MUSIC AND MUSICOLOGY

Author: BENITO ARGÁIZ INMACULADA.
Year: 2003.
University: LA RIOJA.
Place of defense: CIENCIAS HUMANAS JURÍDICAS Y SOCIALES.
Place of preparation: CENTRO DE CIENCIAS HUMANAS,JURÍDICAS Y SOCIALES.

Summary: The thesis is divided into nine apartados.En first provides a brief historical overview and literary delo happened in Spain and Logroño between 1850-1900. The second cites documentary sources. The third is a historical overview of the buildings albergarón drama in this time period. (Delas Columns Hall, Lyceum Theater Principal-actual Theater Breton of Herreros-, Sigle's Cafe, Cafe Universal). Four outlined chronologically functions and reprensentaciones held in recent years, especially between 1889 and 1900, because it preserves daily newspaper. The five, explores genres and subgenera of theatrical works represented, and also shows parateatrales they could be in different locales. In elseis listed the names of the authors and compositores.El seventh analyzes the elements of the staging: compañoas -listados directors, teachers orchestra and artistas-, scenery, lighting, costumes, makeup, orquestaâ | The eighth is a aproximaciónn the lives of the authors represented, the most relevant texts, the company personnel, inventory, quality of the roles, itinerary, various anecdotes during his stay in the city and the quality of other elements of representation. In the nine mentioned works that suffered some kind of censorship, functions for the benefit of artists, charitable and extraordinarias.Además, lists the news in connection with the temporary nature of the functions -meses, days of week horario- and prices; demonstrates what theater was influential in social life, both for the privileged classes for the less affluent.

Author: OLIVARES GULLÓN ÁNGELA.
Year: 2003.
University: REY JUAN CARLOS.
Place of defense: CIENCIAS DE LA COMUNICACIÓN.
Place of preparation: UNIVERSIDAD COMPLUTENSE.

Summary: This dissertation examines and analyzes the development of the Anglo-Saxon Folk music during the twentieth century. The basis of the study is the development of this kind of music and its sub-estilos more important over the century, analyzing the evolution of this genre of popular music, which originated in the early twentieth century as a product of the union of music and traditions which, over the past three centuries, came to America brought by immigrants from around the world. It also explores the more traditional Folk, which has remained in England, Ireland, Australia or Candá, ie the most important Anglo-Saxon countries. Among the objectives of this thesis, the most important is to demonstrate that, during the twentieth century, the Anglo-Saxon Folk music has come a significant way. At the beginning of the century Folk was "white", based on music and traditions brought by immigrants whites, but also traditional music black, brought by immigrants of color, and ést gave rise to musical genres like blues, jazz and later the various forms of Rock and Roll. Over the years, and to reach the last quarter of the twentieth century, both music began to melt, giving rise to new concepts that are forming the new Folk & Rock today, where the old traditions white and blacks have come hand in hand. This thesis explores the development path for consecucción of this new form of musical culture. We studied the styles that have been born of Folk more traditional, such as the Country Folk & Country, Folk & Rock and all forms evolved over who have been emerging over the years. In this thesis, but is studied throughout the twentieth century, priority is given to understand that the time between 1950 and 1975, 25 years of development and creativity of this style of music was greater. This was the time when there were the most important changes in the evolution of the Folk that led to new forms of music today.

Author: ESPONA DONÉS ISABEL.
Year: 2003.
University: BARCELONA.
Place of defense: PEDAGOGÍA.
Place of preparation: FACULTAD DE FORMACIÓN DEL PROFESORADO.

Summary: The overall objective of the research is to examine in detail the various factors involved in the process of learning the flute peak, with special attention to the motor involved, as a manipulative fine. The theoretical study covers the legal framework of the status of the instrument in Education Secuandaria Mandatory; a description of the contents of flute Peak and his technique in existing textbooks at present used for this phase, in Catalonia, and the search for work on the application of fine-motor skills on the flute and thematic peak linked to ello.La first musical performance is studied from the various elements involved in it, to get a full picture of the activity. Some original research contributions, in theory, is the exhaustive description of the anatomical and morphological elements involved in the implementation instruments and the establishment of model biomecáanico of flutist (biomechanical and kinematic). Dela The event was oborda also instrumental performance since the different perspectives together as facor sensory, neurological basis, driving, ergonomic, postural control, psychological and educational. The empirical study intends to evaluate the behaviors involved in the initiation of technical learning the instrument used Methodology Observacional.Durante full credit variable flute peak 4Â grade of the ESO in a public, were taken stringent searches, those who once codificados-se have drawn resultados.Se have implemented various descriptive analysis, association (to establish whether there is a relationship between the criteria used) and sequentially delays (to detect whether there sequential patterns of conduct, ie if establishing inheritance of certain conduct with a higher probability that the random). The results show that where there is easier to get correct posture is in the back, shoulders, lips, and the yolk and the arch of the fingers of his left hand, the muscle tone of the left hand of the little finger his left hand, the thumb of his right hand, the intensity of sound and coordinating the breath with sonido.En lesser degree of correction are followed by the head, elbows, fingers of the right hand when not involved, the distance the flute fingers of the left hand and the quality of sonido.Los criteria that have most difficulty are presented the position of the wrists and fingering. The analysis of association have been obtained that there is a link between thirteen genetic aspects studied, which can have pedagogical applications in teaching tool. By analyzing sequential delays shows that when enough posicoón correct some respects, this behavior is maintained so consistente.Las categories in which this phenomenon occurs are: lips relaxed / good overture, the fingers his right hand near the holes when they are not used, bud -arco of his left hand, sound intensity correct, and últimoa, soplo-dedos coordinados.En Generally, it can be observed that delays are autocontingentes, ie when a student presents a good position, maintains, however when it adopts a bad position, also preserves. This thesis opens the door to further research will find in it a reference to prevent, identify and deagnosticar pathologies that may arise from the practice instrumental flute pico.También is a starting point for renewal of the teaching of the flute peak.

