Un répertoire de musique brésilienne adapté à l’enseignement collectif du trombone

Cette thèse, complémentaire à deux récitals donnés dans le cadre de la réalisation d’un doctorat en études pédagogiques et pratiques musicales instrumentales, a comme fil conducteur l’enseignement collectif du trombone au Brésil et examine le trombone sous trois angles : historique, pédagogique et dans une perspective d’interprétation musicale. Bien que le sujet ne soit pas nouveau, le projet présente une réflexion, sur le trombone et son enseignement, encore inexplorée en raison principalement du répertoire sélectionné pour la présente étude. En effet, à notre connaissance, le répertoire populaire brésilien n’a jusqu’à maintenant pas fait l’objet d’arrangements musicaux écrits, en vue d’une exploitation non seulement en contexte de représentation publique, mais aussi avec des visées pédagogiques. Les morceaux choisis ont été retenus en raison de leur contenu, qui présente un vocabulaire musical lié à la culture régionale de quatre des cinq régions géographiques du Brésil. Dans le processus de réalisation du projet, les morceaux choisis ont fait l’objet d’arrangements dans la perspective qu’ils servent comme outil pédagogique pour la formation en trombone, en contexte de musique brésilienne. Les arrangements ont été conçus pour des ensembles réduits, où le trombone tient fréquemment le rôle de soliste. Ainsi, au-delà des concepts et techniques issus de la formation traditionnelle reçue, l’interprétation des arrangements a été une occasion pour le doctorant et soliste de présenter, à travers l’improvisation dans le langage de la musique populaire brésilienne, les résultats de processus développés au cours des deux dernières années. Les partitions sont annexées au texte de la thèse, afin d’illustrer certains propos et avec l’objectif de soutenir les recherches futures dans ce domaine. La thèse est divisée en quatre chapitres lesquels, bien que présentés séparément, possèdent entre eux d’étroites relations. Le premier chapitre donne un aperçu général de l’histoire de l’instrument, à travers les cinq siècles de son existence. Le deuxième chapitre s’articule autour de l’histoire de la musique brésilienne et de la présence du trombone au Brésil. Le troisième chapitre présente d’abord un aperçu de l’enseignement artistique et musical au Brésil au 20e et 21e siècle, poursuit en abordant la situation de l’enseignement du trombone au Brésil et aboutit à une proposition favorisant l’apprentissage du trombone en contexte d’enseignement musical collectif. Finalement, le quatrième chapitre fait un retour sur l’expérience musicale vécue dans le premier volet du projet, celui se rapportant à la pratique musicale instrumentale, établit des liens et trace des pistes dans une perspective d’enseignement et d’apprentissage du trombone.

Diario, pour piano seul, de Heber Schuenemann - du déchiffrage de l'oeuvre à son interprétation: démarche et réflexions d'une pianiste

Cette thèse porte sur la recherche-création ayant menée à l’apprentissage et l’exécution publique de Diário, œuvre pour piano du compositeur brésilien Heber Schuenemann (né en 1971). Dans ce cycle, qui comprend 23 courtes pièces, le compositeur explore la notion de « hasard », propre à la musique aléatoire. Il utilise également des techniques de composition s’apparentant au sérialisme et au minimalisme. Après avoir présenté les principales caractéristiques des courants musicaux propres à l’œuvre, la chercheuse-pianiste procède à une analyse de l’œuvre, décrivant la structure et les techniques de composition de chaque pièce. Par la suite, elle décrit sa propre démarche d’interprète – du déchiffrage de l’œuvre à sa prestation publique et à son enregistrement en studio – et elle commente son expérience à la lumière de la littérature pertinente. Sont abordées, notamment, les difficultés inhérentes au déchiffrage d’une œuvre atonale et les diverses étapes menant à l’identification de ses éléments structuraux; les difficultés relatives à la technique pianistique; l’importance du regroupement d’unités et de l’acquisition d’automatismes corporels; la définition de l’image artistique. Des pistes pédagogiques favorisant l’enseignement et l’apprentissage de l’œuvre sont également présentées.

