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.

Sonic Movie Memories: Sound, Childhood, and American Cinema

Though the trend rarely receives attention, since the 1970s many American filmmakers have been taking sound and music tropes from children’s films, television shows, and other forms of media and incorporating those sounds into films intended for adult audiences. Initially, these references might seem like regressive attempts at targeting some nostalgic desire to relive childhood. However, this dissertation asserts that these children’s sounds are instead designed to reconnect audience members with the multi-faceted fantasies and coping mechanisms that once, through children’s media, helped these audience members manage life’s anxieties. Because sound is the sense that Western audiences most associate with emotion and memory, it offers audiences immediate connection with these barely conscious longings. The first chapter turns to children’s media itself and analyzes Disney’s 1950s forays into television. The chapter argues that by selectively repurposing the gentlest sonic devices from the studio’s films, television shows like Disneyland created the studio’s signature sentimental “Disney sound.” As a result, a generation of baby boomers like Steven Spielberg comes of age and longs to recreate that comforting sound world. The second chapter thus focuses on Spielberg, who incorporates Disney music in films like Close Encounters of the Third Kind (1977). Rather than recreate Disney’s sound world, Spielberg uses this music as a springboard into a new realm I refer to as “sublime refuge” - an acoustic haven that combines overpowering sublimity and soothing comfort into one fantastical experience. The second half of the dissertation pivots into more experimental children’s cartoons like Gerald McBoing-Boing (1951) - cartoons that embrace audio-visual dissonance in ways that soothe even as they create tension through a phenomenon I call “comfortable discord.” In the final chapter, director Wes Anderson reveals that these sonic tensions have just as much appeal to adults. In films like The Royal Tenenbaums (2001), Anderson demonstrates that comfortable discord can simultaneously provide a balm for anxiety and create an open-ended space that makes empathetic connections between characters possible. The dissertation closes with a call to rethink nostalgia, not as a romanticization of the past, but rather as a reconnection with forgotten affective channels.

Sexuality in the media and emotional well-being among lesbian, gay, & bisexual adolescents

LGB teens’ feelings, desires, and physical attractions run contrary to the heteronormative standards of American society. As such, LGB youth often experience feelings of sadness and dejection that can lead to depression and suicidal tendencies (Russell & Joyner, 2001). Evaluating the factors that could possibly influence the emotional well-being of LGB youth would be an important undertaking given the hindrances LGB adolescents face during sexual socialization. The purpose of this dissertation was to study the portrayal of sexuality in media popular with LGB adolescents and to assess the relationship between media exposure and emotional well-being among LGB teens. In particular, this dissertation distinguished between mainstream media and gay- and lesbian-oriented (GLO) media. GLO media were defined as any media outlet specifically designed, produced, and marketed for gay and lesbian audiences. Two studies were conducted to serve as the initial investigation in a program of research that will be designed to better understand the role of media in the lives of LGB individuals. The first study of this dissertation was a content analysis of the television programs, films, songs, and magazines most popular with LGB teens as determined by self-reports of media consumption in a survey of media use. A total of 96 media vehicles composed the content analysis sample, including 48 television programs, 22 films, 25 musical artists, and 6 magazines. Using a coding scheme that was adapted from previous media sex research, Study 1 measured the frequency of sexual instances as well as the type, nature, and source characteristics for each sexual instance. Results of the content analysis suggest that heterosexuality reigns supreme in mainstream media. When LGB sexuality is depicted in mainstream media, it is often sanitized. LGB sexual talk is rarely sexual; rather it is primarily about the social or cultural components of being lesbian, gay, or bisexual. LGB sexual behavior is also rare in mainstream media, which tend to depict LGB individuals as non-sexually as possible. LGB sexuality in mainstream media exists, but is more about proclaiming LGB identity than actually living it. GLO media depicted LGB sexuality more frequently than mainstream media did. GLO media often depict LGB sexuality in a more realistic manner. LGB sexual talk is about LGB identity, as well as the relational and sexual aspects of being a sexual minority. LGB sexual behavior is commonplace in GLO media, depicting LGB individuals as sexual beings. LGB sexuality in GLO media is prevalent and relatively authentic. The second study was a survey that assessed the relationship between media exposure (both mainstream media and GLO media) and LGB teens’ emotional well-being, considering self-discrepancy as an important mediating variable in that relationship. Study 2 also considered age, sex, and sexual identity commitment as possible moderating variables in the relationship between media exposure and emotional well-being. In Study 2, emotional well-being was defined as lower levels of dejection-related emotions. LGB adolescents (N = 573) completed a questionnaire that was used to investigate the relationships between media exposure and emotional well-being. Results of the survey indicated that mainstream media exposure was not significantly associated with dejection-related emotions. In contrast, GLO media exposure was negatively related to feelings of dejection even when controlling for age, sex, race, perceived social support, school climate, religiosity, geographical location, sexuality of peers, and motivation for viewing LGB inclusive media content. Neither age nor sex moderated the relationships between media exposure variables and dejection, but sexual identity commitment did act as a moderator in the relationship between GLO media exposure and dejection. The negative relationship between GLO media exposure and dejection was stronger for participants lower in sexual identity commitment than for participants higher in sexual identity commitment. In addition, the magnitude of discrepancies between the actual self and the ideal self mediated the relationship between GLO media exposure and dejection for LGB adolescents low in sexual identity commitment. However, self-discrepancy did not mediate the relationship between GLO media exposure and dejection for LGB teens highly committed to their sexual identities. Results of both the content analysis and the survey are discussed in terms of implications for theory and method. Practical implications of this dissertation’s findings are also discussed, as well as directions for future research.