Author: TRALLERO FLIX CONCEPCIÓ.
Year: 2004.
University: BARCELONA.
Place of defense: FACULTAD DE PEDAGOGÍA.
Place of preparation: FACULTAD DE PEDAGOGÍA.

Summary: Duranteel period from February to mayode 2004 was desarrollóen Barcelonaun Workshop in Music Autorrealizadora (MTA) for teachers of primary, with the aim of preventing and treating stress teaching, also called bumout. In this workshop, which addressed myself, I put into practice a methodology itself therapeutic, based on the creation by the participants, music and the exploration of the innate musical abilities that all human beings possess. The objective of this study was to ascertain to what extent the Music used as a tool active, creative, autorrealizadora and inclusive of the different aspects of the person can improve the physical, emotional and mental health of teachers suffering from stress caused by the characteristics of his work, as well as preventing their occurrence. The investigation was conducted with two groups of teachers, a pilot, which was applied treating APL for 4 months, and another control group, which is not applied any treatment. Both groups passed a battery of tests and questionnaires before the therapeutic intervention that were repeated at the end of it. The results are very satisfactory, both in terms of test-retest variation of Experimental group, which show a considerable decrease in the State of Anxiety, emotional fatigue and Behavioral type A, for the valuation made the participants in the Workshop MTA. They felt they had gained many strategies to cope with the stress and strain of his work and daily life and that their stress levels had declined significantly compared to other end of the course.

Author: SÁNCHEZ-ANDRADE FERNÁNDEZ JULIO MIGUEL.
Year: 2004.
University: OVIEDO.
Place of defense: FACULTAD DE GEOGRAFÍA E HISTORIA.
Place of preparation: DEPARTAMENTO DE HISTORIA DEL ARTE Y MUSICOLOGÍA.

Summary: The percussion instruments are an essential part of the accompaniment of traditional songs and dances. Those who are used in Asturias, are essentially the payel.la and castanet of the dancers - with respect to idiófonos- and drum, tambourine, the baker of sonajas, pandeiro or pandoro square, and the hype the redoblante - Regarding the menbranófobos-. In addition, there are others who, though less incidence of also play an important role rhythmic; are tarrañuelas, trunk, the bottle carved, ballicu, etc.. Even the bells used to summon the files to the liturgy although not used to accompany the music traditionally have had until a few decades ago a prominent presence in the Asturian landscape sound like percussion instruments. The description and construction of these dreamers, the technique used to sujetarlos and make them sound, the way of interpreting the repertoire and musical and social environment of toilets and tocadoras are the main issues in question this theory. Also as a complement to the main text, we have included two hard-an unpublished audio CD and a CD-Rom- containing audio and video product portfolio selection more representative interpreted in Asturias.

Author: ORDIZ CASTAÑO NOELIA.
Year: 2004.
University: OVIEDO.
Place of defense: FACULTAD DE GEOGRAFÍA E HISTORIA.
Place of preparation: UNIVERSIDAD DE OVIEDO.

Summary: Study of music composer thought Jesus Villa Rouge, as well as the analysis of their musical production. The significance of Jesus Villa the red Spanish music scene that starts in the sixties and develops until now transcends the importance of any other composer who contributed to history to a catalog of works more or less comprehensive. In the case of Villa Red, his musical production must be added the very important work in the field of music education, the importance and management. As objectives of the thesis, we try to deal with the presence of Jesus Villa Rouge in the context histórico-musical in which they operate their first creations. Study here defined its position among the composers of his promotion same time, as well as the possibility of establishing a entronque generational links between its creation with authors peers. He then will explore his catalog of works with nature diachronic establishing synchronous cuts when the investigative process suggest possible connections between works produced at vital stages. Along with the aesthetic and formal study will be carried out an analysis of the scores that we consider most interesting. To this must be added a critical assessment that could provide a vision of each work individually and together in relation to complete catalog. Among the objectives of their thesis also treated for clarinet and study on reading music, music chart new systems script. The methodology takes the already used as a reference for the development of the research project prior to the thesis. In other words, this is a methodology that includes the usual procedure for the study of historical processes, as well as analysis of a specific methodology for dealing with the musical production of the composer. The methodology for the analysis raises a prospect open to potential requirements for the study of the works for the different genders. Sheets, sound bites and video materials are studied from a methodological perspective plural.