"Le serment de Procné" (Jean Geschwin, 1962): una alegoría dramática de los horrores de la guerra

Análisis de la tragedia legendaria en tres actos publicada en 1962 por el dramaturgo francés Jean Geschwin, en la que, a partir de una original recreación del mito de Progne y Filomela, se expresa la preocupación y el desasosiego provocados por las dos décadas de sangrientos conflictos bélicos casi ininterrumpidos que estaban desgarrando a Francia.

Saraswati Sings: The Slide-Guitar in India

Thesis (Ph.D.)--University of Washington, 2016-08

Theatrical Latency: Walking Katrina Palmer’s The Loss Adjusters

In this article I introduce the term ‘theatrical latency’ as a pleasurable effect experienced when listening to sound in relation to visual perception. Latency refers to both the phenomena of audio delay (in feedback from analogue to digital conversion and the momentary lapses experienced when playing live with recorded music) and a theatrical sensation that comes from the reanimation of visual environments through aural framing. In this configuration, the notion of latency takes on a double meaning as both a recorded phenomenon and the retrieval of something dormant within physical objects, sites or materials. These ideas will be introduced through my experience of walking Katrina Palmer’s site-specific audio work The Loss Adjusters (2015) on the island of Portland (UK). The audio tracks create an extended meditation on Portland, interweaving specific locations and histories with fictional characters and ghosts of the island.

Os forrós da Serra da Gameleira (São Tomé/RN) : etnicidade, festa e sociabilidade

This work intends to describe and analyze the parties of forró that happen in Serra da Gameleira, in São Tomé/RN. Serra is a divided social space: groups of different ethnic origins live together in Gameleira de Baixo, Salgadinho (or Gameleira de Cima) and Chaves Belas. They are approximately two hundred families that live exclusively from agriculture. We try to understand how the parties inform about the social organization, the ethnic composition of the families that live there and the past of Serra, through the genealogy offorró players. In the discussion, we identify the festive places: in the total, we have Five houses of forró that function regularly one of them has been described. The private and public spaces inside them are intimate related, with no clear limits between the house of forró and the residence. Each house of forró has an owner, that regularly makes the parties, mobilizing a big part of the inhabitants, and provoking the straitening of the social relations. Observing the festive sociability between different social segments, the forró appears like na element that minimizes social conflicts, providing news ways of association and cooperation in the space of Serra da Gameleira. For the collection of facts, we used the ethnographic method, through the direct observation, interviewing and documentary research. The local history is recounted following the routes of oral memory and historical documents analysis. In the end of the analysis, we concluded that music and party are elements that aggregate the different groups that live in the location and determine forms of expression of what is seen as a traditional culture

Mobilidade urbana sustentável em projetos estruturantes: analise urbanística e ambiental do corredor de transporte da Avenida Bernardo Vieira Natal/RN

The search for a sustainable urban mobility, has recast the public policy of transport and movement for all, in order to contribute to the welfare economic, social and environmental. Within this context, has as its main objective review here in the city of Natal in the state of Rio Grande Norte, the deployment of the new road infrastructure of the transport corridor of Bernardo Vieira Avenue and checking at least with regard to urban areas and environmental chosen here, as will indicators to assess sustainable urban mobility, that the theory has been well constructed, but in practice little way to apply the proposed guidelines for sustainability. To achieve this result, is initially a literature review with the principal investigators of the matter, since the concepts of indicators of sustainable urban mobility. And a second time, participating in to the case study, using the methodology of environmental awareness, through analysis photographs, notes and testimony in the study area ace to reach conclusions

Arquitetura e dança: uma práxis criativa no âmbito da disciplina Formação em Contexto de Trabalho do 1º ano do curso de Intérprete de Dança Contemporânea do Balleteatro Escola Profissional

Relatório Final de Estágio apresentado à Escola Superior de Dança, com vista à obtenção do grau de Mestre em Ensino de Dança.

