solo trumpet (1998). A history of each composition and information concerning the performers who premiered them are documented. An examination of particular harmonic, melodic and rhythmic elements found frequently in these pieces follow. The pieces are further assessed for difficulty through an investigation of extended technical demands, range, endurance and articulation. Additional discussion focuses on the use of mutes, tempos and dynamics as well as suggestions for the preparation and performance of these works. The dissertation concludes with a review of Donald Erb's legacy as a composer and teacher. A comprehensive discography and complete list of Mr. Erb's compositions are included in appendices.
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Scaggs, Leanne. "A Modern Performance Edition of Nina D'Aubigny Von Engelbrunner's Deutsche, Italienische und Französische Gesänge mit Begleitung des Pianoforte." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1505194/.
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This dissertation examines the work of German composer and vocal pedagogue Nina d'Aubigny von Engelbrunner through her collection of songs entitled "Deutsche, Italienische und Französische Gesänge mit Begleitung des Pianoforte," published in 1797. A brief overview of the life and works of Ms. d'Aubigny is provided, followed by a discussion about the "woman question" as it relates to Ms. d'Aubigny's works. The second part of this project includes a new, modern performance edition of the collection of songs, complete with general editorial guidelines, notes and translations, and a critical report detailing all deviations from the original 1797 edition.
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Humphries, Carl. "Musical expression and performance." Thesis, University of Southampton, 2006. https://eprints.soton.ac.uk/192757/.
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This study examines the philosophical question of how it is possible to appreciate music aesthetically as an expressive art form. First it examines a number of general theories that seek to make sense of expressiveness as a characteristic of music that can be considered relevant to our aesthetic appreciation of the latter. These include accounts that focus on resemblances between music and human behaviour or human feelings, on music's powers of emotional arousal, and on various ways in which music may be imaginatively construed by listeners. It argues that none of these are entirely satisfactory. Then it proposes an alternative account, focusing on what is involved when our appreciation of music as an expressive art is informed by our awareness of it as something that is expressively interpreted in performance. It is claimed that this offers the basis for a better understanding of at least some aspects of expressiveness in music and its relevance to aesthetic appreciation.
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Duffy, Sam. "Shaping musical performance through conversation." Thesis, Queen Mary, University of London, 2015. http://qmro.qmul.ac.uk/xmlui/handle/123456789/9531.
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It is common to learn to play an orchestral musical instrument through regular one-to-one lessons with an experienced musician as a tutor. Intuition suggests that the principal activity during these meetings would be playing, however conversation is important, not just as a way to analyse musical contributions, but to organise them within the lesson flow. Activities are managed conversationally, discussion interleaved with performance, demonstration and musical experimentation, resulting in a rich multi-modal social interaction. This thesis presents a detailed ethnographic study of five one-to-one clarinet lessons. Conversation transcription notation was developed specifically to capture the musical sounds produced alongside dialogue. Analysis of the shape and timing of the musical contributions shows that many aspects of music produced in this context are shaped by the way that playing can function as a conversational turn. For example, during student performance the volume, duration and timing of the tutor's utterances, in relation to the student's musical phrasing, determines whether they are interpreted as encouraging backchannels, or a bid for the floor to provide immediate feedback. Non-verbal behaviours such as gaze and changes in posture are used to encourage a student to self-repair and continue with their performance, despite mutual acknowledgement that a problem has occurred. Fine-grained analysis of a video-mediated remote lesson reveals what happens when this organisation is disturbed. The change in medium reduces the availability of non-verbal cues, and the disruption caused by latency has divergent effects on the sequence and placement of turns, as they are experienced at each location. For example, students find it more difficult to anticipate tutor interruption of their performance or correctly identify backchannels, leading to miscommunication. Our understanding of the importance of these phenomena to lesson flow leads to recommendations for tools to better support student-tutor interaction during the remote lesson experience.
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Currie, Keith Allan. "Performance Anxiety Coping Skills Seminar: Is It Effective in Reducing Musical Performance Anxiety and Enhancing Musical Performance Quality?" Diss., Virginia Tech, 2001. http://hdl.handle.net/10919/28032.