Author: MORENO MORENO BERTA.
Year: 2004.
University: NAVARRA.
Place of defense: DEPARTAMENTO DE GEOGRAFÍA E HISTORIA.
Place of preparation: DEPARTAMENTO DE GEOGRAFÍA E HISTORIA.

Summary: The thesis aims to make the hiografía context of the composer Philip Gorriti and the catalog of his work, and value their contribution to the music of his época.Para It has compiled docuemntación existing files of the four places in which he lived: Uharte, Arakil, Thdund, Tafalla and Toulouse. Further analysis has been carried out with a selection of composicionar, especially religious music. The core of the work consists of five chapters which analyzes the biography of conpositor well as the political, social, religious, cultural, musical, which moved, are detailed characteristics of the chapels of Tafolla and Toulouse, in the Gorriti that work as a teacher, as a supplement, has añádido sixth chapter with a general comment on the music of Gorniti in which summarizes the characteristics of the various stages cronologícas, as is apparent from the composiones studied, but a survey of its other musical genres divided by catalog, complete with a catalog cronologíco and another by titles.

Author: DÍAZ DE LA FUENTE ALICIA MARÍA.
Year: 2004.
University: NACIONAL DE EDUCACIÓN A DISTANCIA.
Place of defense: FILOSOFÍA.
Place of preparation: FACULTAD DE FILOSOFÍA , SALA DE GRADOS ,22 SEPTIEMBRE.12,00H.

Summary: STRUCTURE AND MEANING IN MUSIC AND SERIAL RANDOM "(PhD thesis, Department of Philosophy and Moral Philosophy and Policy at the Faculty of Philosophy of DNED) Alicia Diaz de la Fuente. Thesis structure and meaning in the music and random serial" based on a comparative study between the random music by John Cage and the music of the period serial comprehensive Pierre Boulez. Over the six chapters that make up the thesis discusses their characteristics lingüsticas, genetic budgets and pragmatic, its various modes and being the kind of aesthetic experience raised by each of these artistic languages. Different signs that make up the elements lingüsticos of each musical style impose semantic characteristics varied. example, the serial music, his claim hiperdeterminativa, manages signs low semantics while signs random own music, and especially those of the scores graphics, possess, in general, a very high semantic content. Thus, a design and unívoca denotativa sign of music is completely ineffective in the field of music cagiana whose peculiarities sígnicas need for accurate definition of an open and connotativa awarded by the recipient (performer and listener) a pivotal role as a mediator between the sign and object.'s music is based on John Cage a descontextualización of objects that allows sound genuine sense of diversion. Expands ancient musical sound design by integrating it sound developments which for centuries were derogatorily referred to as noise. most important thing, then, is not so much the handling of an object as the an election process which requires contemplador to change their gaze to the object selected. Faced with the maximum uncertainty of the music of Cage, serial works by Pierre Boulez at the beginning of the decade of the 50's XXth are presented as the best example of hiper-sistematización. If John Cage tried to challenge the viewer and open the notion of meaning to the point of giving in to random (and the uncertainty as a category lingüstica) part of his creative experience, Boulez found in the hiperdeterminación speech sound processes and the use of mathematical typesetting a way to renew the art sound and the development of form. material generates, in addition to the universe itself sound of the work, including its formal structure, a "constellation", which aims to combat traditional decoupling musical form and content sound. Despite these differences affect the budgets of both genetic language homogeneity perceptive between the two is a fact constatable at various levels. terms both semantic indeterminacy of music as random the hiperdeterminación of integral serialism have won a significant opening such that the listener is confronted with a relocation perceptive and a real structural silence, a result of the equiprobabilidad noise in the speech. In this connection, it must recognize a concept open to the music and serial Random based on the conception of the work of art as an invitation to the multiplicity of readings and whose ontological unity can not be restored. only genuine openness in accepting the notion of musical structure and meaning of noise (and discarding the latter in connection with any extramusical apriorística conceptualization), the proposals can be understood that the music serial and random bearers by John Cage, Pierre Boulez, offer us. Hence the inability to accept the principle of identity of the work before aesthetics 8 s proposed that 321 doptan the multiple modes of existence as a defining quality of his mismidad. This, logically, hindering any desire for a truly artistic.

Author: LUCAS SANAHUJA JOSÉ.
Year: 2004.
University: POLITÉCNICA DE VALENCIA.
Place of defense: Dep. Comunicacion Audiovisual.
Place of preparation: Universidad Autónoma de Madrid.