Estrategia comunicativa que utiliza Revista VistalSur para promocionar el Corredor Turístico Santa Bárbara

En el presente trabajo se evidencia la estrategia de Revista VistalSUR para promocionar el Corredor Turístico Santa Bárbara, en la Región Sur y en las principales ciudades del Ecuador. Desde septiembre del 2010 hasta julio del 2013 se han elaborado seis reportajes: Las toquilleras crean arte con sus manos, en los cantones azuayos de Chordeleg y Sígsig. Desfiles y Disfraces por San Chavita, Sígsíg. Carnaval: explosión de música y color, en el Corredor turísticos Santa Bárbara. Macanas, un ancestral arte textil en Gualaceo. Tres Lagunas: el corazón verde de Chordeleg. Paja toquilla, con las raíces de una mágica tradición, en Gualaceo, Chordeleg y Sígsig. Entre todos los reportajes suman 28,5 páginas de contenido. Estos trabajos se han impreso en 52.000 ejemplares que han sido distribuidos en la Región Sur, en las zonas turísticas de Guayaquil y Quito, y en las principales ferias de turismo del Ecuador y de los países vecinos de Colombia y Perú.

Dancing the Archive: Rhythms of Change in Post-Volcano Identities on Montserrat, West Indies

In this dissertation, I demonstrate how improvisations within the structures of performance during Montserrat’s annual festivals produce “rhythms of change” that contribute to the formation of cultural identities. Montserrat is a small island of 39.5 square miles in the Caribbean’s Leeward Islands, and a volcanic disaster in the 1990s led to the loss of villages, homes, and material possessions. The crisis resulted in mass displacement and emigration, and today’s remaining population of 5,000 is now in a stage of post-volcano redevelopment. The reliability of written archives for establishing cultural knowledge is tenuous, and the community is faced with re-energizing cherished cultural traditions. This ethnographic research traces my embodied search for Montserrat’s history through an archive that is itself intangible and performative. Festivals produce some of the island’s most visible and culturally political events, and music and dance performances prompt on- and off-stage discussions about the island’s multifaceted heritage. The festival cycle provides the structure for ongoing renegotiations of what it means to be “Montserratian.” I focus especially on the island’s often-discussed and debated “triangular” heritage of Irishness, Africanness, and Montserratianness as it is performed during the festivals. Through my meanderings along the winding hilly roads of Montserrat, I explored reconfigurations of cultural memory through the island’s masquerade dance tradition and other festival celebrations. In this work, I introduce a “Cast of Characters,” each of whose scholarly, artistic, and public service work on Montserrat contributes to the shape and transformation of the island’s post-volcano cultural identities today. This dissertation is about the kinesthetic transmission of shared (and sometimes unshared) cultural knowledge, the substance of which echoes in the rhythms of Montserrat’s music and dance practices today.

O Sangyo em Dolls: um encontro do Bunraku com Takeshi Kitano

This work aims to investigate the relationship between the Bunraku theater and the film Dolls (2002), by the Japanese director Takeshi Kitano. To do so, it was initially done a theoretical study of this theater, detailing its key elements, and thus allowing a direct analysis of the film to be made. The main objective here was to reveal the film‟s connections with the Bunraku. The Sangyo refers to the simultaneous presence of three arts in the Bunraku theater: the narrative, the music and the manipulation of puppets. In Dolls, the director Takeshi Kitano presents a narrative through three different stories, all built with references to the Bunraku. As in the theater the three distinct arts harmonize on stage, in Dolls three separate stories will perform in harmony within the film. By confronting the Bunraku Theater with the film Dolls, the intention is to establish the connections between the scenic language of the Bunraku, the dramaturgy of Chikamatsu and also the cinema of Kitano. These connections allow to the understanding of how characteristics of a secular art, governed by strong rules and conventions, can be presented again through another language: the cinematic language and its particular set of codes and conventions

