Comentario histórico de una obra musical : 'La patética' de Beethoven.

Resumen basado en el de la publicación. Resumen en inglés

Nuevas aproximaciones a Jesús de Monasterio.

La publicación recoge resumen en Inglés

La estructura de una Sinfonía.

Programa emitido el 26 de marzo de 1996

Uma análise das fugas para piano de Bruno Kiefer : uma busca por padrões estilísticos na sua escrita contrapontística

Este trabalho oferece um estudo dos padrões estilísticos definidos através da análise dos processos contrapontísticos encontrados no terceiro movimento da Sonata nº I, Fuga e Toccata e do movimento final de Duas peças Sérias da obra para piano de Bruno Kiefer. A fuga, uma das técnicas de composição linear mais estabelecidas na escrita musical, reflete as transformações estilísticas na música ocidental. Considerando a diversidade de possibilidades estéticas na música do século XX, faz-se mister investigar como Kiefer tratou uma técnica composicional consagrada, preservando de modo singular e consistente o estilo inovador atribuído às suas obras. O referencial teórico adotado para este estudo é Twentieth Century Fugue – A Handbook (1962) de William Graves, Jr.. A partir da análise dos padrões recorrentes nas fugas de Bruno Kiefer, verificou-se o distanciamento entre os parâmetros da fuga tradicional e o estilo da escrita contrapontística do compositor.

Lévi-Strauss Mitológicas: Mito e música entre o largo e o prestíssimo

This study was elaborated based on our research of the work Mithologiques by the anthropologist Claude Lévi-Strauss (1908-2009), which affirms that languages, indigenous myths and music are related. He proposes that the understanding of myths occurs in a similar manner as with an orchestral score. In the course of his tetralogy we investigated the musical terms used in the analysis and in the division of the chapters, especially in the first volume of his work. Several compositional procedures and forms are named. Composers in pairs are categorized: Sebastian Bach for the code, Ludwig van Beethoven for the message, and Richard Wagner for the myths. In this deduction, we structured in parts: theme and variations, sonata and fugue with the aforementioned composers. Within the greatness of anthropological study, from among over 800 myths, we selected the first five of the indigenous tribe Bororo to discuss within the Theme and Variation segment. In the Sonata part there are two myths with the same theme: The wife of the jaguar which relates to the compositional structure, and four myths about The origin of women. Finally, in the segment related to the Fugue, we collected four myths that address The shortness of life. Honoring the many terms expressed in opposition, contrast, or symmetry under consideration in Levi-Strauss work, we entitled this thesis emphasizing the migration between the tempos Largo and Prestíssimo as these are oppositional presentations in music. Fifteen musical myths accompany the work supported by selected narratives. In light of this we questioned, we questioned: how are incest, murder and other events part of a society that elevates nature as an extension of life itself? And how did Lévi-Strauss think that anthropology harmonized with music? In the preparation of this study, philosophers like Peter Sloterdijk discuss the circular territory of Mythology

Stravinsky neoclássico: uma análise dos procedimentos composicionais

Pós-graduação em Música - IA

Dedilhado pianístico e suas relações com princípios técnicos e musicais

Pós-graduação em Música - IA

Controle da ferrugem asiática da soja (Phakopsora packyrhizi) com óleo de café e bacillus spp

Pós-graduação em Agronomia (Proteção de Plantas) - FCA

Games contando histórias: uma discussão sobre a narrativa nos JRPGs

Pós-graduação em Letras - IBILCE

Relações conjugais na literatura de Tostói: análise de duas obras

Existem representações sociais diversas sobre padrões definidores de normalidade que direcionam o erotismo humano, incluindo aí concepções sobre casamento e relacionamento conjugal. A literatura pode ser um modo de evidenciar esses padrões, por isso, este estudo qualitativo, tipo documental, teve por objetivo analisar a temática das relações conjugais em duas obras do autor russo Lev Tolstói: “Felicidade Conjugal” e “A Sonata a Kreutzer”. A partir da análise de conteúdo, os resultados discutem as seguintes categorias: 1) A relação conjugal como sinônimo de posse; 2) O desejo sexual como mercadoria, 3) Enamoramento e Amor e 4) Casamento e Fidelidade e 5) Relacionamento e gênero. Nas duas narrativas as dificuldades nos relacionamentos conjugais são apresentadas de modo a explicitar o enamoramento e o cotidiano tendo como pano de fundo as relações de posse entre as pessoas; a crítica evidente diz respeito ao principio de individuação, que tem como base a propriedade privada, inclusive nos relacionamentos amorosos e sexuais. Conclui-se que a análise dessas obras de Tolstói contribui para refletir sobre como os relacionamentos conjugais se configuram também na atualidade; além disso, ressalta-se que a literatura é um instrumento interessante para problematizar e refletir certos padrões de conduta em sexualidade e que poderia ser usada em propostas intencionais de educação sexual.