“FOR THE UNION MAKES US STRONG”: PROTEST MUSIC IN THE 1989−90 PITTSTON STRIKE

Music making was a common practice during the 1989−90 strike against the Pittston Coal Company, an action led by the United Mine Workers of America. The types of music made varied greatly based on the contexts in which musicians and protesters were participating. In this thesis, I discuss how performers and audiences engaged with the music of the Pittston strike, with a focus on how different participatory and presentational contexts included music with similar or the same lyrics to achieve different goals. I argue that the musicians’ understanding of the people around them as potential participants, audiences, or inherent audiences shifted their use of music as they worked to use music strategically and effectively for the strike. The musical methods and considerations of the Pittston strike protesters have had a lasting impact on more recent protest movements.

Os visitantes do parque Biológico de Gaia

Nascido em 1983, o Parque Biológico de Gaia (PBG) é das primeiras instituições de Educação Ambiental (EA) criadas em Portugal que se tem dedicado a desenvolver atividades de EA de forma articulada com as escolas ou alargadas a públicos diversificados que visitam o parque de forma autónoma. O PBG tem restaurado espaços naturais e humanizados – como as antigas quintas – promovendo a conservação da paisagem e contribuindo para assegurar o equilíbrio ecológico ao mesmo tempo que desenvolve um plano educativo constante para sensibilizar a população para os problemas ambientais e estimular comportamentos mais sustentáveis. Foi nesta instituição que realizamos o nosso estágio curricular do mestrado em Educação Ambiental da Escola Superior de Educação do Instituto Politécnico de Bragança, entre 5 de fevereiro e 18 de maio de 2016. O presente Relatório apresenta o trabalho desenvolvido, com particular destaque para os resultados da investigação sobre as práticas de Educação Ambiental concretizadas pela instituição. As técnicas utilizadas na recolha de dados foram a observação, a análise documental e o inquérito por questionário. Consideraram-se os Relatórios de Contas desde 2010 e analisou-se um questionário de satisfação aplicado pelo PBG, referente aos anos de 2012 a 2015; além disso, criou-se um questionário para conhecer as perceções dos visitantes sobre as práticas de Educação Ambiental, que foi aplicado durante visitas livres ao PBG efetuado no período de estágio. Os dados foram tratados numa perspetiva estatística descritiva, tendo os dados qualitativos sido previamente sujeitos a análise de conteúdo. Recorreu-se à utilização do software Microsoft Excel. Os resultados mostram uma opinião francamente positiva sobre o PBG por parte dos visitantes, que os quais valorizam a qualidade ambiental do Parque, as atividades para crianças e reconhecem que ganharam interesse pelo Ambiente após o contacto com o PBG. Um bom indicador dessa apreciação é que uma larga maioria de visitantes pensa voltar e aconselha a visita. Outro dado interessante obtido foi que várias respostas referem o contacto com o PBG enquanto crianças e jovens. Do ponto de vista pessoal, o estágio foi um desafio importante, permitiu-nos confrontar os conhecimentos teóricos com a realidade e adquirir uma experiência profissional relevante.