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Performance Anxiety Coping Skills Seminar: Is It Effective in Reducing Musical Performance Anxiety and Enhancing Musical Performance Quality?
Keith Allan Currie
A pretest-posttest experimental study was conducted on 35 music majors at Taylor University, using questionnaires to measure musical performance anxiety and musical performance quality. The study compared the effectiveness of two different treatments: 1) informal practice performance and 2) a coping skills seminar. Though the students attending the seminar averaged less anxiety after treatment, neither treatment was proven statistically to be effective in reducing the level of anxiety or enhancing musical performance quality.Ed. D.
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Evans, Richard Walter. "Key concepts in musical performance : practice, performance, interpretation." Thesis, University of Bristol, 2000. http://hdl.handle.net/1983/f4b0771f-0d5a-4e90-906e-b2c3ae91783b.
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Souza, Davson de. "Fisiologia da performance musical. Postura e respiração: fatores de interferência na performance musical do flautista." reponame:Repositório Institucional da UFBA, 2013. http://www.repositorio.ufba.br/ri/handle/ri/12559.
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O objetivo geral dessa pesquisa é o de demonstrar que fatores de ordem fisiológica podem interferir de algum modo na performance musical do flautista e, sugerir que ao se condicionar fisicamente, o flautista pode controlar os efeitos resultantes dessa interferência. Para tal, foram demonstrados alguns dos fatores gerais de interferência e buscou-se o foco dentre os fatores de ordem fisiológica: Os de ordem muscular (na região do tronco) e os de ordem respiratória. A partir desta investigação, foi detectado e demonstrado que algumas estruturas têm co-relação entre si. Tratam-se dos músculos que atuam na ação postural do flautista e músculos que dão suporte ao ato respiratório, alguns destes músculos fazem as duas funções simultaneamente. Portanto, pode-se supor que a utilização correta ou não em um deles, influencia a ação do outro, o que de algum modo pode vir a interferir na performance. É possível deduzir também que, como exercem dupla função, se forem bem condicionados trabalharão de maneira mais eficiente, e provavelmente suportarão melhor o desgaste.
Salvador
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Knight, Arthur L. "Dis-integrating the musical : African-American musical performance and the American musical film, 1927-1959." Ann Arbor, Mich. : ProQuest Information and Learning, 2005. http://gateway.proquest.com/openurl?res_dat=xri:ssbe&url_ver=Z39.88-2004&rft_dat=xri:ssbe:ft:keyresource:Reg_Diss_04.
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Hellaby, Julian. "Musical performance : a framework for analysis." Thesis, Birmingham City University, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.441553.
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Cornish, Peter. "Conception and enactment in musical performance." Thesis, Royal Holloway, University of London, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.271719.
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Clayton, A. M. H. "Coordination between players in musical performance." Thesis, University of Edinburgh, 1985. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.371859.
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Burt, Warren. "Algorithms, microtonality, performance eleven musical compositions /." Access electronically, 2007. http://www.library.uow.edu.au/adt-NWU/public/adt-NWU20080131.162859/index.html.
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Thesis (Ph.D.)--University of Wollongong, 2007.Typescript. Includes 2 sound discs and 1 DVD-ROM in back pocket. CD 1: The animation of lists; CD 2: And the archytan transpositions. DVD-ROM contains Part Three - Appendix. Includes bibliographical references: leaf 291-301.
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Dantas, Gledson Meira. "A performance musical do zabumbeiro Quartinha." Universidade Federal da Paraíba, 2011. http://tede.biblioteca.ufpb.br:8080/handle/tede/6576.
