Portrait of Arnold Schoenberg Portraits Men

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Exploring new and emerging models for nonlinear performative works

This dissertation seeks to define and classify potential forms of Nonlinear structure and explore the possibilities they afford for the creation of new musical works. It provides the first comprehensive framework for the discussion of Nonlinear structure in musical works and provides a detailed overview of the rise of nonlinearity in music during the 20th century. Nonlinear events are shown to emerge through significant parametrical discontinuity at the boundaries between regions of relatively strong internal cohesion. The dissertation situates Nonlinear structures in relation to linear structures and unstructured sonic phenomena and provides a means of evaluating Nonlinearity in a musical structure through the consideration of the degree to which the structure is integrated, contingent, compressible and determinate as a whole. It is proposed that Nonlinearity can be classified as a three dimensional space described by three continuums: the temporal continuum, encompassing sequential and multilinear forms of organization, the narrative continuum encompassing processual, game structure and developmental narrative forms and the referential continuum encompassing stylistic allusion, adaptation and quotation. The use of spectrograms of recorded musical works is proposed as a means of evaluating Nonlinearity in a musical work through the visual representation of parametrical divergence in pitch, duration, timbre and dynamic over time. Spectral and structural analysis of repertoire works is undertaken as part of an exploration of musical nonlinearity and the compositional and performative features that characterize it. The contribution of cultural, ideological, scientific and technological shifts to the emergence of Nonlinearity in music is discussed and a range of compositional factors that contributed to the emergence of musical Nonlinearity is examined. The evolution of notational innovations from the mobile score to the screen score is plotted and a novel framework for the discussion of these forms of musical transmission is proposed. A computer coordinated performative model is discussed, in which a computer synchronises screening of notational information, provides temporal coordination of the performers through click-tracks or similar methods and synchronises the audio processing and synthesized elements of the work. It is proposed that such a model constitutes a highly effective means of realizing complex Nonlinear structures. A creative folio comprising 29 original works that explore nonlinearity is presented, discussed and categorised utilising the proposed classifications. Spectrograms of these works are employed where appropriate to illustrate the instantiation of parametrically divergent substructures and examples of structural openness through multiple versioning.

Sobre o gozo na clínica psicanalítica com mulheres devastadas

A presente pesquisa sobre o gozo na clínica com mulheres devastadas teve como foco o lugar ocupado pelo gozo em seu aspecto mortífero, de excesso e falta de medida, que se manifesta no âmbito das parcerias amorosas. Partindo das experiências relatadas por algumas analisandas, que as descrevem como "sair do corpo", "ficar louca", "descontrolada" ou "fora de si", e das formulações psicanalíticas a respeito do gozo feminino, buscou-se discutir a questão a partir dos referenciais propostos por Freud e Lacan no que diz respeito à constituição da feminilidade e do feminino, tais como a catástrofe e a devastação na ligação com a mãe e com o parceiro, a forma erotomaníaca de amar, além das duas formas de gozo nas mulheres. Entre os temas abordados nesta dissertação destacam-se as operações da castração e do Complexo de Édipo, juntamente com o seu elemento central, o falo, que permitem trazer à discussão algumas consequências para as mulheres, sobretudo as posições implicadas, a saber: o falo e a mascarada. O conceito de gozo é examinado através de três ser mascarada articulações principais. Primeiramente, a tentativa de Freud, que parece a mais antiga na psicanálise, de circunscrever um gozo propriamente feminino, ligado à satisfação da pulsão pela via da zona vaginal; em segundo lugar, o pensamento de Lacan em Diretrizes para um congresso sobre a sexualidade feminina (1958), em que ele recupera a questão freudiana do congresso sobre a sexualidade feminina gozo feminino, e posteriormente no Seminário 7:a ética da psicanálise (1959-1960), desenvolvido durante o período de preparação para o referido congresso, no qual Lacan eleva o gozo ao estatuto de conceito. Como desdobramento, encontram-se algumas articulações clínicas acerca do gozo devastador nos relacionamentos amorosos, tomando como referência a personagem da Erwartung, op. 17 , de Arnold Schoenberg e as mulheres que encontramos no dia a dia da clínica.