Arte, museu, educação: uma integração necessária na superação das tecnologias de controle social

This research aims to reflect on the strategies and mediation used by Oscar Niemeyer and Museum of contemporary art, in Curitiba, and Pinacoteca and Museum of modern art of São Paulo, to approximate audience of art. Recognizes that the gap between the two and that is reflected in the low visitation to art museums is the result of social control technologies historically elaborate and maintained to keep track of who has economic power over others , are people , as in the case of artistic appreciation, or countries, such as what happens with technology.It also presents some possibilities of subversion of this control , which occur especially because the human being creative and interpretive. Finally, it notes that the work carried out by the educational sectors of museums to attract different audiences is very relevant institutions and committed. With regard to teaching materials prepared and distributed to visitors, however, the need for some adjustments so that they communicate better with visitors and contribute, in fact, to deconstruct the idea of the Museum as an elite space and available only to a few privileged.

A violência no contexto escolar : percepção de professores e estudantes da rede de ensino pública e particular na cidade de Maceió

Enquadramento teórico: A realização deste trabalho surgiu da própria vivência profissional enquanto professor de Educação Física, lidando com alunos sem perspectivas de futuro, desmotivados, de comportamento agressivo, e com alto grau de indisciplina, caracterizando um perfil violento. A escola atualmente aparece como palco de tensões e a preocupação é evidente já que a escola deve ser um local onde as relações do dia-a-dia traduzem respeito, harmonia, socialização e aquisição de normas e valores, onde os alunos constroem a sua personalidade e uma identidade. Objetivos: Analisar os tipos e frequência da violência no contexto escolar de escolas da rede pública e particular de ensino na cidade de Maceió; Analizar os factores geradores da violência e projetos minimizadores da mesma. Metodologia: Estudo descritivo, exploratório de natureza quantitativa, com 200 professores e 800 alunos de 6 escolas da Rede Pública e Particular de Ensino de Maceió-AL. Resultados: Predomínio de estudantes do sexo feminino, sendo 71,2% na escola pública e 58,% na escola particular, na faixa etária entre os 15-18 anos (65.5%) . Os professores foram de 65% do sexo feminino e 35% do sexo masculino na rede Publica e 45% e 55% na rede Particular, com idades entre os 20 e 60 anos, tendo sido 78% admitidos através de concurso público, com estabilidade vínculo efetivo nesta rede de ensino. Todos os professores da Rede Particular de Ensino atuam sob o regime de contrato com carteira assinada, seguindo a CLT (Consolidação das Leis do Trabalho). Forte predominância da violência verbal em ambos os tipos de instituições e em ambos os sexos e que se somadas perfazem um total superior a 75%. O sumatório de estudantes que em algum momento sofreu violência, nas duas escolas é de 11.4%. De realçar que 39,2% e 28% dos estudantes da escola pública e particular respectivamente informarem que ninguém o ajudou nestas situações. Na escola Publica os fatores mais relatados como geradores de violência foram: Uso de drogas com 14%, as famílias desestruturadas com 14% e a falta de educação doméstica com 13%. Na rede particular 45 % dos professores referem a desestruturação familiar e 35% a práticas de Bullying. Quando questionados sobre o sentimento de segurança na rede publica apenas 8% se sente seguro. Na rede particular, 65% afirmaram sentir-se seguros. Conclusões: A violência ocorre em ambas as escolas da rede pública ou particular, com menor proporção nas escolas da rede particular, tendo em vista que os projetos desenvolvidos, a estrutura física, e recursos humanos, estão presentes a contento. Ambos os públicos estudantis, convivem e se relacionam nesse mesmo cenário social extraescolar, e que carece ser ocupado em termos de políticas públicas que agreguem valor na formação desse jovem. Palavras-chave: violência, escola, juventude, família, políticas públicas.

Communication of reproductive health information to the rural girl child in Filabusi, Zimbabwe.

Background: Despite a number of programs aimed at the transfer of reproductive health information, adolescents in Zimbabwe still face unprecedented reproductive challenges. Objectives: The study sought to explore adolescent girls’ knowledge of their sexual and reproductive health; the factors that influence their sexual behaviors and to determine the extent to which adolescents had access to sexual and reproductive health information. Methods: The case study methodology was used for the study. The interpretive paradigm was used as the methodological theory and Grunig’s model of excellence in communication was used as the substantive theory. Data was obtained through the use of focus group discussions and indepth interviews. Results: Although adolescents knew the different types of sexually transmitted diseases and were aware of the consequences of engaging in risky sexual behaviors, they engaged in health behaviors which had potential for serious consequences. The study established that adolescents did not have adequate access to sexual and reproductive health information. Sexual issues were not adequately addressed both at school and at home. Conclusion: Adolescents lack adequate access to reproductive health information and there is need for effective communication programs that contribute towards the understanding of communicated messages by audiences and the understanding of audiences by communicators.