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Previous issue date: 2011-05-05Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
The studies of musical practices developed in urban contexts have been gaining in recent decades, more and more space in ethnomusicological research and point to ample opportunities for research and important contributions, in relation to knowledge of the various directories and their producers in many aspects. This work proposes a study on the musical performance of Quartinha Zabumbeiro, based on the concept of performance as event and process, where they are considered not only the musicians performing, but the general context, involving the audience, the environment and the results of interaction among participants. Considering the general objective to examine and understand the features of the musical performance of Quartinha, the work is the cornerstone theoretical and methodological foundations of ethnomusicology and has significant contributions of musicology, organology, anthropology and ethnography. As data collecting instruments were used in literature, participant observation, the semi-structured interview, in addition to audio recordings, video and photography; these instruments were designed in order to tailor them to the needs of the survey, and were fundamental to the results obtained in the work. Even considering the general aspects of performance in the Quartinha various sets that have participated, with emphasis on groups of forró, the text highlights its performance in the work of the musician Santanna. From the analysis, we observed that the musical performance of Closet characterized by observation of other musicians, especially Zabumbeiros, the development of collective practice, inventiveness, and the construction of a personal style that has been socially recognized along its trajectory.
Os estudos acerca das práticas musicais desenvolvidas em contextos urbanos vêm ganhando, nestas últimas décadas, cada vez mais espaço nos trabalhos etnomusicológicos e apontam para amplas possibilidades de pesquisas e importantes contribuições, no que diz respeito ao conhecimento dos diversos repertórios e seus produtores em múltiplos aspectos. Esse trabalho propõe um estudo sobre a performance musical do zabumbeiro Quartinha, tomando por base o conceito de performance como evento e processo, onde são considerados não só os músicos executantes, mas o contexto geral, envolvendo a audiência, o ambiente e os resultados da interação entre os participantes. Considerando o objetivo geral de apresentar e refletir acerca dos aspectos que caracterizam a performance musical de Quartinha, o trabalho tem como principal alicerce os fundamentos teórico-metodológicos da etnomusicologia e conta com importantes aportes da musicologia, organologia e antropologia. Como instrumentos de coleta de dados, foram utilizadas a pesquisa bibliográfica, a observação participante, a entrevista semiestruturada, além dos registros em áudio, vídeo e fotográficos; tais instrumentos foram pensados de maneira a adequá-los às necessidades da pesquisa, e foram fundamentais para os resultados obtido no trabalho. Mesmo contemplando aspectos gerais da performance de Quartinha nos diversos conjuntos que tem participado, com ênfase para os grupos de forró, o texto destaca a sua atuação no trabalho do músico Santanna. A partir das análises realizadas, foi possível verificar que a performance musical de Quartinha caracteriza-se pela observação de outros músicos, em especial de zabumbeiros, pela valorização da prática coletiva, pela inventividade, e pela construção de um estilo pessoal que tem sido reconhecido socialmente ao longo da sua trajetória.
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Whittle, James. "Music is theatre : devising musical performance." Thesis, University of York, 2017. http://etheses.whiterose.ac.uk/17202/.
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This portfolio comprises twelve pieces that blend music, theatre and movement, working predominantly with instrumentalists and solely in acoustic performance. The defining principle of the portfolio is that music is theatre: music is as much a visual as it is an aural art. The theatre of music – musical gestures, the musician’s body, and musical performance contexts – is treated as compositional material. The portfolio demonstrates a development from a compositional to a collaborative devising process practice that incorporates techniques from contemporary theatre, dance and performance art. This approach advocates the use of workshop activities focused on enabling musicians to develop movement material. In collaborations with musicians, dancers and performance artists, the role of the composer was merged with that of a director, dramaturg, performer and choreographer. Several site-specific and participatory works also concern the role of the audience.
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XU, JIN. "The factors affecting the development of the musical performance : A study on the musical performance in Shanghai." Thesis, Högskolan i Jönköping, Internationella Handelshögskolan, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:hj:diva-13680.
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The development of musical theatre in china is still in its initial stage, only a few big theatres have the ability of operating musical performance, and at this time, musical theatre is only performed in few big cities in China, like Shanghai and Beijing. The the-sis focuses on the development of musical theatre in Shanghai. As an entertainment ac-tivity and also one of the performing arts, the demand for musical theatre could be affect by many factors like educational background, income and competition from other forms of entertainment activities. There were many previous studies about the performing arts which also focused on the factors like education and income, however, the level of con-tributions of these factors to the development of different forms of performing arts are different. By reviewing related previous literatures and analyzing the data collected from Shanghai Grand Theatre which bases on a meta analysis of previous studies of performing arts, the thesis explores the current situation of the development of the mus-ical performance in Shanghai and studies various factors that affect the demand for musical theatre, as a result, a deeper understanding of how factors like educational background, income, competition among forms of entertainment activities etc. affect the development of musical theatre in Shanghai wish to be provided.