Summary: As its title indicates: MODERN PEDAGOGÍA METHODOLOGY FOR THE CONDUCT OF SUPERIOR ORCHESTRA, this thesis aims to bring together the most important and educational components needed to confer a solid and versatile training to the studies of this particular academic discipline. Efforts have been made to collect all those didactic content more substantial from a modern perspective pedagogíca, hence it has also served both the detailed development of specific materials within their respective chapters terms of a rational management diachronic them in order to respect their difficulties . In any case, we have sought a gradual succession as best as possible trying to overcome that apparent complexity of the treatment didactic materials which, although aimed ultimately at the same purpose, are in themselves very different characteristics. Conferring systematic order to the various materials, establish a gradation of qualitative progression, and finally bring this into alignment more rational and coherent approach to the modern rules of the LOGSE has been an essential guide, the primary orientation of objectives. The thesis develops from teaching basic components to those more complex, hence it has sought the best adaptation of such varied content in order to insert them in their most appropriate level within five courses that make up the higher education of the Directorate Orchestra. To that end, efforts have been made to sequence those contained in a orderly programming, in the most appropriate manner possible, so that each step involves the net overcoming earlier but at the same time allowing the simultaneous tracking of several other different subjects while all they converge and ultimately revert to gradually give the student the resources so versatile that requires its unique artistic activity. Within the diverse kaleidoscope reflecting the pluralistic setting of the training at the Directorate Orchestra has made a special impact on what inherent in the techniques quironómica (distributed in five progressive levels) and analysis (established in turn on five parameters independent) on the grounds that these two matters involving substantial basis whenever the benchmark spine in the planning of this didactic academic specialty.

Author: LUCAS SANAHUJA AGUSTÍN.
Year: 2004.
University: POLITÉCNICA DE VALENCIA.
Place of defense: Dep. Comunicacion Audiovisual.
Place of preparation: Universidad Autónoma de Madrid.

Summary: The activity of the Directorate of Coro combine so streaky variety of aspects and components of a very different nature, but they all converged from a function and a commitment inevitably multidisciplinary, in the same order aesthetic. Efforts have been made to sequence and parcelar contents of this thesis grouped into two parts. The first is a study inherent to the cultural dimension and action técnico-artística concerns squarely both the director as well as the components of the chorus from a double level, necessarily individually and collectively. Within Part significant effect in the study of the four functions involved in the singing and in the consideration of the elements that allow physiological. It also makes a deep study on the classification of the voices as well as the various tables of vocalizations. These two aspects are basic and substantial as it relies on them throughout the complex vocal activity, since they erected the great possibilities vocal while the person is in itself so symbiotically prodigious, INSTRUMENT AND TRANSLATOR at the same time .. . It was made after a brief survey of the historical background of the choir and some key considerations regarding future development and the emergence of the most important ways vowels. Here is a survey of various types of coral formation as well as the immense possibilities interpretative choir which, in turn, are determined on the basis literature and the consequent shift in its expressive characters peculiar to the field of musical performance. The second part relates solely and specifically to the role directorial. It affects especially in the technical quironómica as an essential resource for communication and coercive expressive regarding their choir director. Subsequently developed extensively FIVE PLANES ANALYTICAL on a list of selected works encompassing various styles of successive eras and expands from the compositions monódicas on plain chant to achieve various works polyphonic and tmabién several works sinfónico-corales of the most accredited composers the various eras. After discussing powers of the management of the various reefs and on the problem of concluding choral and sinfónica-coral is ateiende end to the planning methodology and the resulting programming and sequencing because, ultimately, all the various aspects of this thesis and the gradual gradation of its chapters and the systematic development of their contents are channeled especially to a modern pedagogy to CONDUCT OF Choir, directed from CRITERIA METODOLÓGICOS updated, this being his most direct and profound sense and the constant guidance during the whole process of developing this thesis.

Author: SILVA BARRIS JUAN.
Year: 2004.
University: BARCELONA.
Place of defense: FILOLOGÍA DE LA UNIVERSIDAD DE BARCELONA.
Place of preparation: FACULTAD DE FILOLOGÍA DE LA U.B..

Author: ELGSTRÒM MISOL EDMON.
Year: 2004.
University: BARCELONA.
Place of defense: FACULTAD DE FORMACIÓN DEL PROFESORADO.
Place of preparation: FACULTAD DE FORMACIÓN DEL PROFESORADO DE LA UNIVERSITAT DE BARCELONA.

Summary: The main aim of the thesis, divided into three parts, is to expand the field of vocal students in the Bachelor of Music Teacher Education, who pursue their studies in the School of Teacher of the University of Barcelona, with the aim to establish a correspondence between on the one hand, the field of voice these students, and secondly, the pitches vowels of children attending primary education studies. In the first part, the theoretical framework, are some of the most relevant aspects, as a result of the research literature and documentary conducted among medical and educational fields. First presents aspects of the voice, its operation and its main characteristics. Secondly there is a description of the main content basic vocal training, aimed at music teachers, and finally reflects a number of considerations relating to both the didactic example singing voice of teachers in the classroom as the pitches best suited to submit songs to its students. The second part presents a proposal for intervention in vocal training aimed at students in question, the future of music teachers, whose practice is composed of four blocks of content: postural exercises, breathing exercises (inspiratory and espiratorios) exercises technical vowels and sounds, and finally by a repertoire of songs progressive school. In the third part, the pilot phase, the proposal is implemented in vocal training among a sample of nearly one hundred students from the Diploma in Teacher Education Musical, all of them students of the School of Teacher of the University of Barcelona . At the same time, and in order to know the changes made in the field of vocal participants in the study, with reason for the intervention in training voice implementada-, is developing a tool for measuring and analyzing the voice of a field goal, fonetometria , which was accompanied by a new test protocol designed for implementation.