Screening Diversity: Women & Work in Twenty-First-Century Popular Culture

Screening Diversity: Women and Work in Twenty-first Century Popular Culture explores contemporary representations of diverse professional women on screen. Audiences are offered successful women with limited concerns for feminism, anti-racism, or economic justice. I introduce the term viewsers to describe a group of movie and television viewers in the context of the online review platform Internet Movie Database (IMDb) and the social media platforms Twitter and Facebook. Screening Diversity follows their engagement in a representative sample of professional women on film and television produced between 2007 and 2015. The sample includes the television shows, Scandal, Homeland, VEEP, Parks and Recreation, and The Good Wife, as well as the movies, Zero Dark Thirty, The Proposal, The Heat, The Other Woman, I Don’t Know How She Does It, and Temptation. Viewsers appreciated female characters like Olivia (Scandal), and Maya (Zero Dark Thiry) who treated their work as a quasi-religious moral imperative. Producers and viewsers shared the belief that unlimited time commitment and personal identification were vital components of professionalism. However, powerful women, like The Proposal’s Margaret and VEEP’s Selina, were often called bitches. Some viewsers embraced bitch-positive politics in recognition of the struggles of women in power. Women’s disproportionate responsibility for reproductive labor, often compromises their ability to live up to moral standards of work. Unlike producers, viewsers celebrated and valued that labor. However, texts that included serious consideration of women as workers were frequently labelled chick flicks or soap operas. The label suggested that women’s labor issues were not important enough that they could be a topic of quality television or prestigious film, which bolstered the idea that workplace equality for women is not a problem in which the general public is implicated. Emerging discussions of racial injustice on television offered hope that these formations are beginning to shift.

El uso de la documentación audiovisual en los programas informativos diarios de televisión

[SPA] El objetivo de la investigación es conocer cual es la aportación cuantitativa y cualitativa de la documentación audiovisual en la información que ofrece diariamente la televisión. El marco temporal de la investigación de campo se sitúa en los años 1993 y 1994, en un marco geográfico constituido por los canales que emiten en el estado español. El estudio parte de una aproximación teórica a la documentación periodística, a la documentación audiovisual y a los estudios sobre la comunicación de masas, y lleva a cabo una investigación de campo en tres áreas: 1) Análisis de programas informativos diarios de seis cadenas de televisión (ETB, TVE, Canal Sur, TV3, Antena 3 y Canal+), a través de tres muestras independientes. 2) Análisis de las peticiones de documentación audiovisual realizadas desde las redacciones de programas informativos a los servicios de documentación. 3) Estudio de las funciones, tareas, estructura y organización de los servicios de documentación de televisión, basado en encuestas, visitas y entrevistas. En anexo se ofrece el análisis detallado de 620 noticias, así como la información de los centros de documentación. La investigación concluye afirmando que la documentación audiovisual es uno de los elementos constitutivos de la información de actualidad, tanto por su presencia cuantitativa (más de un 40% de las noticias emitidas la emplean), como por su aportación cualitativa y su utilización generalizada en todas las secciones informativas. Las conclusiones señalan que la importancia de las noticias incide positivamente en el empleo de documentación audiovisual, sintetizan las funciones de esta documentación y las características específicas de su uso. Confirman el carácter de retroalimentación de la documentación informativa en televisión. Señalan un empleo de esta documentación como documentación puramente visual. Y afirman que la documentación audiovisual, además de contribuir en la producción, coadyuva a la calidad de los programas informativos, en la medida en que facilita la tarea de ofrecer una información más completa y contextualizada.

Formulação do quadro estratégico e plano de marketing da Fundação Rebikoff-Niggeler

Mestrado em Marketing

A importância do programa revitalização e dinamização do centro cultural

Dissertação para obtenção do grau de Mestre em Arquitectura com Especialização em Arquitectura de Interiores, apresentada na Universidade de Lisboa - Faculdade de Arquitectura.

