TROMBONE MUSIC OF SCANDINAVIA: A STUDY OF TROMBONE SOLO AND CHAMBER WORKS FROM SWEDEN, NORWAY, AND DENMARK

This dissertation project aims to establish Scandinavian trombone solo and chamber works as a major contribution to the trombone repertoire. From the late 19th century to modern day, Scandinavian composers have produced a steady output of trombone works of substantial musical quality. Deep-rooted in the traditions of strong military wind bands, Scandinavia has also produced an unusual number of trombone virtuosos, ranging from those holding positions in leading orchestras, and internationally renowned pedagogues, to trombonists enjoying careers as soloists. In this study I propose that it is the symbiotic relationship between strong performers and traditionally nationalist composers that created the fertile environment for the large number of popular trombone solo and chamber repertoire not seen in any other region besides the Paris Conservatory and its infamous test pieces. I also interpret the selected repertoire through the prism of nationalism and influence of folk music, and convey that the allure of the mystic Nordic folk influences enhances the appeal of the Scandinavian trombone repertoire to world-wide audiences and performers. The dissertation project was realized over three solo recitals, each showcasing the music of Sweden, Norway, and Denmark respectively. For each program, I looked to choose a standard work from the trombone solo repertoire, a work written for or by a native virtuoso, and a lesser-known work that warrants the attention of other performers for its musical qualities. The recital of Swedish music presented Mandrake in the Corner by Christian Lindberg, Subadobe by Frederik Högberg, A Christian Song by Jan Sandström, and Concertino for trombone and strings by Lars-Erik Larsson. The recital of Norwegian music presented Concerto for Trombone op. 76 by Egil Hovland, Ordner Seg by Øystein Baadsvik, Elegi by Magne Amdahl, and Concerto in F major by Ole Olsen. The recital of Danish music presented Rapsodia Borealis by Søren Hyldgaard, Madrigal by Bo Gunge, Romance for trombone and piano by Axel Jørgensen, Concerto for trombone by Launy Grøndahl, and Three Swedish Tunes by Mogens Andresen. Through the performance of works from these three countries, the dissertation establishes Scandinavia as a rich source of solo trombone repertoire perpetuated by nationalist composers and virtuosos, as well as providing a brief survey of Scandinavian trombone works of various instrumentation and difficulty levels to be enjoyed by student, professional, and amateur performers and their audience.

VIOLA MUSIC FROM THE AMERICAS: MUSIC FROM CANADA, UNITED STATES, CUBA, VENEZUELA, MEXICO, AND BRAZIL

The enthusiasm towards writing music for the viola that flourished in the early 1900’s thanks to the efforts of a number of twentieth-century violists and composers rapidly spilled over to North and South America. Viola works by American and Canadian composers have already become cornerstones of the viola repertoire worldwide. On the other hand, compositions from other parts of the American continent remain lesser known outside of their country of origin. This is due in part to the less developed publishing and recording industry in these countries which makes it difficult for performers and programmers from other countries to buy or rent performing materials. As a violist born and trained in Venezuela, performing works by important Latin American composers to new audiences is deeply important to me. This dissertation was completed by performing selected works by Canadian, American, Cuban, Mexican, Brazilian, and Venezuelan composers. Composers from these countries have mixed their rich musical traditions with modern compositional techniques, creating original works that have greatly enriched the viola repertoire. This eclectic mixture of styles makes the music from Latin American composers not only very different from that of American and Canadian composers, but also very different from those of their neighboring countries. Through my three dissertation recitals, I intend to share this music with new audiences and inspire other violists to become familiar with this repertoire. The first recital includes compositions by American composers George Rochberg (1918-2015), Elliott Carter (1908-2012), and Alan Shulman (1915-2002) and Canadian composer Elizabeth Raum (b. 1945). The second recital includes works by Cuban composers Cesar Orozco (b. 1980), and Keyla Orozco (b. 1969), Venezuelan composers Aldemaro Romero (1928-2007) and Modesta Bor (1926-1998), and Venezuelan-Uruguayan composer Efrain Oscher (b. 1974). The third recital includes works by Mexican composers Carlos Chavez (1899-1978), José Pablo Moncayo (1912-1958) and Manuel M Ponce (1882-1948), and Brazilian composers Francisco Mignone (1897-1986) and Brenno Blauth (1931-1993). This music represents a bouquet of a distinctive mixture of styles from different parts of the American continent. Recordings of all three recitals can be accessed at the University of Maryland Hornabake Library.

