Leonel Duarte Ferreira (1894-1959) : vida e obra musical

Tese apresentada para o cumprimento dos requisitos necessários à obtenção do grau de Doutor no ramo de Ciências Musicais

Work satisfaction and affective commitment of classical musicians: The European Union Youth Orchestra

This work project investigates career paths in the music field, by testing the application of general career and social theories for musicians. Using a sample from the European Union Youth Orchestra’ Alumni, the Boundaryless Career Theory, Intelligent Career Framework and Social Identity Theory were analysed through the impact on individual outcomes - musicians’ Overall work satisfaction and Affective commitment to the orchestra. Results suggest support for the three theories, and show their applicability for classical musicians’ careers.

The economics of Vieira da Silva

This paper investigates the time valuation and the age valuation profile of art-works created by the Portuguese female painter Maria Helena Vieira da Silva. It uses data from records from her paintings auction sales between 1986 and 2014, taken from Artprice.com. The study explores three aspects regarding her artistic career: (1) estimation of Age-valuation profile, defining her creativity pattern and the age at which she produced her most valuable paintings; (2) estimation of time valuation profile, through a creation of an individual hedonic price index for Vieira da Silva; (3) internationalization phenomenon of the artist, investigating whether selling prices are primarily set in euros or in US dollar. The results suggest that Vieira da Silva peaked quite early in her career; her paintings prices are not very sensible to economic cycles and tends to slightly increase afterlife; the empirical results are not suggestive on which currency is the best predictor of her paintings’ price.

Una pintura d'Antoni Viladomat i Manalt (1678-1755) a Manresa : l'Assumpta de Santa Maria de l'Alba

This painting with an exceptional iconography of the Assumption of the Virgin with All the Saints, was saved from a altarpiece in the church of Santa Maria de l'Alba in Manresa, which was burnt during the Spanish Civil War. The article attributes this painting to Antoni Viladomat i Manalt (1678-1755), one of the most relevant figures in the Catalan artistic scene in the 18th century, and it dates it to the latter years of his extensive artistic career. An analysis of the work shows that the Catalan painter incorporated some figurative elements that he borrowed from an engraving of the Swiss engraver, Jakob Frey (1681-1752), interpreted from a canvas of the Italian painter Sebastiano Conca (1680-1764). This helps to relate the canvas of the Barcelona painter-based on his previous figurative work with high Roman baroque- to the new proposals of the so-called Roman barrochetto. In addition the study hopes to offer the reader an artistically cultural view of Antoni Viladomat, openly concerned by the novelties that constantly reached Catalonia by means of the engravings

Descobrim els clarinetistes de Barcelona : de la segona meitat del segle XIX fins la Guerra Civil

La finalitat d’aquest Projecte Fi de Grau és descobrir els clarinetistes que hi havia a Barcelona des de la segona meitat del segle XIX fins a la Guerra Civil, tant a nivell d’intèrprets com a nivell de professors. A més, ens hem proposat conèixer en quines institucions educatives aquests professors impartien les seves classes, com l’Escola Municipal de Música de Barcelona o el Conservatori del Liceu. Això ens ha portat, també, a identificar en quines agrupacions musicals desenvolupaven la seva carrera —com l’Orquestra Pau Casals, la Banda Municipal de Barcelona, l’Orquestra del Liceu o diferents orquestres de ball en les quals oferien concerts populars al llarg del territori. La metodologia utilitzada ha estat l'extracció i l’anàlisi de ressenyes hemerogràfiques i la recerca específica sobre la carrera artística del clarinetista que possiblement va realitzar a nivell estatal els primers enregistraments per a aquest instrument: en Josep Nori.

L'Académie Julian et ses élèves canadiens : Paris, 1880-1900

Thèse dirigée sous la direction conjointe de Lise Lamarche et Jean Trudel.