El conflicto interior en la construcción de personajes de comedia. Tratamiento en la obra audiovisual titulada Medicina

La comedia nació como forma de expresión dramática donde lo innombrable o prohibido, podía ser expuesto de manera más agradable para el público. Moliere, uno de los grandes comediantes de la historia, criticaba a las monarquías del pueblo francés de manera directa y controversial. Su obra, patrimonio histórico de Francia, fue apreciada entre los altos estratos sociales. En la actualidad, la comedia en el cine trabaja mayormente con mofas y usa temáticas estereotípicas para facilitar la identificación del público con los personajes, sin ser necesariamente adecuado. La comedia es utilizada como principal género cinematográfico comercial, siguiendo la fórmula de Hollywood para el entretenimiento masivo. También existen comediantes, como Woody Allen, que hacen uso del género a manera de terapia para el autodescubrimiento y catarsis de conflictos que los agobian como personas y artistas. El interés por desarrollar esta tesis nace cuando su autor termina la filmación del cortometraje promocional para su proyecto de serie de televisión: Medicina. En tono de comedia. En este proyecto, los personajes protagonista y coprotagonista funcionan como una misma fuerza en función de alcanzar un objetivo; sin embargo, sucede que el segundo existe en función del conflicto del primero, lo que abre las puertas para desarrollar un trabajo dramatúrgico complejo que exige un análisis teórico amplio. Esta tesis tiene como fin aportar al entendimiento de los códigos que hacen de la comedia un género complejo y expresivo. Estos conocimientos serán aplicados en el guión del episodio piloto de Medicina.

Adapting Victorian Gypsies for the Screen: Ethnicity, Otherness and (In)visibility in Neo-Victorian Popular Film

This paper aims at analysing the presence of gypsy characters in two neo-Victorian popular films, namely Joe Johnston’s The Wolfman (2010) and Guy Ritchie’s Sherlock Holmes: Game of Shadows (2011). The cultural construction of nineteenth-century gypsies, those “Others within Europe” (Boyarin 433) whose presence in Victorian fiction was peripheral, spectral and at times invisible (Nord 3-4), is simultaneously exploited and contested by these two neo-Victorian screen narratives to raise issues of otherness and invisibility on the screen. Setting off from the premise that screen texts, just like print texts, can also be participant in the neo-Victorian project of reimagining the underside of Victorian culture for contemporary audiences (Whelehan 273), this paper traces how the adaptation of Victorian gypsies for the screen, true to the palimpsestuous potential inherent to the process of adaptation (Hutcheon 6) and sharing the double drive between past and present which characterises the neo-Victorian genre (Arias and Pulham xiii; Shiller 539), hybridises our cultural memory of the Victorian Age on the screen while concurrently raises concerns over the persistent liminal status of gypsies in contemporary European culture. In particular, this paper illustrates how the tropes prototypically associated to gypsies (namely their nomadic lifestyle, mysticism, alienated existence or their perceived association to criminality) which can be traced back to Victorian culture are deployed on the neo-Victorian popular screen (with varyingly succesful outcomes) to comment on their (in)visibility in the European popular imagination.

El papel de las redes sociales en la estrategia de Marketing

El siguiente TFG es un análisis del uso de las redes sociales en la estrategia de comunicación de las empresas. El interés surge en la medida en que las redes sociales constituyen en la actualidad un instrumento de conexión con los diferentes públicos que está creciendo de manera significativa. Las empresas tienen a su alcance, por tanto, una vía excelente para desarrollar marcas, interacciones y conversación, pero es necesario entender las reglas del juego de este nuevo contexto. Por ello, primero hemos estudiado cómo ha evolucionado el marketing en los entornos digitalizados, desde el marketing 1.0 hasta el marketing 3.0, así como las herramientas que utilizamos y cómo se mide y se posiciona en el marketing digital. En este contexto, nos hemos centrado en las redes sociales, analizando su historia, cómo han evolucionado a lo largo de los años, qué tipos de redes sociales hay, cuáles son las más utilizadas, los nuevos perfiles profesionales que han surgido a través de las redes sociales, y qué riesgos implican las redes sociales en la gestión empresarial. Finalmente, y con el fin de valorar en un caso práctico real lo estudiado desde la perspectiva teórica, hemos realizado un análisis comparado del uso de redes sociales en la empresa en la que he estado realizando prácticas los pasados cinco meses en relación con su competencia, esto es, empresas del sector de la impresión digital textil por sublimación.