Storytelling in song: television music, narrative and allusion in 'The O.C.'

Television’s long-form storytelling has the potential to allow the rippling of music across episodes and seasons in interesting ways. In the integration of narrative, music and meaning found in The O.C. (Fox, FOX 2003-7), popular song’s allusive and referential qualities are drawn upon to particularly televisual ends. At times embracing its ‘disruptive’ presence, at others suturing popular music into narrative, at times doing both at once. With television studies largely lacking theories of music, this chapter draws on film music theory and close textual analysis to analyse some of the programme's music moments in detail. In particular it considers the series-spanning use of Jeff Buckley’s cover of ‘Hallelujah’ (and its subsequent oppressive presence across multiple televisual texts), the end of episode musical montage and the use of recurring song fragments as theme within single episodes. In doing so it highlights music's role in the fragmentation and flow of the television aesthetic and popular song’s structural presence in television narrative. Illustrating the multiplicity of popular song’s use in television, these moments demonstrate song’s ability to provide narrative commentary, yet also make particular use of what Ian Garwood describes as the ability of ‘a non-diegetic song to exceed the emotional range displayed by diegetic characters’ (2003:115), to ‘speak’ for characters or to their feelings, contributing to both teen TV’s melodramatic affect and narrative expression.

Colombian Jazz dance suite : a synthesis of the music of the colombian andes and modern jazz

This thesis is an attempt to unite two distinct and dissimilar musical genres, the music of the Colombian Andes and modem jazz. The compositions to be analyzed in this thesis are meant to function as parts of a whole. Thus, they will be linked by thematic and rhythmic material. In their entirety the pieces will form a suite of dances not unlike those of Baroque composers, with titles that denote the name of the particular air being employed by the composer, who is also the author of this thesis. These individual dances are orchestrated for a jazz ensemble consisting of piano, string bass, drums, alto saxophone, and guitar. The rhythmic underpinning of this work is inspired by the folk music of Colombia and the harmonic content will be derived from the jazz idiom. The purpose of this thesis is to demonstrate the possible product of the fusion of musical disciplines that are on the surface in no way related. This thesis will also attempt to show an example of how cultures can meld socio-artistically.

Iberian and Latin American Music Scholarship on the Ascent: Reflections from the United States

In the early twentieth century, musicology was established as an academic discipline in the United States. Nonetheless, with the exception of Iberian medieval and Renaissance repertories, U.S. scholars largely overlooked the music of the Spanish- and Portuguese- speaking world. Why should this have been the case, especially in light of Spain’s strong historical presence in the United States? This autobiographical essay examines this question by tracing the career of an individual musicologist, the Hispanist musicologist Carol A. Hess. Evaluated here are disciplinary shifts in U.S. musicology —methodological, philosophical, and ideological— over the past thirty years. These transformations have combined to make this repertory a viable field of study today. Musicologists in the United States can now make their careers by specializing in Iberian and Latin American music, as well as the music of the Hispanic diaspora. They research topics ranging from the avant-garde composer Llorenç Barber to the rapper Nach Scratch or the popular bandleader Xavier Cugat and his U.S. audiences of the 1940s, while others also pursue the time-tested areas of medieval and Renaissance music. Iberian and Latin American music is regularly offered in postsecondary institutions while instructors now have a variety of textbooks and other pedagogical resources from which to choose. All add up to a disciplinary freedom that would have been unthinkable only a few decades ago.

A aquisição de competências musicais no ensino da Técnica de Dança Clássica no 2º ano no Conservatório de Música da Jobra

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

Análise e síntese de música através de sistemas computacionais

Este trabalho, realizado no âmbito da unidade curricular de Tese/Dissertação, procura mostrar de que forma a Computação Evolucionária se pode aplicar no mundo da Música. Este é, de resto, um tema sobejamente aliciante dentro da área da Inteligência Artificial. Começa-se por apresentar o mundo da Música com uma perspetiva cronológica da sua história, dando especial relevo ao estilo musical do Fado de Coimbra. Abordam-se também os conceitos fundamentais da teoria musical. Relativamente à Computação Evolucionária, expõem-se os elementos associados aos Algoritmos Evolucionários e apresentam-se os principais modelos, nomeadamente os Algoritmos Genéticos. Ainda no âmbito da Computação Evolucionária, foi elaborado um pequeno estudo do “estado da arte” da aplicação da Computação Evolucionária na Música. A implementação prática deste trabalho baseia-se numa aplicação – AG Fado – que compõe melodias de Fado de Coimbra, utilizando Algoritmos Genéticos. O trabalho foi dividido em duas partes principais: a primeira parte consiste na recolha de informações e posterior levantamento de dados estatísticos sobre o género musical escolhido, nomeadamente fados em tonalidade maior e fados em tonalidade menor; a segunda parte consiste no desenvolvimento da aplicação, com a conceção do respetivo algoritmo genético para composição de melodias. As melodias obtidas através da aplicação desenvolvida são bastante audíveis e boas melodicamente. No entanto, destaca-se o facto de a avaliação ser efetuada por seres humanos o que implica sensibilidades musicais distintas levando a resultados igualmente distintos.