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Brehm, Christoph Peter. "Mixture preparation and engine performance." Thesis, Imperial College London, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.393869.
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Stansbie, Adam. "The acousmatic musical performance : an ontological investigation." Thesis, City University London, 2013. http://openaccess.city.ac.uk/2440/.
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This investigation provides an answer to the following ontological question: what is an acousmatic musical performance? Chapter 1 discusses acousmatic sound – a fundamental constituent of the acousmatic musical performance – and considers ways in which acousmatic sounds are determined in advance of, and during, a performance. Chapter 2 presents the acousmatic performance as an agent-centred, skilful enterprise that serves both composers and listeners through intentional communicative acts. Chapter 3 examines the nature of, and relations that hold between, acousmatic performances and acousmatic works. Chapter 4 considers interpretations of works and highlights some of the various ways in which interpretations are formulated, regulated and executed. Chapter 5 focuses upon the notion of performance authenticity and questions whether it is possible for an acousmatic performance to be considered inauthentic. Taken as a whole, these five chapters highlight the central constituents of the acousmatic musical performance, unravel the collective input of composers, performers, listeners and technologies, and explicate the complex network of relations that coalesce within the performance environment. The methods employed within this thesis relate to the practice of musical ontology, and have been significantly influenced by Richard Wollheim’s realist account of type and tokens (Wollheim 1980) and Stephen Davies’ notion of thick and thin musical works (Davies 2004). These ontological theories provided a method for identifying and discussing the relations that hold between acousmatic performances and acousmatic works, and were ultimately fundamental to the formulation of a bespoke type-theory that serves music of the acousmatic tradition. Accordingly, the research serves two distinct communities. On the one hand, it serves the ontological community; acousmatic music has received very little ontological attention and, as a result, this research broadens the investigative scope of the discipline whilst considering how existing theories may be applied to music of the acousmatic tradition. On the other hand, it serves the acousmatic community; by abstracting and explaining the central constituents of the acousmatic musical performance, this investigation clarifies the roles of composers, performers and listeners, and demonstrates how understanding of these roles may inform creative practice. A portfolio consisting of six original acousmatic compositions has been produced. This compositional research allowed theoretical ideas to be tested, and works in the portfolio are cited to contextualise key points.
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Cooper, Alexander. "Musical connectivity in sitar and tabla performance." Thesis, University of Edinburgh, 2018. http://hdl.handle.net/1842/31235.
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The aim of this dissertation is to define and account for experiences of musical connectivity by exploring the relationship between joint musical action and social experience through a combination of ethnographic and empirical methods. Live sitar and tabla duo performance, in the Hindustānī tradition, forms the focus of the studies. Through its approach and scope, this research contributes to a broadening of knowledge and understanding of how people play music together, and experience varying feelings of 'togetherness' while doing so, from an interdisciplinary, non- Western perspective. The dissertation first considers the various musical and social concepts and behaviours that characterize Hindustānī performance. This is followed by an in-depth analysis of a commercial recording by master musicians Pt. Nikhil Banerjee and Zamir Ahmed Khan, in which the formal, rhythmic, and micro-temporal interactions are explored from a relational, socially-driven perspective. Lastly, qualitative and quantitative data collected through a case study carried out in Varanasi, India, involving close collaboration with expert informants Shyam Rastogi (sitar) and Sandeep Rao (tabla) together with the participation of five other local musicians are presented and discussed. Nine audio-visual performances were recorded, and performers were subsequently interviewed regarding aspects of their social experience whilst playing. Performances were then analysed in order to relate performers' musical interactions with their self-reported feelings of sociality, both generally and at specific moments of their performance. These various results are used to support a novel model of musical connectivity, based on (i) ethnographic insight gathered through fieldwork, (ii) formal and informal interviews with numerous Indian musicians, and (iii) the author's auto-ethnographic account of his practice as a sitar student. This model and the phenomenological insights that it presents are explored in detail in the concluding chapter.