Author: PÉREZ MESTRE JOSÉ RAMÓN.
Year: 2004.
University: EXTREMADURA.
Place of defense: FACULTAD DE FORMACIÓN DEL PROFESORADO.
Place of preparation: UNIVERSIDAD DE EXTREMADURA. FACULTAD DE FILOSOFÍA Y LETRAS.

Summary: Contributing to the research on the genealogy histórico-evolutiva the bassoon and his technique: its evolution through history (siglos XVI to XVIII-phagotum, curtall, fagott, bombards, chirimias, pommer, downturn and bajoncillos-), background, others ancestors of bassoon; development of the modern bassoon (French and German systems); contrafagot; historical evolution of styles and musical notation, schools, and the bassoon in different types of instrumentation, the style and technique of interpretation of repertoire, specifically literature ; technical basis, the cane (or double lengà ¼ eta), assembly, respiration, embocadura, position, articulation, fingering, finación and emission of sound. Proposal didactic and pedagogic for education of the same: in the first phase of the investigation is conducted an analysis of all persuasions and teaching methodologies, and from them is a proposal for didactic and pedagogic teaching bassoon: based curricular material its implementation in schools.

Author: PASTOR GARCÍA VICENTE.
Year: 2005.
University: POLITÉCNICA DE VALENCIA.
Place of defense: E HISTORIA DEL ARTE).
Place of preparation: UNIVERSIDAD POLITÉCNICA DE VALENCIA.

Summary: The clarinet is the only instrument of the family of timber acoustically behave in a different way to the rest of their peers. For its special acoustic performance and its physical nature, the clarinet is subject to certain phenomena físico-acústicos in his columns air, which significantly reduces their acoustic performance from the point of view of the pitch and timbre. In recent years, new technologies and innovative ways that brings physics have stimulated the interest of the acoustic musician and to investigate these issues. Thus, the scientific study of the acoustics of the wind instruments has experienced considerable growth with the use of input impedance in the tube and the linear acoustic model, but several questions remain unanswered. The ideal design of the clarinet takes a daunting and complex due to the deviations that occur geometric model ideal for the unusual shape of its tube and the influence of certain phenomena. Also, cooperation between the resonant frequencies is polluted by a variety of factors and certain phenomena whose size and influence in the sound is still unknown, which makes it very difficult characterization and modeling of the instrument acoustically perfect. Although the musician demand a clarinet more complete, this can only be designed by altering their personal stamp and its mechanism, which would entail changing the current technique of the instrument. Not surprisingly, given this situation, companies manufacturing instruments maintain some reservations in implementing the slow progress in this area, not least the conservatism of the musician to change his technique. With this background, there is the optimization of the acoustic instrument by the clarinetist, from the knowledge and understanding of all phenomena intervenientes in the process sound for the sake of improving their performance and without prejudice to any technical innovation.

Author: LLIMERA DUS VICENTE.
Year: 2005.
University: VALENCIA.
Place of defense: FACULTAT DE FILOSOFIA I CIÈNCIES DE L'EDUCACIÓ.
Place of preparation: FACULTAT DE FILOSOFIA I CIÈNCIES DE L'EDUCACIÓ.

Summary: THESIS THIS IS THE FOCUS OF COMPARATIVE ANALYSIS AND STUDY PROPOSED APPROACH INSTRUCTION BY ENRIQUE MARCH IN ITS METHOD FOR OBOE (MADRID, 1870) WITH RESPECT TO DEVELOPED IN THE WORKS OF PERPETRATORS OF MORE SIGNIFICANT OTHER EUROPEAN SCHOOLS: FRENCH -FRANÇOIS JOSEPH GARNIER ( CA.1800) AUGUSTE-GUSTAV VOGT (1816-25) AND HENRI BROD (1825-25) -, SPANISH APOLLON MARIE ROSS BARRET (1850) -, ITALIAN -CLEMENTE SALVIANI (1840), AND AUSTRO-ALEMANA- JOSEPH SELLNER ( 1830). THE SURVEY CARRIED OUT IN THIS PRESENTS RESEARCH IN FIRST, A FEW OF GENERAL ON THE INTRODUCTION OF THE OBOE IN SPAIN AND ITS INFLUENCE IN THE MUSIC AND LEARNING IN OUR COUNTRY. WITHIN THIS PARAGRAPH STRESSES THE FIGURE OF PEDRO SOLER. ITS PRODUCTION IS ONE OF THE MOST IMPORTANT TO BE ISSUED SPECIFICALLY FOR OBOE IN THE HISTORY OF MUSIC IN SPAIN, TO ACCOMPANY OF FRANCISCO JOSÉ DE CASTRO, THE BROTHERS AND THE ITALIAN PLA, RESIDENT IN SPAIN, FRANCESCO FEDERICI. IN THE SECOND PARTA, WE HAVE PROCEDIDO THE COMPARATIVE ANALYSIS OF PROPOSED APPROACH TO INSTRUCTION ENRIQUE MARCH IN ITS METHOD FOR OBOE, RESPECT TO PRESENT THAT WORKS DIDACTICS ELABORATED BY THE AUTHORS OF MORE SIGNIFICANT OTHER EUROPEAN SCHOOLS. ANALYSIS AND ALLOWED TO STUDY ITS SETTING THE CHARACTERISTICS OF THE SPANISH SCHOOL. THE INPUTS DIDACTICS SE COMPLETAN WITH PRESENTATION OF APPROACHES INSTRUCTIVOS DEVELOPED BY THE AUTHORS OF REFERENCE IN THE STUDY OF THE OBOE: FRANCOIS JOSEPH GARNIER, AUGUSTE-GUSTAV VOGT, JOSEPH SELLNER, LOUS-AUGUSTE VENY, HENRI BROD, CLEMENTE SALVIANI And APOLLON MARIE ROSS BARRET. THEIR WORKS INSTRUCTIVAS STILL ESTANDO INTO FORCE IN THE CURRICULUM AND THE CENTER OF ANY PROGRAMACIONES MUSICAL EDUCATION IN ANY PART OF THE WORLD. EXCLUSION OF APPROACHES INSTRUCTIVOS IN THE CURRENT ISSUES, MERMA IN GREAT WAY THE KNOWLEDGE OF THEIR PROPOSALS DIDACTICS. THERE TRASCRIPCIÓN AND TRANSLATION ALLOW VALORAR AND DISCOVER ADECUADAMENTE ITS INFLUENCE IN THE TEACHING OF THE OBOE.