What's the Matter with Extended Techniques? Getting Beyond the Stigma in the Horn and Percussion Repertoire

For this project I prepared a series of recitals featuring music for horn and percussion, in which the horn part featured extended horn techniques. For this project, I considered anything beyond the open or muted horn an extended technique. These techniques range from the common hand-stopped note passages to complex new techniques involving half-valves, multi-phonics, and more, for new sounds desired by the composer. There are several pieces written for solo horn and percussion, with ensembles ranging from simple duets to solo horn with a full percussion ensemble. However, few include extended techniques for the horn. All of these select pieces are lesser known because of their difficulty, primarily because of the challenge of the extended techniques requested by the composer. In the introduction to this paper I give a brief background to the project, where the current repertoire stands, and my experiences with commissioning works for this genre. I then give a brief history and how-to on the more common extended techniques, which were found in almost every piece. I separated these techniques so that they could be referenced in the performance notes without being extremely repetitive in their description. Then follows the main performance notes of the repertoire chosen, which includes a brief description of the piece itself and a longer discussion for performers and composers who wish to learn more about these techniques. In this section my primary focus is the extended techniques used and I provide score samples with permission to further the education of the next musicians to tackle this genre. All works performed for this project were recorded and accompany this paper in the Digital Repository at the University of Maryland (DRUM). The following works were included in this project: o Howard J. Buss, Dreams from the Shadows (2015) o Howard J. Buss, Night Tide (1995) o George Crumb, An Idyll for the Misbegotten, trans. Robert Patterson (1986/1997) o Charles Fernandez, Metamorphosis: A Horn’s Life, “Prenatal and Toddler” (2016, unfinished) o Helen Gifford, Of Old Angkor (1995) o Douglas Hill, Thoughtful Wanderings… (1990) o Pierre-Yves Level, Duetto pour Cor en Fa et Percussion (1999) o David Macbride, Elegy for Horn and Timpani (2009) o Brian Prechtl, A Song of David (1995) o Verne Reynolds, HornVibes (1986) o Pablo Salazar, Cincontar (2016) o Mark Schultz, Dragons in the Sky (1989) o Faye-Ellen Silverman, Protected Sleep (2007) o Charles Taylor, Sonata for Horn and Marimba (1991) o Robert Wolk, Tessellations (2016) With this project, I intend to promote these pieces and the techniques used to encourage more works written in this style, and reveal to fellow horn players that the techniques should not prevent these great works from being performed. Due to the lack of repertoire, I successfully commissioned new pieces featuring extended techniques, which were featured in the final recital.

Nietzsche's orphans: music and the search for unity in revolutionary Russia, 1905-1921

At the dawn of the twentieth century, Imperial Russia was in the throes of immense social, political and cultural upheaval. The effects of rapid industrialization, rising capitalism and urbanization, as well as the trauma wrought by revolution and war, reverberated through all levels of society and every cultural sphere. In the aftermath of the 1905 revolution, amid a growing sense of panic over the chaos and divisions emerging in modern life, a portion of Russian educated society (obshchestvennost’) looked to the transformative and unifying power of music as a means of salvation from the personal, social and intellectual divisions of the contemporary world. Transcending professional divisions, these “orphans of Nietzsche” comprised a distinct aesthetic group within educated Russian society. While lacking a common political, religious or national outlook, these philosophers, poets, musicians and other educated members of the upper and middle strata were bound together by their shared image of music’s unifying power, itself built upon a synthesis of Russian and European ideas. They yearned for a “musical Orpheus,” a composer capable of restoring wholeness to society through his music. My dissertation is a study in what I call “musical metaphysics,” an examination of the creation, development, crisis and ultimate failure of this Orphic worldview. To begin, I examine the institutional foundations of musical life in late Imperial Russia, as well as the explosion of cultural life in the aftermath of the 1905 Revolution, a vibrant social context which nourished the formation of musical metaphysics. From here, I assess the intellectual basis upon which musical metaphysics rested: central concepts (music, life-transformation, theurgy, unity, genius, nation), as well as the philosophical heritage of Nietzsche and the Christian thinkers Vladimir Solov’ev, Aleksei Khomiakov, Ivan Kireevskii and Lev Tolstoi. Nietzsche’s orphans’ struggle to reconcile an amoral view of reality with a deeply felt sense of religious purpose gave rise to neo-Slavophile interpretations of history, in which the Russian nation (narod) was singled out as the savior of humanity from the materialism of modern life. This nationalizing tendency existed uneasily within the framework of the multi-ethnic empire. From broad social and cultural trends, I turn to detailed analysis of three of Moscow’s most admired contemporary composers, whose individual creative voices intersected with broader social concerns. The music of Aleksandr Scriabin (1871-1915) was associated with images of universal historical progress. Nikolai Medtner (1879-1951) embodied an “Imperial” worldview, in which musical style was imbued with an eternal significance which transcended the divisions of nation. The compositions of Sergei Rachmaninoff (1873-1943) were seen as the expression of a Russian “national” voice. Heightened nationalist sentiment and the impact of the Great War spelled the doom of this musical worldview. Music became an increasingly nationalized sphere within which earlier, Imperial definitions of belonging grew ever more problematic. As the Germanic heritage upon which their vision was partially based came under attack, Nietzsche’s orphans found themselves ever more divided and alienated from society as a whole. Music’s inability to physically transform the world ultimately came to symbolize the failure of Russia’s educated strata to effectively deal with the pressures of a modernizing society. In the aftermath of the 1917 revolutions, music was transformed from a symbol of active, unifying power into a space of memory, a means of commemorating, reinterpreting, and idealizing the lost world of Imperial Russia itself.