Estudo empírico : motivação e aprendizagem nas aulas de formação musical e classe de conjunto coral : um estudo de caso comparativo

Relatório de Estágio apresentado à Escola Superior de Artes Aplicadas do Instituto Politécnico de Castelo Branco para cumprimento dos requisitos necessários à obtenção do grau de Mestre em Ensino da Música – Formação Musical e Música de Conjunto.

Centor : concept d’interface de spatialisation sonore additive

Cette recherche porte un regard critique sur les interfaces de spatialisation sonore et positionne la composition de musique spatiale, un champ d’étude en musique, à l’avant plan d’une recherche en design. Il détaille l’approche de recherche qui est centrée sur le processus de composition de musique spatiale et les modèles mentaux de compositeurs électroacoustiques afin de livrer des recommandations de design pour le développement d’une interface de spatialisation musicale nommée Centor. Cette recherche montre qu’un processus de design mené à l’intersection du design d’interface, du design d’interaction et de la théorie musicale peut mener à une proposition pertinente et innovatrice pour chacun des domaines d’étude. Nous présentons la recherche et le développement du concept de spatialisation additive, une méthode de spatialisation sonore par patrons qui applique le vocabulaire spectromorphologique de Denis Smalley. C’est un concept d’outil de spatialisation pour le studio qui complémente les interfaces de composition actuelles et ouvre un nouveau champ de possibilités pour l’exploration spatiale en musique électroacoustique. La démarche de recherche présentée ici se veut une contribution au domaine du design d’interfaces musicales, spécifiquement les interfaces de spatialisation, mais propose aussi un processus de design pour la création d’interfaces numériques d’expression artistique.

Um estudante cego no curso de licenciatura em musica da ufrn: questões de acessibilidade curricular e física

This work aims to discuss and analyze the process of school inclusion of a blind person in the Bachelor's Degree in Music, at the School of Music at the Federal University of Rio Grande do Norte, as well as reflect on the importance of establishing systems of support and to ensure university inclusive process of people with visual impairments. In pursuit to achieve these objectives, this research chose a qualitative methodological approach, the case study, using as procedures for data construction an interview, observation, analysis of documents and photographs. Joined the group of participants in this study, a blind student in the class of 2009.1of the EMUFRN Bachelor's Degree in Music, teachers from two disciplines complied by the student, two classmates, a monitor support in music theory, the course coordinator and school principal, and two other individuals who contributed to the inclusion process in actions not formalized institutionally. The results indicate UFRN proposed initiatives that contribute to inclusion of students with disabilities in this institution, the main one is the creation of the Standing Committee of Support for Students with Special Educational Needs (CAENE), a group that guides administrative sectors, teachers, principals, coordinators and students on the measures needed to enter and remain in quality education for all. Physical accessibility is still under construction at UFRN, and many access and sectors see it being adapted for students with physical or visual disabilities, and those with mobility impairments, have access to various parts of the university, however, as shown in this study, some points need to be reconsidered, as there are several places where the installation of tactile floor does not fully follow the guidelines proposed in the legislation. The proposals for access to the curriculum, mediated by EMUFRN, are actions that propose the inclusion of the blind student, as the existence of an educational monitor to help in the study of music theory, however, we need to rethink these proposals to not became actions of reactive intervention. Assuming a more proactive posture, the EMUFRN will be prepared to receive the diversity of students that expects. The study also points out that the blind student is part of a group of students that are practical musicians, who must work in events and evening shows, and who have little knowledge in music theory, leading, respectively, in low frequency classes and learning difficulties in certain curricular components, which may cause the closing of such components. In this case, the challenge of EMUFRN, considering the inclusive perspective, it is not specifically fit for the academic host a blind student, but to develop an accessibility project curriculum to consider effectively the diversity of all its students, taking into account mainly the economic and cultural conditions. This implies a process of resizing academic practices that be guided for collaborative and coordinated actions involving the various educational actors at EMUFRN and UFRN

Aptidão musical : inata ou adquirida?

Relatório de Estágio apresentado à Escola Superior de Artes Aplicadas do Instituto Politécnico de Castelo Branco para cumprimento dos requisitos necessários à obtenção do grau de Mestre em Ensino de Música – Formação Musical e Música de Conjunto.

Die Grundsätze der musikalischen Komposition.

Each vol. has special t.p.

Melodie und Skala /

Offprint: Jahrbuch der Musikbibliothek Peters, 19. Jahrgang (Leipzig: C.F. Peters, 1913).

Handbüchlein der Harmonie-, Melodie- und Formenlehre /

Mode of access: Internet.

Grammatica ragionata della musica considerata sotto l'aspetto di lingua /

Mode of access: Internet.

Principj elementari di musica e metodo per l'insegnamento del Meloplasto /

Mode of access: Internet.