Author: VALDES HUERTA IGNACIO JOSE.
Year: 2005.
University: OVIEDO.
Place of defense: FACULTAD DE GEOGRAFÍA E HISTORIA.
Place of preparation: DEPARTAMENTO DE HISTORIA DEL ARTE Y MUSICOLOGÍA.

Summary: The figure of Homs, dean of the Spanish composers for a long time (he lived almost a century in which its activity was interrupted until the end of the year ninety) had not been studied so far, but so generalist and very partially. Its significance was of the first magnitude from the moment it becomes introducer of the techniques developed within the Viennese School on the budgets of its founder, Arnol Schoemberg, Homs who received direct teachings. In the field Catalan Homs was recognized as a member of the Royal Academy of Fine Arts of Sant Jordi. Its relationship with artists and intellectuals peers was largely reflected in his writings and in his work. Of particular friendship with the likes of Joan Prats (on the walls of his study can still see original works by the painter gifted Catalan), Joan Brossa, also engineers Josep Bartolomeu-whose house Predables, donated to his death the Catalan Generalitat to make it Documentation Center. The pool of the thesis is developed based on a qualitative study of the noise production written by Joaquín Homs, in accordance with their production in virtually all musical genres as well as his activity as a writer, lecturer, translator and organizer of various activities around the Club 49.

Author: JAUME BAUZÀ BARTOMEU.
Year: 2005.
University: VALENCIA.
Place of defense: FACULTAT DE FILOSOFIA I CIÈNCIES DE L'EDUCACIÓ.
Place of preparation: FACULTAT DE FILOSOFIA I CIÈNCIES DE L'EDUCACIÓ.

Summary: THE THESIS ADDRESSES THE STUDY OF THE WORK PIANÍSTICA OF COMPOSER MALLORQUÍN JOAN MARIA THOMÀS, WHO MEANT A UNIQUE PERSONALITY FOR HIS CHARACTER POLIÉDRICO BECAUSE AS A COMPOSER, PIANISTA, ORGANISTA, DIRECTOR OF CORO, CRITICAL AND MUSICÓLOGO RESULTÓ AN EXCEPTIONAL ANIMADOR OF MUSICAL LIFE MALLORQUINA . AT WORK, AFTER APUNTAR THE BIOGRAPHICAL FEATURES MORE SIGNIFICANT IS EXPONE THE CATALOG FOR WORKS, BELOW, STUDY SINCE THE OPTICAL STRUCTURAL, WORKS PIANÍSTICAS ONE TO ONE. SE TRATAN SEGUIDAMENTE THE EXISTING RELATIONS BETWEEN THE PIANO FOR THOMÀS AND ITS COMPANIONS GENERACIONALES FOR, AFTER TAKE INTO ACCOUNT THEIR VIEWS ON FIGURE AUTHORIZED, TO GET A FEW CONCLUSIONS CONCISE. WORK IS ACCOMPANIED BY AN APPENDIX Consistency IN A MUSICAL CD FORMAT MP3 WITH ALWAYS INTERPRETATIONS OF DOCTORANDO, WHICH CONTAINS LARGE PART OF THE MUSIC TRATADA.

Author: MORENO FERNÁNDEZ SUSANA.
Year: 2005.
University: VALLADOLID.
Place of defense: FACULTAD DE FILOSOFÍA Y LETRAS.
Place of preparation: FACULTAD DE FILOSOFÍA Y LETRAS. UNIVERSIDAD DE VALLADOLID.