The Aesthetics of Madame de Staël and Mary Shelley

L’esthétique de Madame de Staël and Mary Shelley discute l’art de l’improvisation et le concept de l’enthousiasme dans les écrits de ces deux auteurs. Dans ce projet, j’explore l’esthétique d’improvisation et d’enthousiasme de Madame de Staël dans Corinne, en me référant à son autre roman Delphine, à sa pièce de théâtre Sapho, et à ses nouvelles ainsi qu’à ses textes philosophiques comme De l’Allemagne, De l’influence des passions, et De la littérature. J’argumente que Madame de Staël représente à travers le caractère de Corinne une esthétique anti-utilitaire. J’explique qu’elle évoque des valeurs cosmopolites qui valorisent une culture indigène qui est en opposition avec l’impérialisme de Napoléon. De plus, j’examine comment les improvisations de Corinne dérivent d’un enthousiasme qui est associé à la définition que Platon offre du terme. Ceci est évident par la signification que Madame de Staël présente du terme dans De L’Allemagne. J’interprète la maladie de Corinne comme étant d’origine psychosomatique qui est manifesté par la perte de son génie et par un suicide lent qui est une expression de colère contre la patriarchie. Le caractère de Corinne permet à Madame de Staël d’explorer le conflit que les femmes artistes éprouvaient entre ayant une carrière artistique et adhérant à l’idéologie domestique. Chapitre deux se concentre sur l’intérêt que Shelley démontre sur l’art de l’improvisation comme elle l’exprime dans ses lettres à propos de l’improvisateur Tommaso Sgricci. Malgré sa fascination avec la poésie extemporanée, Shelley regrette que cette forme d’art soit évanescente. Aussi, j’examine son enthousiasme pour un autre artiste, Nicolò Paganini. Son enchantement avec se violoniste virtuose est lié à des discours concernant le talent surnaturel des improvisateurs. J’argumente qu’il y a un continuum d’improvisation entre les balades orales du peuple et les improvisations de culture sophistiqué des improvisateurs de haute société. J’estime que les Shelleys collaboraient à définir une théorie d’inspiration à travers leurs intérêts pour l’art de l’improvisation. Chapitre trois considère le lien entre cosmologie et esthétique d’inspiration à travers la fonction de la musique, spécialement La Création de Joseph Haydn, dans The Last Man de Shelley. J’examine la représentation du sublime des Alpes dans le roman à travers de discours qui associent les Alpes avec les forces primordiales de la création. Les rôles de la Nécessité, Prophétie, et du Temps peuvent être compris en considérant la musique des sphères. Chapitre quatre explore les différentes définitions de terme enthousiasme dans les écrits de Shelley, particulièrement Valperga et The Last Man. Je discute l’opinion de Shelley sur Madame de Staël comme suggéré dans Lives. J’analyse les caractères qui ressemblent à Corinne dans les écrits de Shelley. De plus, je considère les sens multiples du mot enthousiasme en relation avec la Guerre civil d’Angleterre et la Révolution française. Je présente comment le terme enthousiasme était lié au cours du dix-septième siècle avec des discours médicales concernant la mélancolie et comment ceci est reflété dans les caractères de Shelley.

L'autoportrait de Paul-Émile Borduas : mutation des statuts professionnels et intime de l'artiste

L’autoportrait de Paul-Émile Borduas, unique expérience de ce genre artistique dans sa carrière, s’avère représenter une étape charnière dans sa construction personnelle et artistique. Notre étude s’amorce par la description formelle du tableau, l’identification du processus de création, l’analyse du problème de datation et la réflexion sur les influences et assimilations stylistiques. Les nombreux indices détectés sont exploités pour mettre en évidence la mutation des statuts intime et professionnel. À partir d’une introspection et d’un itinéraire spirituel, Borduas tente d’extérioriser sur la toile la complexité de sa personnalité et sa quête d’identité. Le tableau est révélateur de l’établissement d’un Moi accompagné d’un code d’expression personnel du peintre. Par ailleurs, il s’inscrit au démarrage d’une œuvre qui va participer à l’émergence progressive de la modernité artistique et sociale du Québec à partir des années 1930. L’artiste semble affirmer son statut professionnel en développant des stratégies qui allient, d’une part, tradition et modernité, et, d’autre part, incertitudes et volonté d’émancipation. En choisissant de se représenter lui-même dans son propre langage pictural et son code d’expression personnel, Borduas pose les jalons de son identité et s’impose comme artiste-peintre dans une société québécoise en voie de modernisation.

A estética do desamparo: imagens e narrativas a contrapelo da História

Pós-graduação em Educação - IBRC

Do iê-iê-iê ao êê-boi: Sérgio Reis e a modernização da música sertaneja (1967-1982)

Pós-graduação em História - FCHS

La carriera degli attori italiani di prosa dalla scena allo schermo (1909-1916)

Most actors of the Italian silent cinema in the early 1910s have a theatrical training. Some of them are already asserted or famous actors (like Cesare Dondini, Ermete Novelli, Ermete Zacconi, Giovanni Grasso) who are invited “to pose” for the cinema following their reputation, according to a strategy of an aesthetic and cultural legitimacy launched in 1909 by film d'art of the Pathé Consortium. I think it is the proverbial readiness and strength of the stage Italian actors that create a decisive contribution to the rapid development of the national cinema industry, despite its serious structural deficiencies, from the protoindustrialized phase (1909) to the golden age of divismo (starting in 1913), until the first signs of decadence (1919), and the so-called “fall” of the UCI production and distribution system. This is the main topic of the thesis: an investigation on the Italian stage actors engaged in the film industry (“from stage to screen” as the Italian title says, but in a “post-Vardac” approach) through many different sources: periodicals, memories, personal and business letters, and also contracts, found in several archive funds. A specific chapter is dedicated to the artistic career of Febo Mari (1881-1939), real name Alfredo Rodriguez, witch is a time-sample symptomatic of deep ties established between the growing film publishing and the Italian theatrical production system in the 1910s. The Mari debut in cinema and his ascent toward screen “divo” status coincides with the parable that leads from emergence to decadence of divismo in Italy.

