Clarinetas em Si Bemol e em Fá: diferenças acústicas e interpretativas

ALBERTO,Gabriel Gagliano Pinto. Clarinetas em Si Bemol e em Lá: diferenças acústicas e interpretativas. Belo Horizonte, MG, 2004. Orientador: Prof. Dr. Maurício Alves Loureiro. Dissertação (Mestrado) - Escola de Música da Universidade Federal de Minas Gerais.

Monitoramento geoambiental do estuário do Rio Paraíba do Norte - PB por meio da cartografia temática digital e de produtos de sensoriamento remoto

The North Paraíba River Estuary, located in the eastern portion of the Paraíba State, Northeast Brazil, on coordinates 34º50 00 -34º57 30 S and 6º55 00 -7º7 30 W, constitutes a fluvio-marine plain formed by the North Paraíba River and its tributaries Sanhauá, Paroeira, Mandacaru, Tiriri, Tambiá, Ribeira and Guia. This estuary comprises an area of about 260 km2. Increasing human demands on the estuary area and inadequate environment managing have generated conflicts. The present work main purpose is to evaluate the geodynamic evolution of the North Paraíba River Estuary in the period from 1969 to 2001, using digital image processing techniques, thematic digital cartography and multitemporal data integration, combined to geological-geophysical field surveys. The SUDENE cartographic database, converted to digital format were, used to obtain occupation and topographic maps from 1969 and to generate a Digital Elevation Model (DEM). Digital Landsat 7 ETM+ and Spot HRVIR-PAN satellite images interpretation allowed the environmental characterization of the estuary. The most important digital processing results were achieved color composites RGB 5-4-3, 5-3-1, 5-2-NDWI and band ratio 7/4-5/3-4/2, 5/7-3/1-5/4). In addition the fusion image technique RGBI was used by the inclusion of the Spot HRVRI and Landsat 7 ETM+ panchromatic band on I layer with RGB triplets 5-4-3, 5-3-1 and 5/7-3/1-5/4. The DEM and digital images integration allowed the identification of seven geomorphological units: coastal tableland, flowing tray, tide plain, fluvial terrace, submerged dune, beach plain and beach). Both Side Scan Sonar and Echosound were used to analyse underwater surface and bedforms of the estuarine channel, sand predominance (fine to very fine) and 2D dune features 5 m wide and 0.5 m height. This investigation characterized the estuary as an environment dominated by regimen of average flow. The channel depth varies between 1 m and 11 m, being this last quota reached in the area of Porto de Cabedelo. The chanel estuary is relatively shallow, with erosion evidences mainly on its superior portion, attested by sand banks exposed during the low tide. Multitemporal digital maps from 1969 and 2001 integration were obtained through geoprocessing techniques, resulting the geodynamic evolution of the estuary based on landuse, DEM geomorphology and bathymetric maps

Elaboração de material pré-composicional através de expansão de procedimentos do sistema Schillinger de composição musical

The work aims at investigating possibilities of extending compositional procedures, based on the Schillinger System of Musical Composition (SSMC). I start by elaborating a brief historical review on SSMC, which is followed by a critical review of the System. The work includes a state of the art on the research on this topic, performed upon analysis of the current work conducted by a research group from the UFRN Music School from which I also make part. The main line of the research is to elaborate on the suggestion of extending the SSMC concept of place of attack to the idea of place of instrumentation, through developing a binary instrumentation procedure. The experimentation on the thesis‟ hypothesis is presented in my composition titled “Suíte Grega” (Greek Suite), a compositional memoir for Oboe, Saxophone and 3 Cellos.

Explorando a execução de técnicas estendidas no oboé encontradas em quatro peças contemporâneas

This dissertation presents an investigation of the evolutionary process of extended oboe techniques, through literary analysis and practical research. The objective of this work is to provide assistance to oboists interested in learning these techniques. Additionally, this work encourages the student, through the process of experimentation, to explore the questions that may arise around the aesthetics of sound, the concept of gesture as an additional visual and aural element in music, and the collaboration and “real-time” creation processes. Discussed within the work, are the relationship between the instrument (the oboe) and extended techniques, and two possible definitions of extended techniques, provided by Luk Vaes (2009) and Gardner Read (1993). Also explored are the how and why some composers have utilized extended techniques in their compositions, including brief discussions relating to extended techniques in real-time composition (improvisation), extended techniques and technological resources, theatrical gesture as an extended technique, and suggestions of how musicians might approach theatrical gestures in performance. Four works were visited: “I Know This Room So Well” – Lisa Bielawa (2007-9); “Four Pieces for Oboe and Piano” – Ernst Krenek (1966); “In Freundschaft” – Karlheinz Stockhausen (1978); “Atem” – Mauricio Kagel (1969-70); and an exploration of the difficulties and solutions associated with each extended technique found within these pieces, was carried out. The following founding works on extended oboe techniques were used, as a basis for research: books - Heinz Holliger’s Pro Musica Nova (1972); Gardner Read’s Compendium of Modern Instrumental Techniques (1993); Peter Veale & Claus-Steffen Mahnkopf’s The Techniques of Oboe Playing (1994); and Libby Van Cleve’s Oboe Unbound: Contemporary Techniques (2004); and articles - Nora Post’s “Monophonic sound resources for the oboe: Part I – Timbre” (1984), “Part II- Pitch and other techniques” (1984), and “Multiphonics for the oboe” (1982).

Uma descrição sonora contemporânea do imagético tradicional armorial como subsídio para abordagens interpretativas do ciclo de canções “Visagem” de Nelson Almeida

This study suggests sonorous ambiences from the propose of images configured according to the description in “A Visagem da Moça Caetana” by Ariano Suassuna in order to create individual sonorous possibilities that may help musicians to play the piece. The cycle, composed in 1996 (for voice, viola, cello, bass clarinet/clarinet), is formed by three untitled songs. Its text is an excerpt from the “Folheto XLIV”, from the Romance d’A Pedra do Reino e o príncipe do sangue do vai-e-volta, and describes a sentence of death illustrated by symbols of the Armorial imagery, with neologisms and the peculiar accent from the Sertão in northeast Brazil. In addition to the analysis of technical difficulties to play, this study informs interpreters of the sonorous timbre and texture used by Nelson Almeida to describe tradition through contemporary musical language. The metaphors and transgressions of reason in Suassuna’s book were explored to create three image compositions so that they may lead interpreters to the sonorous description of the inanimate objects and the affections to which the poetry refers, expanding any technical-interpretative indications limited by musical notation. This research used the Visagem scores, the literature on the theme, discussions with the musicians that played the piece, interviews with Almeida, and composers’ reports. To illustrate the theory, the three images are available, printed as woodcut in cordel literature.

Clarinetas em Si Bemol e em Fá: diferenças acústicas e interpretativas

ALBERTO,Gabriel Gagliano Pinto. Clarinetas em Si Bemol e em Lá: diferenças acústicas e interpretativas. Belo Horizonte, MG, 2004. Orientador: Prof. Dr. Maurício Alves Loureiro. Dissertação (Mestrado) - Escola de Música da Universidade Federal de Minas Gerais.