W.A. Mozart's Die Zauberflöte An Arrangement and Performance Edition for Wind Instruments and Vocal Soloists

The purpose of this dissertation is to produce a new Harmonie arrangement of Mozart’s Die Zauberflöte suitable for modern performance, bringing Joseph Heidenreich’s 1782 arrangement—one of the great treasures of the wind repertoire—to life for future performers and audiences. I took advantage of the capabilities of modern wind instruments and performance techniques, and employed other instruments normally found in the modern wind ensemble to create a work in the tradition of Heidenreich’s that restored as much of Mozart’s original thinking as possible. I expanded the Harmonie band to include flute and string bass. Other instruments provide special effects, a traditional role for wind instruments in the Classical opera orchestra. This arrangement is conceived to be performed with the original vocal soloists, making it a viable option for concert performance or for smaller staged productions. It is also intended to allow the wind players to be onstage with the singers, becoming part of the dramatic action while simultaneously serving as the “opera orchestra.” This allows creative staging possibilities, and offers the wind players an opportunity to explore new aspects of performing. My arrangement also restores Mozart’s music to its original keys and retains much of his original wind scoring. This arrangement expands the possibilities for collaboration between opera studios, voice departments or community opera companies and wind ensembles. A suite for winds without voices (currently in production) will allow conductors to program this major work from the Classical era without dedicating a concert program to the complete opera. Excerpted arias and duets from this arrangement provide vocalists the option of using chamber wind accompaniment on recitals. The door is now open to arrangements of other operas by composers such as Mozart, Rossini and Weber, adding new repertoire for chamber winds and bringing great music to life in a new way.

RACHMANINOFF AND MEDTNER: SELECTED WORKS FROM THE SOLO AND COLLABORATIVE PIANO REPERTOIRE

Sergei Rachmaninoff and Nikolai Medtner occupy a special place in the history of Russian music. Both composers were exceptional pianists and left us some of the greatest works in the piano repertoire. Although these composers shared many similarities, and were often compared, their musical languages and views on composition were very different. Unfortunately, Medtner’s music, which Rachmaninoff admired greatly, has remained neglected for several generations of performers and listeners. In my dissertation I will explore the similarities and contrasts in Rachmaninoff’s and Medtner’s music. Through these performances, I hope to encourage other musicians to discover the imaginative power of Medtner’s music. Of course, no such encouragement is needed for Rachmaninoff’s extremely popular music; however, the technical and musical challenges of performing that repertoire are an invaluable part of every pianist’s education. This dissertation project was presented in three recitals which were performed in Gildenhorn Recital Hall at the Clarice Smith Performing Arts Center of the University of Maryland on May 8, 2014, December 5, 2014 and March 21, 2016. The following pieces comprised the survey of Rachmaninoff music: Vocalise Op. 34, Variations on a Theme of Corelli Op. 42, Piano Concerto No 2 Op. 18, Selected Songs Opp. 4 and 8, and two Moments Musicaux Op. 16 - Nos 3 and 4. The following pieces were included to represent Medtner: Sonata for Violin and Piano Op. 57 in E minor “Epica”, Fairy Tales for solo piano Op. 20 No 1, Op. 26 No 3 and Op. 51 No 1, and Selected Songs Op. 6 and 15. My partners in this project were Lilly Ahn, soprano, Jennifer Lee, violin and Nadezhda Christova, piano. All three recitals can be found in the Digital Repository at the University of Maryland (DRUM).