THE FLUTE MUSIC OF PAUL DESENNE: A COMPARATIVE ANALYTICAL STUDY OF REPRESENTATIVE WORKS

The significance of the works by Venezuelan-born composer Paul Desenne lies in his unique compositional style that incorporates elements of Latin American folk, pop, and traditional music within the framework of the Western European tradition. His works, though easily classified as art music, nevertheless gain much of their emotional and referential meaning through this rich borrowing. This document focuses on three of Desenne’s flute pieces: the Solo Flute Sonata (2001), Gurrufío for flute orchestra (1997), and Guasa Macabra for flute and clarinet (2003). It provides an analysis of the three works, examining formal, structural, motivic, and rhythmic aspects. Scores and interviews with the composer have been employed as primary sources. Bibliographical material closely related to his music and other secondary sources support this analytical approach. This document also provides an introduction and stylistic discussion of Desenne’s other pieces that incorporate the flute. Chapter one consists of an introduction to Desenne’s life and general considerations of his musical style. Each of the following three chapters focuses on one the three aforementioned flute works, including information about the composition and premiere of each piece as well as analysis and an examination of its incorporation of traditional folk elements. The final chapter presents an introduction to and stylistic discussion of the other flute pieces by this composer. This study intends to provide a basic understanding of Desenne’s flute music, including general characteristics of his musical style, paving the way for further investigation of Desenne’s music, and flute music in particular.

Bach-Busoni Chaconne: A Piano Transcription Analysis

In 1893 Ferruccio Busoni transcribed, for the piano, the famous Bach Chaconne for violin solo from the Partita No.2 in D minor. Numerous transcriptions of this piece for different various instruments exist; however Busoni's transcription stands above all others. The purpose of this study was to analyze what the famous, twentieth-century pianist did when he transcribed Bach's Chaconne. What information exists on the topic comes primarily from pianists who dared to learn this exceptionally difficult, beautiful composition. Busoni's accomplishments lie in the new concept, a conceptual transcription, which has two roots: understanding how, historically, we are connected to the music, and how once genres have a special meaning in the twentieth-century. Every generation of musicians brings their own specific point of view and interpretation. Busoni lived on the border of the two centuries and, in his transcription, reveled in several issues overlooked by the previous generation. With his keen understanding of the piece, Busoni highlighted many different genres present in the music, thus allowing recognition of the last movement of the Partita No. 2 in D minor as a Requiem for Bach's wife. By underscoring the genres, Busoni used them as strata. The idea of strata comes from the aesthetics of “play,” and from a different approach to the quality of sound on piano originally intended for a high string instrument. Busoni's arrangement of the texture added both orchestral quality and stereophonic perception. The strata add to a certain reading of Bach's original. Busoni promoted a dramatic approach opening the possibility of reading the chaconne as a multi-layered form. Through Busoni', we see the possibility not only of a tripartite, variation form, but also a composition, with the elements of a concerto, and a sonata. Who could imagine, that a composition written by a young composer at the fin de siecle, intended for practical use by pianists, would subtly influence so many contemporaries and generations, that they will find his findings and music inspiring. Adviser: Dr. Mark K. Clinton

String Quartet n degrees 02 by Villa-Lobos: a dialogue with the cyclic form of Franck, Debussy and Ravel

This article investigates Villa-Lobos's String Quartet n degrees 02, an early work by this composer, written according cyclic sonata principles, as developed by Cesar Franck and systematized by Vincent d'Indy. Another important source are the string quartets composed by Franck (1889), Debussy (1893) and Ravel (1903), which possibly served as compositional models to Villa-Lobos. In this light, the themes of the Exposition in the first movement were analyzed and this procedure reveals some harmonic and rhythmic aspects throughout all the other movements.

Cochlear Implantation Via the Middle Fossa Approach: Surgical and Programming Considerations

Objectives: To report the results of cochlear implantation via the middle fossa approach in 4 patients, discuss the complications, and present a detailed description of the programming specifications in these cases. Study Design: Retrospective case review. Setting: Tertiary-care referral center with a well-established cochlear implant program. Patients: Four patients with bilateral canal wall down mastoid cavities who underwent the middle fossa approach for cochlear implantation. Interventions: Cochlear implantation and subsequent rehabilitation. A middle fossa approach with cochleostomy was successfully performed on the most superficial part of the apical turn in 4 patients. A Nucleus 24 cochlear implant system was used in 3 patients and a MED-EL Sonata Medium device in 1 patient. The single electrode array was inserted through a cochleostomy from the cochlear apex and occupied the apical, middle, and basal turns. Telemetry and intraoperative impedance recordings were performed at the end of surgery. A CT scan of the temporal bones was performed to document electrode insertion for all of the patients. Main Outcome Measures: Complications, hearing thresholds, and speech perception outcomes were evaluated. Results: Neural response telemetry showed present responses in all but 1 patient, who demonstrated facial nerve stimulation during the test. Open-set speech perception varied from 30% to 100%, despite the frequency allocation order of the MAP. Conclusion: Cochlear implantation via the middle cranial fossa is a safe approach, although it is a challenging procedure, even for experienced surgeons.

Haydn, segundo Villa-Lobos: uma análise do 1º movimento do Quarteto de cordas nº 7 de Villa-Lobos

Este estudo analisa o 1º movimento do Quarteto de Cordas nº 7 de Villa-Lobos e investiga possíveis referências aos quartetos de cordas compostos por Franz Haydn, como Villa-Lobos sugeriu a Arnaldo Estrella.