Obrazy muzyki w twórczości Janiny Kraupe-Świderskiej

Filologii Polskiej i Klasycznej: Zakład Dydaktyki Literatury i Języka Polskiego

Muzyka i muzyczność prozy japońskiej okresu Heian (794-1192)

Wydział Neofilologii: Katedra Orientalistyki

Canções de fogo: a apreensão de saberes através da performance da escuta no contexto da União do Vegetal

O ritual onde se utiliza a cocção conhecida por ayahuasca vem sendo ressignificado em contextos urbanos há mais de oito décadas, sobretudo após sua expansão iniciada pelos movimentos organizados. Essa experiência derivante dos povos da floresta amazônica, vem ultrapassando tanto fronteiras geográficas como culturais, sendo constantemente reinventada por diferentes agentes. Contemporaneamente, o fenômeno abarca indivíduos provenientes de várias partes do mundo incorporando legados doutrinários de mestres originários da América Latina. A linha doutrinária conhecida por União do Vegetal - UDV, na qual este trabalho se centra, vem ganhando espaço entre os circuitos europeus neo esotéricos. Atualmente o ritual é vivenciado por mais de 18 mil pessoas espalhadas pelo globo e tem como característica, após a ingestão da cocção, a utilização da música como uma das ferramentas mediadoras para a apreensão dos princípios doutrinários. Usualmente os mestres da UDV têm como característica a utilização de fonogramas de variadas categorias musicais que adquirem uma dimensão simbólica e funcional no momento do ritual. A comunidade estabelecida em Portugal - foco desta tese – e as comunidades digitais Musincante e Músicas do Alto, permitiram-me perceber, através do trabalho de campo e de observação participante, elementos constitutivos que abrangem toda a comunidade da UDV. O enfoque parte da perspectiva de observar essa doutrina como um lugar de conhecimento sistematizado e formal. No sentido de compreender os processos de construção desse saber, foi verificado o protagonismo do ato da escuta como elemento central para a apreensão da doutrina. Neste sentido, esta tese adota o conceito de performance da escuta como meio de explorar as formas como o indivíduo e o coletivo absorvem um saber doutrinário a partir da música e de como esta assume o papel de mediadora dos saberes transmitidos no contexto da UDV e de manutenção deste conhecimento num contexto extra ritual.

The role of musical aptitude in the pronunciation of English vowels among Polish learners of English

It has long been held that people who have musical training or talent acquire L2 pronunciation more successfully than those that do not. Indeed, there have been empirical studies to support this hypothesis (Pastuszek-Lipińska 2003, Fonseca-Mora et al. 2011, Zatorre and Baum 2012). However, in many of such studies, musical abilities in subjects were mostly verified through questionnaires rather than tested in a reliable, empirical manner. Therefore, we run three different musical hearing tests, i.e. pitch perception test, musical memory test, and rhythm perception test (Mandell 2009) to measure the actual musical aptitude in our subjects. The main research question is whether a better musical ear correlates with a higher rate of acquisition of English vowels in Polish EFL learners. Our group consists of 40 Polish university students studying English as their major who learn the British pronunciation model during an intense pronunciation course. 10 male and 30 female subjects with mean age of 20.1 were recorded in a recording studio. The procedure comprised spontaneous conversations, reading passages and reading words in isolation. Vowel measurements were conducted in Praat in all three speech styles and several consonantal contexts. The assumption was that participants who performed better in musical tests would produce vowels that are closer to the Southern British English model. We plotted them onto vowel charts and calculated the Euclidean distances. Preliminary results show that there is potential correlation between specific aspects of musical hearing and different elements of pronunciation. The study is a longitudinal project and will encompass two more years, during which we will repeat the recording procedure twice to measure the participants’ progress in mastering the English pronunciation and comparing it with their musical aptitude.