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).

Investigations of artificial sediments from two deep-sea in situ recolonization experiments deployed for one year at the central HAUSGARTEN station IV during ARK-XIX/3c

Commercial exploitation and abrupt changes of the natural conditions may have severe impacts on the Arctic deep-sea ecosystem. The present recolonisation experiment mimicked a situation after a catastrophic disturbance (e.g. by turbidites caused by destabilized continental slopes after methane hydrate decomposition) and investigated if the recolonisation of a deep-sea habitat by meiobenthic organisms is fostered by variations innutrition and/or sediment structure. Two "Sediment Tray Free Vehicles" were deployed for one year in summer 2003 at 2500 m water depth in the Arctic deep-sea in the eastern Fram Strait. The recolonisation trays were filled with different artificial and natural sediment types (glass beads, sand, sediment mixture, pure deep-sea sediment) and were enriched with various types of food (algae, yeast, fish). After one year, meiobenthos abundances and various sediment related environmental parameters were investigated. Foraminifera were generally the most successful group: they dominated all treatments and accounted for about 87% of the total meiobenthos. Colonizing meiobenthos specimens were generally smaller compared to those in the surrounding deep-sea sediment, suggesting an active recolonisation by juveniles. Although experimental treatments with fine-grained, algae-enriched sediment showed abundances closest to natural conditions, the results suggest that food availability was the main determining factor for a successful recolonisation by meiobenthos and the structure of recolonised sediments was shown to have a subordinate influence.

Morphology of Cycladophora davisiana davisiana from the Atlantic Ocean

In recent years, temporal fluctuations in the abundance of C. d. davisiana have been used frequently as a highresolution stratigraphic and paleoenvironmental tool. The modern ecology and morphologic variation (temporal and geographic) of this radiolarian species is evaluated to ascertain its potential stratigraphic and paleoenvironmental significance. Statistics were obtained on the width and height of all C. d. davisiana segments from Pleistocene populations of differing ages from the Northern Hemisphere (Labrador Sea and Iceland-Faeroe Ridge) and Southern Hemisphere (Namibian shelf and Meteor Rise). Results reveal that segment height variations between and within populations are more conservative than segment width. The mean sizes of the thorax and first abdominal segment have distinguishable differences between C. d. davisiana found in the North and South Atlantic. All populations have no significant difference in first abdominal segment width, however, mean heights of this segment differ greatly between populations of the North and South Atlantic. Second abdominal segment sizes show no clear population grouping. Size differences in post-cephalic segment size of these populations would appear to be related to some isolation of gene pools and possibly unknown paleoenvironmental factors. Temporal changes in the postcephalic size of C. d. davisiana may be used to: (1) identify temporally equivalent peaks in abundance of the species in a given region, (2) possibly evaluate the degree of mixing of water'masses between regions, and (3) trace the initial spread of the species from its area of origin. Cleve's 1887 plankton samples, between Greenland and Spitzsbergen, were studied and used in conjunction with other data to make the following conclusions on the modern ecology of C. d. davisiana in the Arctic and Greenland-Norwegian Seas. (1) It is presently absent in surface water plankton samples, (2) it currently lives at depths below 500 m, where it is rare, (3) it does not live in the upper 200 m under Arctic ice but is rare at greater depths, (4) it is absent in the upper 200 m near permanent Greenland Sea ice where normal oceanic salinity prevails, and (5) it is most common in deep marginal fjord environments which may serve as a refuge for the species during interglacial periods. In the Atlantic Ocean, the abundance of C. d. davisiana does not exceed 1% of the assemblage between the Subtropical Convergence of each hemisphere. In the Norwegian and Labrador Seas the species may occasionally be in the range of 1-5% of the modern radiolarian assemblage and never more than 5% in the southern high latitudes. Apparently only in the modern Sea of Okhotsk, does the species presently occur in high abundance. We concur with Morley and Hays (1983) that increased abundances are likely caused by the development of a strong low-salinity surface layer associated with seasonal sea ice melting and a strong temperature minimum above warmer and higher salinity intermediate waters. Similar conditions were frequent during the Pleistocene in the high latitudes and its modern scarcity outside the Sea of Okhotsk must be related to the absence of the presently unique conditions in the latter region.

La guerrière: No. 1, baryton ou mezzo-soprano

Augusta Holmès.

La guerrière: No. 2, ténor (ton original)

Augusta Holmès.

Paysages d'amour. IV. No. 2 en Sol. Parmi les meules

Augusta Holmès.

Dinoflagellate cyst counts of sediment core GIK23071-3

Marine sediments from the Vøring Plateau (Norwegian Sea) have been studied for their dinoflagellate cyst (dinocyst) and foraminiferal content in order to reconstruct sea-surface conditions in the eastern Norwegian Sea during Marine Isotope Stage (MIS) 5e. In combination with stable oxygen isotope and ice rafted detritus (IRD) data, the variations in foraminiferal and dinocyst assemblage composition reflect a stepwise transition from the final phase of deglaciation (Termination II) into typical interglacial conditions. This stepwise change is repeated subsequently during the cooling conditions of glacial inception towards MIS 5d. The interval studied is characterized by relatively high abundances of Bitectatodinium tepikiense, in comparison to present-day values in the area, indicating a larger seasonal temperature amplitude with enhanced surface water stratification during MIS 5e. The important occurrence of the warm-temperate dinocyst Spiniferites mirabilis s.l. concurrent with subpolar foraminifers Turborotalita quinqueloba, Globigerina bulloides, and Globigerinita glutinata reveals that most pronounced interglacial marine conditions prevailed in the area just prior to the transition towards MIS 5d. The late stratigraphic position of this phase in the interglacial is verified by comparison with dinocyst data from south of Iceland, manifesting its over-regional implication. Besides the good agreement in dinocyst and foraminiferal assemblage changes, the variations in and between both fossil assemblages also point to the existence of some significant surface water variability in the eastern Norwegian Sea during MIS 5e.