Perspectives esthétique et compositionnelle d’une dialectique entre le son et la musique

Visant à contribuer à la pérennité de la musique d’art instrumentale, cette thèse aborde plusieurs sujets la concernant, autant sur les plans théorique et esthétique que pratique et compositionnel. Les deux principaux contextes observés sont ceux de la modernité et de l’économie de marché. Le premier, par le triomphe de la raison technicienne, aurait conduit à l’autonomie de l’art désormais confronté aux risques de l’autoréférence. Le deuxième, par la pression exercée sur le compositeur à la base de la chaîne création-production-diffusion, compromettrait cette autonomie qu’elle avait pourtant contribuée à rendre possible. Or, l’autonomie de l’art, en tant que conquête sur les plans esthétique, social, politique, économique et intellectuel, représente un enjeu de taille, puisque d’éventuelles compromissions envers des impératifs extérieurs impliquent un recul sur tous ces plans. Pour répondre à cette problématique, la thèse explore des pistes de réflexions et d’opérations pour réaffirmer – en le revendiquant – ce que la musique d’art possède en propre et qui mérite encore d’être entendu, militant ainsi pour la survie de ce qui la rend possible. Plus précisément, la dialectique du son et de la musique que je développe ici me permet, dans un premier temps, d’aborder les médiations successives conduisant des ondes mécaniques à se structurer dans notre conscience jusqu’à se transmettre à nous sous forme de patrimoine; puis, dans un deuxième temps, de décrire ma propre intention de communication par la musique en analysant deux œuvres de ma composition : Musique d’art pour quintette à cordes et Musique d’art pour orchestre de chambre II (partie 1.). Musique d’art pour quintette à cordes est une œuvre-concert de soixante-cinq minutes pour quatuor à cordes et contrebasse, spatialisation, traitement et mise en espace des musiciens. Il s’agit d’un projet de recherche-création de mon initiative que j’ai aussi mené à titre de producteur. Musique d’art pour orchestre de chambre II (partie 1.) est une œuvre de commande de quatorze minutes. Le retour critique portant sur l’ensemble des composantes caractéristiques du média ouvre la voie à une corrélation plus étroite entre son contenu et sa forme privilégiée de présentation, le concert. Cette corrélation peut amener le public à désirer visiter les œuvres et apprécier leur signification, préservant la musique d’art comme mode spécifique de connaissance du monde.

Buscando inspiración musical en el universo computacional

Throughout the history of western music, composers have relied on “outside-of-time” structures which have served as musical “prime matter” until the moment of their temporal inscription. These structures have traditionally been the scales, rhythmic values, formal schemes, harmonic rules, etc., that composers have employed over and over again. They are to the composer what marble is to the sculptor or colors are to the painter. The advent of computer technology has opened new avenues that allow composers to develop new structures and enlarge their creative horizon. I started my musical training at a very early age, and at the same time I had a lot of scientific curiosity. As soon as I had my first computer (a Commodore 64), I started to experiment, to establish relationships between scientific processes and the world of sound. To date, and following the footsteps of I. Xenakis (although from a different aesthetic perspective), my compositions have always been informed, to a lesser or greater degree, by some underlying scientific idea, and this task can hardly be achieved without computation. Furthermore, today, computer-composers open the possibility to access and use an ever-growing repository of musical material goes a step forward in this direction. And this raises many questions, some of them of a deep philosophical ground.