VARIATION FORMS: A SURVEY THROUGH FOUR CENTURIES OF VIOLIN REPERTOIRE

Variation, or the re-working of existing musical material, has consistently attracted the attention of composers and performers throughout the history of Western music. In three recorded recitals at the University of Maryland School of Music, this dissertation project explores a diverse range of expressive possibilities for violin in seven types of variation form in Austro-German works for violin from the 17th through the 20th centuries. The first program, consisting of Baroque Period works, performed on period instrument, includes the divisions on “John come kiss me now” from The Division Violin by Thomas Baltzar (1631 – 1663), constant bass variations in Sonate Unarum Fidium by Johann Heinrich von Schmelzer (1623 – 1680), arbitrary variation in Sonata for Violin and Continuo in E Major, Op. 1, No. 12 “Roger” by George Friedrich Händel (1685 – 1759), and French Double style, melodic-outline variation in Partita for Unaccompanied Violin in B Minor by Johan Sebastian Bach (1685 – 1750). Theme and Variations, a popular Classical Period format, is represented by the Sonata for Piano and Violin in G Major K. 379 by Wolfgang Amadeus Mozart (1756 – 1791) and Sonata for Violin and Piano in A Major, Op. 47 No. 9 the “Kreutzer” by Ludwig van Beethoven (1770 – 1827). Fantasy for Piano and Violin in C Major D. 934 by Franz Schubert (1797 – 1828) represents the 19th century fantasia variation. In these pieces, the piano and violin parts are densely interwoven, having equal importance. Many 20th century composers incorporated diverse types of variations in their works and are represented in the third recital program comprising: serial variation in the Phantasy for Violin and Piano Op.47 of Arnold Schoenberg (1874 – 1951); a strict form of melodic-outline variation in Sonate für Violine allein, Op. 31, No. 2 of Paul Hindemith (1895 – 1963); ostinato variation in Johan Halvorsen’s (1864 – 1935) Passacaglia for Violin and Viola, after G. F. Handel’s Passacaglia from the Harpsichord Suite No. 7 in G Minor. Pianist Audrey Andrist, harpsichordist Sooyoung Jung, and violist Dong-Wook Kim assisted in these performances.

Polyakanthos : processos composicionais

Este trabalho investiga os processos composicionais utilizados na composição das peças Polyakanthos, para flauta/flauta piccolo, clarinete/clarinete baixo, percussão, piano, violino e violoncelo; A grande ilusão do carnaval, para cinco vozes, fagote, dois teclados eletrônicos e contrabaixo elétrico; K'uei, peça eletroacústica; e Pampa Guarany, para fagote e orquestra de cordas. A estética das peças é baseada em dualismo complementar, fazendo com que posições contrárias coexistam numa associação interdependente, nas diversas etapas do processo composicional. Os processos composicionais enfocados são o ímpeto de criação, que no contexto deste trabalho é a primeira concretização da idéia composicional; a utilização de materiais preexistentes, definidos como configurações de sons e silêncios extraídos de obras de outros compositores; o projeto da estrutura formal, contendo as intenções expressivas em comparação com o resultado final de cada peça, verificando causas e conseqüências dos ajustes feitos durante o processo composicional; definição dos materiais de alturas e ritmos, derivados dos materiais preexistentes ou criados, nos quais foram aplicadas as técnicas de transformações de Arnold Schoenberg, León Biriotti e Charles Wuorinen; e o uso de peças-solo como cantus firmus para a criação de estruturas polifônicas nos movimentos de Polyakanthos.

O expressionismo de Erwartung diante do problema do fetichismo musical

O monodrama Erwartung, de Arnold Schoenberg, foi caracterizado por um lado como síntese do expressionismo e, por outro, como uma composição não definível por meio de categorias formais. Esta convergência entre expressão e negação da forma, apontada por Carl Dahlhaus, é o ponto de partida deste texto, cujo objetivo é sustentar, mais do que uma simples convergência, uma relação determinada entre expressão e negação da forma, ou da convenção. Isto é realizado em três momentos: primeiro, desenvolve-se o conceito adorniano de fetichismo musical; segundo, aborda-se a relação entre a expressão e a convenção à luz do problema do fetichismo musical, o que permite aproximar noções como a negação da convenção, a negação romântica do objetivismo musical em prol da expressão subjetiva e a recusa de materiais fetichizados; em terceiro lugar, aborda-se Erwartung, mostrando como o problema da convenção, do objetivismo e do fetichismo não deixam de aparecer em uma peça que leva às últimas consequências a radicalização da expressão pela negação da convenção.