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Rodrigues, Mauro. "Performance, corpo e ação na composição musical." Universidade Federal de Minas Gerais, 2012. http://hdl.handle.net/1843/JSSS-8Z8KFJ.
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This paper studies the relationship between performance and composition, as well as the musical performance as a process of transformation in which the body has a central place. This will be from a transdisciplinary approach, drawing on theory and reflection in the field of performing arts, especially in ethnoscenology and performancestudies, not stealing dialogue with related areas such as cognitive science, neuroscience, musicology, philosophy and anthropology, as sources of advice, confrontation and inspiration. The music plays a central role in the thesis and its appearance will be through the example of composition and performance of Suite para os Orixás, musicalpiece originally conceived in collaboration with musician Esdra Expedito Ferreira, Neném, for group and string orchestra that will be studied in terms of their composition and performance, emphasizing the processes of transformation as a result.Este trabalho estuda a relação entre a performance e a composição, assim com a performance musical como um processo de transformação no qual o corpo tem lugar central. Isto se dará a partir de uma abordagem transdisciplinar, recorrendo à teoria e a reflexão no campo das artes cênicas, especialmente na etnocenologia e estudos daperformance, não se furtando ao diálogo com áreas correlatas como as ciências cognitivas, a neurociência, a musicologia, filosofia e a antropologia, como fontes de consulta, confronto e inspiração. A música tem papel central na tese e sua aparição se dará através do exemplo, de composição e performance, da Suíte para os Orixás, peça originalmente concebida, em parceria com o músico Esdra Expedito Ferreira, o Neném, para grupo e orquestra de cordas, que será estudada do ponto de vista da sua composição e performance, sublinhando os processos de transformação daí decorrentes.
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Almeida, José Pedro Ferreira de. "A performance e encenação no espectáculo musical." Master's thesis, Universidade de Aveiro, 2011. http://hdl.handle.net/10773/7196.
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Mestrado em Criação Artística ContemporâneaEsta dissertação debruça‐se sobre a necessidade que os artistas musicais de palco sentem em manter um espetáculo que tenha motivos de interesse no sentido de cativar o público, o que provoca nos primeiros a necessidade de um constante trabalho de encenação que torne a sua performance cada vez mais eficaz. Procura-se assim identificar os tipos de encenação e performances privilegiados pelos artistas em contexto de espetáculo musical e perceber como esta necessidade transforma a criação original, ajudando à criatividade e a enriquecer a própria obra original, permitindo aprimorar um primeiro conceito.
This dissertation focuses on the need for the stage musical artists feel to maintain a show that has interesting features in order to captivate the audience, causing the first the need for a constant work of staging that makes each performance more effective. It aims to identify the types of privileged staging and performances by artists in the context of musical performance and need to see how this changes the original creation, helping to enrich their own creativity and original work, allowing one to improve the first concept.
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Silva, William Teixeira da. "Por uma performance retórica da música contemporânea." Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/27/27158/tde-19042018-111306/.