Adieu New York, bonjour Paris ! : les enjeux esthétiques et culturels des appropriations du jazz dans le monde musical savant français (1900-1930)

Thèse réalisée en cotutelle avec l'Université Paris-Sorbonne et l'Université de Montréal. Composition du jury : M. Laurent Cugny (Université Paris-Sorbonne) ; M. Michel Duchesneau (Université de Montréal) ; M. Philippe Gumplowicz (Université d'Evry-Val d'Essonne) ; Mme Barbara Kelly (Keele University - Royal Northern College of Music) ; M. François de Médicis (Université de Montréal) ; M. Christopher Moore (Université d'Ottawa)

Sobre música portuguesa para viola d’arco no séc. XX: a influência de François Broos (1903-2002) na criação musical em Portugal

A presente dissertação procura explorar a figura que foi François Broos. Contactando alguns antigos colegas e alunos, procurou-se retratar de forma fidedigna o seu percurso pessoal e profissional, e de que forma a sua vinda para Portugal terá alterado o panorama nacional violetístico, tanto a nível educacional, como artístico. Procurou-se abordar, também, as relações pessoais e profissionais que estabeleceu, tanto no Porto como em Lisboa, com figuras de referência da música em Portugal. Assim, fez-se um breve itinerário pela produção musical para viola no século XX e, de igual forma, uma lista das obras de compositores portugueses para viola e piano ou viola e orquestra, de 1900 a 2000, de forma a verificar se, de facto, houve algum crescimento na produção nacional na música para viola desde que François Broos se instalou em Portugal, e indicar quantas dessas obras lhe terão sido dedicadas. Na segunda parte desta dissertação, e no seguimento do ponto acima mencionado, foram escolhidas duas obras de grande relevância no repertório português para viola, ambas dedicadas ao professor Broos, para serem analisadas do ponto de vista artístico, valorizando os aspetos técnicos da performance, através das respetivas gravações disponíveis.

Das raízes

O objetivo deste projeto artístico foi desenvolver um conhecimento mais aprofundado relacionado com a execução e interpretação de técnicas de percussão tradicionais aliadas a técnicas contemporâneas. De entre as várias técnicas tradicionais de percussão optei por desenvolver as da percussão Africana (Guiné e Burkina Faso, e mais tarde Nigéria) e as da percussão Cubana. Criei assim um projeto artístico de fusão intitulado Das Raízes, no qual ao longo dos dois anos do curso de mestrado estive em contacto com a música Africana e Cubana aliada a técnicas contemporâneas e composições originais (minhas e de outros compositores). Para cada obra explorei primeiro as técnicas tradicionais e em seguida adaptei-as à percussão contemporânea, num processo onde as suas raízes africanas, cubanas ou até afro- cubanas são evidentes. Neste projeto salienta-se o papel preponderante das mãos. No século XXI o uso da baqueta predomina como a técnica mais forte para dominar os instrumentos nos conservatórios e nas escolas superiores de música. Após ter adquirido esta técnica resolvi aprofundar as técnicas tradicionais onde predominam o uso não só da baqueta mas também da mão, um mundo antigo na sua existência, mas novo para mim. Espero poder transportar o ouvinte para um mundo em que cor, movimento e som, antiguidade e contemporaneidade estão em constante vibração.

Contrasts: Quartets and Art Songs of the Nineteenth Century

The nineteenth-century Romantic era saw the development and expansion of many vocal and instrumental forms that had originated in the Classical era. In particular, the German lied and French mélodie matured as art forms, and they found a kind of equilibrium between piano and vocal lines. Similarly, the nineteenth-century piano quartet came into its own as a form of true chamber music in which all instruments participated equally in the texture. Composers such as Robert Schumann, Johannes Brahms, and Gabriel Fauré offer particularly successful examples of both art song and piano quartets that represent these genres at their highest level of artistic complexity. Their works have become the cornerstones of the modern collaborative pianist’s repertoire. My dissertation explored both the art songs and the piano quartets of these three composers and studied the different skills needed by a pianist performing both types of works. This project included the following art song cycles: Robert Schumann’s Dichterliebe, Gabriel Fauré’s Poème d’un Jour, and Johannes Brahms’ Zigeunerlieder. I also performed Schumann’s Piano Quartet in E-flat Major, Op. 47, Fauré’s Piano Quartet in C minor, Op. 15, and Brahms’ Piano Quartet in G minor, Op. 25. My collaborators included: Zachariah Matteson, violin and viola; Kristin Bakkegard, violin; Molly Jones, cello; Geoffrey Manyin, cello; Karl Mitze, viola; Emily Riggs, soprano, and Matthew Hill, tenor. This repertoire was presented over the course of three recitals on February 13, 2015, December 11, 2015, March 25, 2016 at the University of Maryland’s Gildenhorn Recital Hall. These recitals can be found in the Digital Repository at the University of Maryland (DRUM).