Oxford-París. Del viaje formativo al viaje de la visión interior en Pablo Palazuelo

Durante de la fecunda obra de Palazuelo, existen sendos viajes cruciales tanto para su formación como para la evolución de su obra. In 1933, continuó sus estudios arquitectónicos en la School of Arts and Crafts of the city of Oxford, donde el pintor español recibió la formación que le permitió adquirir no sólo nuevas herramientas gráficas, sino también un método proyectual que implementó a lo largo de su producción. El segundo viaje iniciático se produjo en Paría, donde aplicó las enseñanzas aprendidas en su incipiente carrera artística. Para ilustrar ambos momentos, el presente texto desvela archivos gráficos inéditos procedentes de los fondos de la Fundación Palazuelo que estuve catalogando. During Palazuelo successful career, two trips were crucial turning points for both his formation and the evolution of his work. In 1933, he continued his architectural studies at the School of Arts and Crafts of the city of Oxford, were this Spanish painter received an education that allowed him not only endow new graphical tools, but also a procedural method he implemented throughout his production. The second initiation voyage took place in Paris, where he applied the lessons learned in his fledgling artistic career. To illustrate both moments this text unveils unpublished graphic files from Palazuelo Foundation that I catalogued.

Estudo e tratamento de conservação e restauro da pintura Feto do artista Jorge Pinheiro

Followed by the opportunity of attending an internship at Argo – Art, Heritage and Culture, emerges the opportunity of studying and become responsible for the conservation and restoration of a painting by Jorge Pinheiro (Coimbra, 1931), whom is responsible for a wide artistic production that is vastly renowned and featured in particular and public collections, both nationally and internationally. This dissertation describes the study and the intervention of conservation and restoration of the contemporary painting Feto, executed in 1965 by Jorge Pinheiro, which was carried out during my internship of the Master’s in Science of Conservation, Restoration and Production of Contemporary Art, that took place in the company Argo, between November 2014 and April 2015. The issues in the conservation and restoration of contemporary art, related with the increasingly variety of materials that artists have been using since the beginning of the twentieth century, it’s also one of the main themes explored in this dissertation. From conservation and restoration, to the life and work of an artist, the following dissertation, besides describing in detail all the studies and steps that I took in the conservation and restoration of the oil on canvas painting, Feto (1965), it also reveals a closer look into the life and artistic career of Jorge Pinheiro

Luz-personagem: o jogo de manipulação da iluminação cênica em cenas cômicas

This research has as a central point of discussion the relationship between the action and the stage lighting, directed to scenes in which, from the exchange between actor and professional lighting, you can develop comic situations. The particularity of these scenes is the involvement of lighting as presentification feature a character in the scene, made possible by game created with the actor. In order to develop this discussion, the author divides the text into three chapters, the first being a memorial of his artistic career and his creative processes, enabling the reader to situate the paths taken by the author for the study. Then discusses possible relationship between performance and lighting, pointing situations where the two are directly related. Finally, an analysis and comparison of two comic scenes in which the actor play with the lighting suggests a character through presentification lighting on the scene. Leads the discussion to the conclusion, proposing the term light-character to set the lighting feature, suggesting characters in the scene.

Narratività, ritmo e forma audiovisivi in Regen di Joris Ivens con musica di Hanns Eisler.

Joris Ivens’ experimental film Regen and the music Hanns Eisler composed for it represent individually two major achievements in the artistic career of both the Dutch director and the German composer. Their union yielded a peculiar audiovisual product for at least two main reasons: on the one hand the music was composed more than ten years later, on the other hand, a result of a research project, Eisler’s composition responded to specific theoretical intentions that ‘commercial’ film music does not generally have. It is mostly because of the latter aspect that we can look at ‘Eisler’s Regen’ with a unique analytic perspective aimed to highlight traces of continuity in both the video and the music under three complementary viewpoints: narrative, rhythmic and formal. The outcome of such an analysis is meant to give proof of a highly integrated audiovisual creation that is rarely found in the history of experimental cinema.