Summary: This research has a twofold purpose: first, to document the development of the traditional practices of rabel in the region of Cantabria on the other hand, to analyze the processes of change recorded music in these practices in the twentieth century, especially since his last decade. We proceed from the assumption that such changes as a musical revival movement, which we ask the following questions: a) Â What are the origin and conditions of the possibility of this phenomenon? Do you face what kind of revival we stand? B) Â How has been operated rpoceso exchange and bqué new meanings has acquired following the same practice rabel in Cantabria? C) Â What has been the extent of the changes made to the revival movement in connection with previous recorded in the local tradition of rabel? With these questions as a starting point, the thesis consists of eight chapters, the last two devoted to exposing the documentary sources and Appendices analytical. In this first introductory chapter beyond present the objectives and structure of the tesis perform a critical review of the few publications on the previous practice of rabel in Cantabria and Spain in general. The second chapter exposing the theoretical foundations that support the thesis, based on the study of change and musical events folclorísticos and revival. Aclaramos also certain concepts of vital importance and presented the type of documentary sources that we base our study, many redivadas of fieldwork in Cantabria we have developed in recent years to study the practice in situ as well as methodological procedures used for management. Our main methodological strategy has been to compare the development of the traditional practice of rabel before and after revivial. So, after offering in the third chapter an overview of the presence of rabel in Spain, in the fourth and fifth chapters exposing the information on the practice of rabel in rural areas until the 1980s (Chapter fourth) and the practice revived since urban areas from 1990s (Chapter Five). Within each of these chapters nalizamos different aspects relating to the presence and characteristics of rabel in the region, the profile of rabelistas, a musical partner, and practice music: events, customs and duties. The comparative analysis of all these aspects of traditional practices and revived the rabel in Cantabria has enabled us to find the following answers to interogantes we planteábamos at the beginning, which we present as findings in the sixth chapter of the thesis: ) First, it is a revival movement originated from the performers and promoters rabel, uncontrolled and institutionally. At its origin are different factors identity, ideological, cultural, recreational and tourism. B) Secondly, in the development of that revival has played a key role in the teaching of rabel various schools of folklore and cultural associations, and community supporters for this practice today takes on many different meanings. C) Thirdly, in the process of revival notable changes have been introduced in both the geographical spread and a number of socio-cultural traits and contextual music from the practice studied. In this dissertation we offer, in short, a new and updated vision about the practices of rabel in Cantabria, in which we bring for the first time an analysis of its musical aspects and a study com 8 prensivo 298 of the processes of change.

Author: PEÑALVER VILAR JOSÉ MARÍA.
Year: 2005.
University: VALENCIA.
Place of defense: FACULTAT DE FILOSOFIA I CIÈNCIES DE L'EDUCACIÓ.
Place of preparation: FACULTAT DE FILOSOFIA I CIÈNCIES DE L'EDUCACIÓ.

Summary: THE THESIS CONSISTS OF THREE KEY PARTS: THE ANALYSIS OF THE ELEMENTS OF THE MUSICAL IMPROVISACIÓN, STUDY OF VARIOUS METHODS PEDAGÓGICO-MUSICALES AND THE IMPLEMENTATION OF THE PEDAGÓGICA IMPROVISACIÓN. HAS DISTRIBUTED CHAPTERS IN SIX MORE SECTIONS FOR THE LITERATURE AND ANNEX DOCUMENTARY. THE PURPOSE OF THIS RESEARCH IS FIRST GOAL THE ANALYSIS OF THE IMPLEMENTATION OF THE PEDAGÓGICA IMPROVISACIÓN IN THE DIFFERENT APPROACHES IN SECOND PLACE, THE DEVELOPMENT OF THEIR EDUCATIONAL PROGRAMMING IN MUSICAL. RESPECT TO THE CONCEPT OF IMPROVISACIÓN, TYPES AND QUALITIES, ESTABLECEMOS DEFINIMOS And CONCRETAMOS CLEARLY THE ELEMENTS INVOLVED IN THE CREATIVE PROCESS, PROGRESSIVELY, EXPONEMOS THE DIFFERENT QUALITIES OF IMPROVISACIÓN, THE INTEGRAMOS IN THE PROCESS AND RELACIONAMOS THROUGH AN LOGIC CONCEPT. ON THE TYPES OF IMPROVISACIÓN, WE HAVE TRIED REUNIR And CLASSIFY FORMS WITH MORE REPRESENTATIVE TO FACTORS DERIVING CREATIVE PROCESS EXPOSED ABOVE. RESPECT TO THE ANALYSIS OF THE PRACTICE OF IMPROVISACIÓN IN THE DIFFERENT APPROACHES PEDAGÓGICO-MUSICALES, NOTE THAT MANY OF PEDAGOGOS COINCIDEN IN APPROACHES OF ACTIVIADES, THE TECHNIQUES USED AND OBJECTIVES. HOWEVER, HAS BEEN BASED IN RENDERING THE SUMMARY OF EACH INDIVIDUAL METHOD CONTRASTANDO INDIVIDUAL CONTENT. WILL THEREFORE BEEN SELECTED THOSE CREEMOS THAT MORE POTENCIAN THE CREATIVITY OF STUDENT, ADAPTÁNDOLOS TO EDUCATION LEVEL OF SECONDARY EDUCATION OR DEFECTS IN THERE, WE HAVE GIVEN PRIORITY TO THOSE WHO HAVE MORE PEDAGÓGICA IMPLEMENTATION IN THE CLASSROOM. IN THE PROGRAMMING MAY BE MORE WHERE WE HAVE MOSTRADO CRITICAL RESPECT TO CURRICULUM ESTABLISHED, BUT INTENTAMOS CONDUCT AND PROPOSALS FOR IMPROVEMENT OF THIS WAY MODIFICAMOS Or AMPLIAMOS OBJECTIVES AND DEVELOPED BY THE CONTENT MANAGEMENT EDUCATION IN CONNECTION WITH THE MUSICAL IMPROVISACIÓN. THE TEACHING METHOD IS ALMOST TWO TERCIOS OF THE THESIS, PROPORTION TO RESULT EXAGERADA IF WE HAVE IN MIND THAT WE HAVE ESFORZADO AT PRESENT NEW MATERIAL OR GIVE YOU A NEW APPROACH IN PLACE REPEAT OF CONTENT AND ASIMILIADOS BY THE TRADITION THAT CONVERTIRÍAN THIS WORK IN JUST ONE COMPILATION. THE RESULT IS A PROPOSAL PEDAGÓGICA RESPONDS TO BOTH THE SUMMARY OF METHODS AND CONCRECIÓN FOR INDIVIDUAL CONTRIBUTIONS AS AN APPROACH TO THE IMPLEMENTATION OF STAFF PEDAGÓGICA OF IMPOVISACIÓN MUSICAL AND A RENDERING ORIGINALIAD AND CREATIVITY. IN FINAL IN THIS INVESTIGATION HAS TRIED TO ADAPT THE MUSICAL PEDAGOGÍA LESSONS FROM GENERAL SCHEME FOR THAT ELABORAMOS A METHOD OF OWN IMPROVISACIÓN MUSICAL AND ESTABLECEMOS AN EDUCATIONAL LEVEL AS CONCRETE IS THE SECONDARY EDUCATION MUST.