Arranjos de Guerra-Peixe para a orquestra da Rádio Nacional do Rio de Janeiro

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Na 1 Nachlass Max Horkheimer, 105 - Korrespondenzen u.a. mit Bertold Scheller und Alfred Schmidt (p. III 12, 175-380)

Briefwechsel zwischen Bertold Scheller und Max Horkheimer, 1955; Briefwechsel zwischen dem Diplom-Volkswirt Albert Schiefer und Max Horkheimer, 1957; Briefwechsel zwischen dem Bayerischer Schulbuch-Verlag und Max Horkheimer, 1954; Briefwechsel mit Beilagen zwischen der Deutschen Schlafwagen- und Speisewagen-Gesellschaft und Max Horkheimer, 1954; 1 Brief von Ludwig Benedict Schlesinger an Max Horkheimer, 1958; 1 Brief von dem Professor Alfred Schmidt an Max Horkheimer, 1957 und 1 Gutachten von Max Horkheimer, 1958; 1 Brief von Hermann Schweppenhäuser an Max Horkheimer, 1957; Briefwechsel zwischen W. Schmidt-Richberg und Max Horkheimer, 1957-1958; Briefwechsel zwischen Alfred Schmidweber und Max Horkheimer, 1956; 1 Brief von Katja Schmitz? an Max Horkheimer, 1955; Briefwechsel zwischen der Studentin Elsmarie Schmitz und Max Horkheimer, 1958; Briefwechsel zwischen dem Professor Günter Schmölders und Max Horkheimer, 1957-1958; 1 Brief an Diplom-Volkswirt Helmut Schneider von Max Horkheimer, 1955; Briefwechsel zwischen Marianne Schneider und Max Horkheimer, 1955-1956; Briefwechsel zwischen Georg von Schnitzler und Max Horkheimer, 1954; 1 Todenanzeige von Louis Schnürpel, 1956; Briefwechsel zwischen Roman Schnur und Max Horkheimer, 1955-1958; 1 Brief mit Anlagen an Günter P. Schölzel von Max Horkheimer, 1958; Briefwechsel zwischen Hans W. Schoenberg und Max Horkheimer, 1955; 1 Anzeige von Arnold Schoenberg, 1955; Briefwechsel zwischen der Studentin Annemarie Schöne und Max Horkheimer, 1956; Briefwechsel zwischen dem Professor Hans Joachim Schoeps und Max Horkheimer, 1955-1956; 1 Brief an den Professor Rudolf Schottlaender von Max Horkheimer, 1955; 1 Anzeige von Joachim Schroeter, 1955; Briefwechsel zwischen Karl Schück und Max Horkheimer, 1954; Briefwechsel zwischen Julia von der Schulenburg und Max Horkheimer, 1957; Briefwechsel zwischen dem Bankdirektor Felix W. Schulthess und Max Horkheimer, 1955; 1 Brief an den Privatdozent Walter Schulz von Max Horkheimer, 1954; Briefwechsel mit Beilagen zwischen dem Bürgermeister Wolfgang Schwabe und Max Horkheimer, 1954; Breifwechsel mit Beilagen zwischen Hans Schwalbach und Max Horkheimer, 1954; Briefwechsel mit Beilagen zwischen Poldi Schwalbach und Max Horkheimer, 1954; 1 Brief von Louis Daniel Schwallbach an Max Horkheimer, 1955; Briefwechsel zwischen Dorothea de Schweinitz und Max Horkheimer, 1958; 1 Aktennotiz von Hans Zulliger, 1956; Briefwechsel zwischen William Schwitzer und Max Horkheimer, 1954; Briefwechsel zwischen Karl von Stackelberg und Max Horkheimer, 1954; 1 Brief von Clemens Köttelwesch und Max Horkheimer, 1957; 1 Brief von dem Oberlandesgerichtspräsidenten Bruno Heusinger an Max Horkheimer, 1954; Briefwechsel zwischen dem Oberstadtdirektor Erich Walter Lotz und Max Horkheimer, 1953-1954; Briefwechsel zwischen der Stadtverwaltung Iserlohn und Max Horkheimer, 1954; Briefwechsel mit Beilagen zwischen dem Diplom Ingenieur und Oberbaurat Julius Schwalm und Max Horkheimer, 1954; 1 Brief an den Professor Herbert Plügge von Max Horkheimer, 1957; Briefwechsel zwischen den Professor und Oberlandesgerichtspräsidenten Curt Staffund Max Horkheimer, 1956-1957; 1 Brief von dem Professor B. M. Stanfield an Max Horkheimer, 1957; 1 Vermählungsanzeige von den Professor Dietrich Starck, 1956 und 1 Brief an den Professor Dietrich Starck von Max Horkheimer, 1958; Briefwechsel zwischen den Professor Werner Stark und Max Horkheimer, 1958; Briefwechsel mit Beilagen zwischen Rolf Stätter und Max Horkheimer, 1954; 1 Brief von Karl Staufen an Max Horkheimer, 1952; 1 Brief von Direktor Adolf Stauss an Max Horkheimer, 1954; Briefwechsel zwischen dem Bankier Alwin Steffan und Max Horkheimer, 1954-1957; 2 Briefe an den Professor Wolfgang Stegmüller von Max Horkheimer, 1957; Briefwechsel zwischen dem Professor und MinisterErwin Stein und Max Horkheimer, 1956-1957; 1 Brief an Lotte Steinberger von Max Horkheimer, 1954; 1 Brief von Ernst Steindorf an Max Horkheimer, ohne Jahr; Briefwechsel zwischen Helmut von den Steinen und Max Horkheimer, 1955 und 1 Brief an Helmut von den Steinen von Theodor W. Adorno, 1955; Briefwechsel zwischen den Professor Hans Erich Stier, 1958; Briefwechsel zwischen Elsbeth Stocker und Max Horkheimer, 1955; Briefwechsel zwischen Eric W. Stoetzner und Max Horkheimer, 1957-1958; Briefwechsel zwischen Gertrud Straulino und Max Horkheimer, 1957-1958; Briefwechsel zwischen den Professor Siegfried Strugger und Max Horkheimer, 1955; Briefwechsel mit Beilagen zwischen Willy Strzelewicz und Max Horkheimer, 1955-1957; Briefwechsel mit Beilagen zwischen der Studentenschaft der Universität Köln und Max Horkheimer, 1953;

