The Louisiana Sinfonietta, a new orchestral model, and an original composition, Concerto for Guitar and Symphony Orchestra, Op. 12

This dissertation is divided into two parts. Part one is a historical paper about the chamber orchestra known as The Louisiana Sinfonietta and is divided into seven chapters. In the introduction I explain the methods used to conduct this research. Chapter one is an introduction that discusses the problem of the possible end of the long tradition of the symphony orchestra. Chapter one also investigates how the organizational model used by the Louisiana Sinfonietta may be a sign of a new orchestral model, one that may solve many of the problems that orchestras are facing today. Chapters two, three, and four investigate the history of the orchestra from 1981 until 2009. Chapter five outlines the Louisiana Sinfonietta repertoire. In this chapter I compare what the Louisiana Sinfonietta performs and what the average orchestra in the United States performs. Chapter six is a series of five interviews with people concerning the history of the Louisiana Sinfonietta. Chapter seven presents conclusions based on the preceding chapters. Part two is an original composition: Concerto for Guitar and Symphony Orchestra, Op. 12. The piece is scored for symphony orchestra and solo guitar and is divided into five movements in which I use different orchestral combinations in order to create different colors and atmospheres. My main compositional influences were Igor Stravinsky, Alban Berg, Heitor Villa-Lobos, and Dinos Constantinides

Crime and punishment: one act ballet

Crime and Punishment: One Act Ballet is a ballet for full orchestra and soloists based on the novel Crime and Punishment by Russian writer Fyodor Dostoevsky. The form of the piece is based on the form of the novel, but as the means of literature are different of the means of music, an adaptation of the plot of the novel was revealed necessary. Only the most significant happenings in the plot of the novel are present in the piece. All passages in which a description of psychological characteristics of the main characters is presented in the novel were translated into musical images. Crime and Punishment: One Act Ballet is orchestrated to full orchestra and soloists. The soloists represent the main characters which also are represented by the soloist dancers. So, each of the main characters are represented in two ways exactly like it happens in Igor Stravinsky’s Le Noces. The piece is divided in three scenes. In the first scene the main character, Rodion Raskolnikov, is presented in his many different facets. In the second scene Raskolnikov goes to see the pawnbroker Aliona Ivanovna. He has a long dialog with her and ends up killing her. In the third scene Raskolnikov meets Marmeladov and after takes him home where he meets Sonia, Marmeladov’s daughter. After a while he decides to tell Sonia about the murder and to turn himself in. He goes to the prison in Siberia where the story comes to an end. Although the piece is meant to be staged as a ballet it can be played in a concert hall as concert music. Maurice Ravel’s Daphnis and Chloe; Claude Debussy’s Prelude of an Afternoon of a Faun; Igor Stravinsky’s The Rite of Spring, Petroushka and Les Noces; are the ballets that mainly influenced the composition process of this piece. The main compositional techniques are octatonic scales, functional harmony and chord superpositions, polytonality, clusters, leitmotivs and twelve-tone. The orchestration style and polytonality are influences from Stravinsky. Twelve-tone is an influence from the Second Viennese School and the use of clusters an influence from Ligeti and Penderecki

Electron-positron energy deposition rate from neutrino pair annihilation in the equatorial plane of rapidly rotating neutron and quark stars

The neutrino-antineutrino annihilation into electron-positron pairs near the surface of compact general relativistic stars could play an important role in supernova explosions, neutron star collapse, or for close neutron star binaries near their last stable orbit. General relativistic effects increase the energy deposition rates due to the annihilation process. We investigate the deposition of energy and momentum due to the annihilations of neutrinos and antineutrinos in the equatorial plane of the rapidly rotating neutron and quark stars, respectively. We analyze the influence of general relativistic effects, and we obtain the general relativistic corrections to the energy and momentum deposition rates for arbitrary stationary and axisymmetric space-times. We obtain the energy and momentum deposition rates for several classes of rapidly rotating neutron stars, described by different equations of state of the neutron matter, and for quark stars, described by the MIT bag model equation of state and in the CFL (Color-Flavor-Locked) phase, respectively. Compared to the Newtonian calculations, rotation and general relativistic effects increase the total annihilation rate measured by an observer at infinity. The differences in the equations of state for neutron and quark matter also have important effects on the spatial distribution of the energy deposition rate by neutrino-antineutrino annihilation.Comment: 29 pages, 6 figures, accepted for publication in MNRA

A MÚSICA DE ARNOLD SCHOENBERG E SUAS RESSONÂNCIAS NA FILOSOFIA DE LUDWIG WITTGENSTEIN. (Dossiê: Música, Linguagem e Sociedade)

eoi/doi Deposit-Electronic Object Identifier http://eoi.citefactor.org/10.11248/ehum.v9i1.1852   Resumo. O presente artigo aborda como as características peculiares existentes na cultura vienense no fim do século XIX fizeram com que muitos artistas e intelectuais, incluindo Schoenberg e Wittgenstein, se auto-influenciassem em um processo que culminou uma crítica radical da linguagem e da sociedade.  Palavras Chave: Schoenberg, Wittgenstein, Música no Século XX, Crítica da Linguagem, Música e Linguagem, História da Música no Século XX.  Abstract. In this article the author describes how some peculiar characteristics common on Viennese society at the end of the nineteenth century lead to a mutual interest in the artistical and intellectual métier about the necessity of promoting a radical critique of language and also a critique of their society.   Keywords: Schoenberg, Wittgenstein, Twentieth Century Music, Critique of Language, Music and Language, Twentieth Century Music History. Recebido em: 06/06/2016  – Aceito em 18/07/201

Forma e estrutura na música ocidental: uma introdução a algumas das formas mais recorrentes na música europeia dos séculos XVII e XVIII

Resumo: O presente artigo apresenta de forma clara e resumida algumas das formas musicais mais recorrentes na música de concerto ocidental, a saber: sonata barroca, forma binária, forma ternária composta, ternária simples, rondó e forma sonata.   Abstract: This article presents an overview of the most important musical forms present in the Western Music Tradition, which are: the baroque sonata, binary form, compound ternary form, simple ternary form, rondó, and sonata form.   Keywords: Musical forms; music analysis; western music; sonata form

A MÚSICA DE ARNOLD SCHOENBERG E SUAS RESSONÂNCIAS NA FILOSOFIA DE LUDWIG WITTGENSTEIN. (Dossiê: Música, Linguagem e Sociedade)

eoi/doi Deposit-Electronic Object Identifierhttp://eoi.citefactor.org/10.11248/ehum.v9i1.1852 Resumo. O presente artigo aborda como as características peculiares existentes na cultura vienense no fim do século XIX fizeram com que muitos artistas e intelectuais, incluindo Schoenberg e Wittgenstein, se auto-influenciassem em um processo que culminou uma crítica radical da linguagem e da sociedade. Palavras Chave: Schoenberg, Wittgenstein, Música no Século XX, Crítica da Linguagem, Música e Linguagem, História da Música no Século XX. Abstract. In this article the author describes how some peculiar characteristics common on Viennese society at the end of the nineteenth century lead to a mutual interest in the artistical and intellectual métier about the necessity of promoting a radical critique of language and also a critique of their society. Keywords: Schoenberg, Wittgenstein, Twentieth Century Music, Critique of Language, Music and Language, Twentieth Century Music History.Recebido em: 06/06/2016  – Aceito em 18/07/201