Beethoven's Violinists: The Influence of Clement, Viotti, and the French School on Beethoven's Violin Compositions

Over the course of his career, Ludwig van Beethoven (1770–1827) admired and befriended many violin virtuosos. In addition to being renowned performers, many of these virtuosos were prolific composers in their own right. Through their own compositions, interpretive style and new technical contributions, they inspired some of Beethoven’s most beloved violin works. This dissertation places a selection of Beethoven’s violin compositions in historical and stylistic context through an examination of related compositions by Giovanni Battista Viotti (1755–1824), Pierre Rode (1774–1830) and Franz Clement (1780–1842). The works of these violin virtuosos have been presented along with those of Beethoven in a three-part recital series designed to reveal the compositional, technical and artistic influences of each virtuoso. Viotti’s Violin Concerto No. 2 in E major and Rode’s Violin Concerto No. 10 in B minor serve as examples from the French violin concerto genre, and demonstrate compositional and stylistic idioms that affected Beethoven’s own compositions. Through their official dedications, Beethoven’s last two violin sonatas, the Op. 47, or Kreutzer, in A major, dedicated to Rodolphe Kreutzer, and Op. 96 in G major, dedicated to Pierre Rode, show the composer’s reverence for these great artistic personalities. Beethoven originally dedicated his Violin Concerto in D major, Op. 61, to Franz Clement. This work displays striking similarities to Clement’s own Violin Concerto in D major, which suggests that the two men had a close working relationship and great respect for one another. The first recital was performed in Ulrich Recital Hall; the second and third recitals were performed in Gildenhorn Recital Hall at the University of Maryland. All three performances were collaborations with pianist, Hsiang-Ling Hsiao. A Recording of the first program can be found in the Digital Repository at the University of Maryland (DRUM). Recordings of the second and third recitals can be accessed at the University of Maryland Hornbake Library.

A importância da música na transmissão de identidade e valores : o caso do grupo Noite de Mindelo : investigação ação através de um concerto pedagógico realizado em São Vicente, Cabo Verde

O propósito deste trabalho consistiu em elaborar uma análise aprofundada da música cabo-verdiana no contexto educativo enquanto expressão artística, identificando e valorizando o seu papel na identidade nacional e descrevendo os fatores que interferem na sua implementação e generalização a todos os níveis do ensino. Tendo como modelo de pesquisa uma investigação-ação e utilizando uma metodologia qualitativa e interpretativa, desenvolvida no contexto da Educação Artística em Cabo Verde a nível formal e informal, realizou-se um concerto pedagógico no Centro Cultural de Mindelo, ilha de São Vicente Cabo Verde. O projeto debruçou-se sobre a análise dos dois principais géneros musicais cabo-verdianos, a Morna e a Coladeira, os grandes compositores e intérpretes destes géneros, no sentido de provocar uma reflexão e inclusão do estudo da Expressão Musical no contexto educativo cabo-verdiano, como disciplina autónoma capaz de despertar o sentimento de identidade e valores que caracterizam uma Nação. A escolha do concerto através da avaliação dos espectadores permitiu concluir que o ensino aprendizagem da Música em Cabo Verde no contexto educativo requer uma outra abordagem, a elaboração de programas, assim como a contratação de docentes competentes para desenvolvimento dos conteúdos. Mindelo, como ilha tradicionalmente artística, está aquém desta referência e impõe a introdução de políticas educativas que possam inverter esta tendência e criar condições adequadas para que os alunos e a população se interiorizem da importância do ensino das Expressões Artísticas como vetores importantes na transmissão de identidade e valores. A prossecução de investigação nesta área e o incentivo ao desenvolvimento desta temática recomendam-se como forma de dar a conhecer os grandes artistas cabo-verdianos, as grandes composições e despertar o interesse no seio das crianças e dos jovens para a importância do estudo das Artes como uma forma lúdica de aprender e uma possibilidade de ser um artista como tantos que cantaram e cantam Cabo Verde.

Design de comunicação aplicado à educação musical

Dissertação de Mestrado para obtenção do grau de Mestre em Design de Comunicação, apresentada na Universidade de Lisboa - Faculdade de Arquitectura.