Antinomia e expressão: Adorno ante o sismógrafo de Erwartung Op. 17 de Schoenberg

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Führer von Arnold Schönberg [s] Gurrelieder (Kleine Ausg.)

Title page on p.[15]

Jean Baptiste Francois Pompallier, Thomas Arnold and Julian Edmund Tenison Woods and their contribution to the formation and development of Catholic schooling in Australasia

Histories of Catholic education have received little attention by Church historians and are usually written by members of the Catholic clergy, with a strong emphasis placed on the spiritual and building accomplishments of the bishops. This thesis examines the provision of Catholic Education in Australasia, with a focus on the contribution of three men, Jean Baptiste Francois Pompallier, Thomas Arnold and Julian Edmund Tenison Woods. These men received support from the female religious orders in the regions where they worked, frequently with little recognition or praise by Catholic Church authorities. The tenets of their faith gave Pompallier and Woods strength and reinforced their determination to succeed. Arnold, however, possessed a strong desire to change society. All three believed in the desirability of providing Catholic schooling for the poor, with the curriculum facilitating the acquisition of socially desirable values and traits, including obedience, honesty, moral respectability and a strong adherence to Catholic religious values. The beneficiaries included society, future employers, the Church, the children and their parents. With the exception of promoting distinctly Catholic religious values, Roman Catholic schools and National schools in Australasia shared identical objectives. Historians have neglected the contributions of these men.

Portrait of Yael Arnold Portraits Women

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Portrait of Rolf Arnold Portraits Men

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