Performance interpretativa das sonatas nº1 em Sí emol maior e nº2 em ré maior de Felix Mendelssohn

Este texto, define o trabalho final do Mestrado em Música da Universidade de Aveiro, e é um documento de apoio ao projeto artístico. Tem por objetivo perceber a importância dos compositores, Bach, Mozart e Beethoven, sobre Felix Mendelssohn “Bartholdy”, analisando o impacto que eles tiveram sobre o curso de vida desta compositor e até a que ponto influenciaram as suas obras. Centro-me na análise das sonatas em Sí bemol Maior, e Ré Maior para violoncelo e piano, que também é apresentada neste projeto, e cuja performance constitui o repertório do recital na defesa do trabalho. Inclui ainda uma reflexão sobre a liberdade criativa no quadro da composição e da interpretação musical, articulando este conceito com os nossos limites enquanto artistas “originais”.

Motivação para a aprendizagem de ferramentas de utilização do arco

Relatório de Estágio para a obtenção do grau de Mestre em Ensino da Música

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.

Propuesta interpretativa y análisis de la obra concierto en DO Mayor de D Kavalevsky

Análisis del concierto para violín y orquesta en Do Mayor de Dimitry Kabalevsky Op.48., en el cual se ha puesto en consideración los principales aspectos analíticos dentro de la forma, armonía, estética, contexto histórico, aspectos técnicos del instrumento y sobre todo aportes personales en cuanto a la interpretación de determinados pasajes, conformando así una propuesta interpretativa de la obra. Cada uno de los parámetros antes nombrados constituyen los conocimientos fundamentales que un instrumentista requiere para la ejecución de una obra, por lo que se los ha puesto como referencia en el presente estudio.

Albert Einstein with violin, Josef Schwarz at piano, and Boris Schwarz in background; Haberlandstrasse 5, Berlin Portraits Groups; Men

Digital Image

THE PIANO MUSIC OF ROBERT SCHUMANN (1810-1856) AND JOHANNES BRAHMS (1833- 1897): A SURVEY OF CONCERTI, VARIATIONS, AND CHARACTER PIECES

Robert Schumann (1810-1856) and Johannes Brahms (1833-1897), in some ways Robert Schumann's artistic descendant, are the most important and representative German piano composers during the Romantic period. Schumann was already a mature and established musician in 1853 when he first met the young Brahms and recognized his talents, an encounter that had a long-lasting affect on the lives and careers of both men. After Schumann’s mental breakdown and death, Brahms maintained his admiration of Schumann’s music and preserved an intimate relationship with Clara Schumann. In spite of the personal and musical closeness of the two men, Schumann’s music is stylistically distinct from that of Brahms. Brahms followed traditions from Baroque and Classical music, and avoided using images and expressive titles in his music. Brahms extraordinarily intermingled earlier musical forms with multicolored tones of German Romanticism. In contrast, Schumann saw himself as a radical composer devoted to personal emotionalism and spontaneity. He favored programmatic titles for his character pieces and extra-musical references in his music. While developing their own musical styles as German Romantic composers, Schumann and Brahms both utilized the piano as a resourceful tool for self-realization and compositional development. To investigate and compare the main characteristics of Schumann and Brahms’s piano music, I looked at three genres. First, in the category of the piano concerto, I chose two major Romantic works, Schumann’s A minor concerto and Brahms’s B-flat major concerto. Second, for the category of piano variations I included two sets by Brahms because the variation framework was such an important vehicle for him to express his musical thoughts. Schumann’s unique motivic approach to variation is displayed vividly in his character-piece cycle Carnaval. Third, the category of the character piece, perhaps the favorite medium of Romantic expression at the piano, is shown by Schumann’s Papillons and Brahms’s sets of pieces Op.118 and Op.119. This performance dissertation consists of three recitals performed in the Gildenhorn Recital Hall at the University of Maryland, College Park. These recitals are documented on compact disc recordings that are housed within the University of Maryland Library System.

"Variations on Psycho Killer" - Musical Score. Commissioned by Pauline Kim Harris. A virtuosic set of variations on the famous Talking Heads song for solo violin. General information State: Unpublished Organisations: School of Creative Arts, Sonic Arts, UOA35 - Music, Drama, Dance and Performing Arts Authors: Lyon, E. Keywords: (Talking Heads, Violin Music) Publication date: 2012

Musical Score. Commissioned by Pauline Kim Harris. A virtuosic set of variations on the famous Talking Heads song for solo violin.

Cradling ashes : a surrealist opera : how music and psychology can function together to express depraved heart syndrome : for countertenor, soprano, tenor, violin, viola, horn in F, piano, and tape.

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