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Esta tese estuda as possibilidades de aplicação da retórica como dispositivo interpretativo da música contemporânea. A retórica é tomada aqui em seu escopo clássico, mas de maneira atualizada ao pensamento atual, por meio das contribuições do movimento conhecido como Nova Retórica. A música contemporânea, por sua vez, é aqui representada por meio de peças dos compositores Bernd Alois Zimmermann, Iannis Xenakis e Roberto Victório. Dessa maneira, serão expostas, primeiramente, definições do que é que entende-se como música, discurso musical e significado musical, estabelecendo um postulado sobre o estatuto metafísico da música, sobretudo em sua produção atual. Em seguida serão estudados os mecanismos que garantem a possibilidade de não apenas se afirmar a existência do significado, mas de conhecê-lo, por meio do conhecimento adequado de uma realidade afetiva, um Stimmung, epistemologicamente acessada por meio da empatia e da sensação. Entretanto, esse conhecimento é um conhecimento vivo, que exige ser posto em prática para efetivamente existir, resultando em um complexo ético onde níveis de responsabilidade interagem dentro da dinâmica discursiva da música. Finalmente, serão expostas duas instâncias principais da performance retórica: a formação e o gesto. A primeira diz respeito aos processos por meio dos quais a performance constitui por si mesma uma forma musical; essa forma musical como processo origina então uma estrutura temporal em formação, mais do que um esquema objetificado. O gesto musical, por sua vez, é a corporificação do significado, trazendo vida à música por meio de sua gestualidade e levando vida através dela, resultando em uma performance retórica da música contemporânea.This thesis examines the possibilities of applying rhetoric as an interpretive device of Contemporary Music. Rhetoric is taken here in its classical scope, but also in an updated way to current thinking, through the contributions from the movement known as New Rhetoric. Contemporary music, in its turn, is represented here by pieces written by composers such as Bernd Alois Zimmermann, Iannis Xenakis and Roberto Victório. In this way, firstly, definitions of what is understood as music, musical discourse and musical meaning will be exposed, establishing a postulate about the metaphysical status of music, especially in its current production. Then we will study the mechanisms that guarantee the possibility of not only affirming the existence of meaning but of knowing it through the adequate knowledge of an affective reality, a Stimmung, epistemologically accessed through empathy and sensation. However, this knowledge is a living knowledge, which demands to be put into practice to effectively exist, resulting in an ethical complex where levels of responsibility interact within the discursive dynamics of music. Finally, two main instances of rhetorical performance will be exposed: formation and gesture. The first concerns the processes by which performance itself constitutes a musical form; this musical form as process then gives rise to a temporal structure in formation rather than an objectified scheme. Musical gesture, in turn, is the embodiment of meaning, bringing life to music through its gesturing and bringing life through it, resulting in a rhetorical performance of Contemporary Music.
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Bidgood, Lee. "River Song (musical theater production)." Digital Commons @ East Tennessee State University, 2014. https://dc.etsu.edu/etsu-works/1049.
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Howard, Sara Louise. "Exceptional musical performance : assessment of intelligence, musical aptitude, practice and empathy as contributing factors /." Title page, table of contents and abstract only, 2002. http://web4.library.adelaide.edu.au/theses/09HS/09hsh8481.pdf.
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Aran, Bengi. "Preparation Of High Performance Acrylonitrile Copolymers." Phd thesis, METU, 2009. http://etd.lib.metu.edu.tr/upload/3/12611334/index.pdf.
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Acrylonitrile based engineering random copolymers were prepared via one step emulsion polymerization using ammonium persulfate (initiator), 1-dodecanthiol (chain transfer agent) and DOWFAX 8390 (surfactant) in the presence of water at approximately 65 0C. Three copolymer compositions were studied for novel polyacrylonitrile, (PAN)-polyhydroxyethyl acrylate (PHEA), PAN-polybutyl acrylate (PBA), novel PAN-polyt-butyl acrylate (PtBA), PAN-polyethyl acrylate (PEA) and PAN-polymethyl acrylate (PMA) with acrylate content varying from 8, 12 and 16 molar percent. Infrared spectroscopy, proton and carbon NMR were successfully utilized to confirm the chemical structure of copolymers. In order to determine the comonomer compositions in the copolymer structure, proton nuclear magnetic resonance, 1H NMR studies were carried out. Thermal (TGA, DSC) and mechanical properties of homo and copolymers were also investigated. Intrinsic viscosity (IV) measurements in dimethyl formamide (DMF) solution revealed that the molecular weight of the copolymers were quite enough to form ductile films.
In this study, hydrogels and their copolymers of acrylonitrile (PAN-PHEA) were also studied. Some properties of the free standing copolymer films such asswelling behaviors and densities were evaluated. It was also demonstrated that the nanocomposites of these copolymers could be utilized in filtration technology. Hence, novel PAN(88)-co-PMA(12) and polyaniline (PANI) nanocomposites were prepared at various PANI loadings to remove toxic chromium(VI) solution from water. Chemical structure, swelling and fracture morphology of the nanocomposites membranes were studied. It was observed that PANI had a great impact on the chromium removal. Permeate flux and rejection of chromium(VI) were demonstrated for various pHs and chromium(VI) concentrations. Finally, influences of comonomer composition on the thermal properties of the copolymers were investigated to input their structure property relation.