Author: RAMÍREZ RODRÍGUEZ CARMEN.
Year: 2005.
University: ALMERÍA.
Place of defense: F.DE HUMANIDADES Y C.E..
Place of preparation: FACULTAD DE HUMANIDADES Y CIENCIAS DE LA EDUCACIÓN.

Summary: The unstable situation decadent Spain along the nineteenth does not correspond to the hegemony and splendor of centuries ago. The Napoleonic invasion of the troops, triggering a civil war in 1833, dividing the nation on the death of Ferdinand VII, in two warring by the succession to the throne; loss of the last belongings overseas in 1898 The immediate popular disappointment, the overwhelming illiteracy rate, the unanimous condemnation by the dominant views or derogatory own vision and agorera of their peers, were sufficient to address the causes century, up nearly thirty years ago in terms surface. The music, as part of that fabric in crisis, was not relieved of these valuations, and, unlike the treatment musicology international accords to other periods, gave aside for the time. Until then, the main academic center and creacional had been the Church. Now, following the siege galo, the advent of the golden age of liberalism, the triumph of the bourgeoisie, the process desamortizador, ratification of the concordat between the state and the Holy See in 1851, and the revolution of 68, he had come unless and was neither his shadow. However, investigators continued searching for music production walls between church and gelled his attention in the past, leaving orphan adequate information to the process that we lies precisely when, among the last third nineteenth and the first three of nine hundred fifteen years, our music combined with the customary literature, dance, pantomime and decorative arts, acquires a rabid dynamism and some signs of identity own in the theater, inspired directly or indirectly in the traditional folklore homeland and the urban rhythms, using the ball dancing both old and newly imported. In this regard, studies on contemporary Spanish theater in general and those of his lyrical version, in particular, have become accustomed to focusing on the environment in Madrid. The provinces, despite the growing activity historiography and the gradual emergence of articles and publications monographic isolated, remain the unfinished business where drowses an important heritage literario-musical unexplored, pending a thorough investigation can shed a vision confrontable of set. Accordingly, the present work, was born with the aim of providing an overview of gender lírico-teatral in Almeria during the time of the Restoration (1875-1931) as a phenomenon inherent in the fashion anímica of that society and also clarify empty Biographical composers, singers, actors, painters escenógrafos, comediográfos, writers, professionals and music lovers this corner of eastern Andalusia, penetrating in its nascent stages, spaces and structures. For all these reasons and in the absence of previous studies, consultation and slow emptying of the primary sources documentaries and hemerográficas that guard the files not only capital but also national, has been irreparable, irreplaceable and important value to obtain the transcript and analysis a vast legacy documentary, the presentation of photographs, cartoons, etchings and other instruments iconographic of the protagonists, the listing and subsequent examination of the compositions lírico-teatrales authoring found locally, and the detailed description intervals stay in the city of payrolls founders prices entertainment; filias, phobias and reactions from the public through the criticism and chronic left printed in the press semblantes Highlights of citizenship, and the documentation of nine hundred and sixty-one works on the scene with their release dates and exhibition.