Submitted by Nilson Nascimento Souza (nilson@ufba.br) on 2013-08-21T15:04:46Z No. of bitstreams: 1 Dissertação - Solon Santana Manica - 2012.pdf: 14031890 bytes, checksum: 5a9846b7f0d576c3864e61f2cbb1286d (MD5) / Made available in DSpace on 2013-08-21T15:04:46Z (GMT). No. of bitstreams: 1 Dissertação - Solon Santana Manica - 2012.pdf: 14031890 bytes, checksum: 5a9846b7f0d576c3864e61f2cbb1286d (MD5) / Esta pesquisa tem por objetivo delinear relações possíveis entre intérprete/obra/compositor, intermediados pelo ato editorial, enfocando os aspectos éticos presentes no processo interpretativo musical na tradição de música de concerto ocidental. A investigação desenvolve-se através do trabalho de revisão editorial da parte de flauta da Sonatina para Flauta e Violão de Radamés Gnattali, problematizando questões teóricas sobre o ato interpretativo - que envolvem tanto o editor como o músico - através do estudo de fontes para a obra, e as consequências de decisões editorias para a transmissão da mesma dentro de critérios éticos. / Salvador

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Orientador: Antonio Rafael Carvalho dos Santos / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-09T10:35:26Z (GMT). No. of bitstreams: 1 Albrecht_CintiaCostaMacedo_D.pdf: 44175720 bytes, checksum: 9801bce13d41818413cd0f5794b907d5 (MD5) Previous issue date: 2006 / Resumo: Com o intuito de contribuir para uma bibliografia ainda escassa de trabalhos sobre a performance de obras de compositores brasileiros, este trabalho tem como objetivo principal a performance e a gravação das Sonatinas n.1, n.2 e n.3 para piano de Almeida Prado, por meio do estudo individual, aulas com o compositor e a aplicação de diferentes técnicas de análise musical. As obras foram submetidas a um processo de etapas de estudo divididas em duas grandes fases 1: a primeira com comparações entre os resultados obtidos antes e depois do contato com o compositor e a segunda com técnicas de análise musical baseadas na Teoria dos Conjuntos de Sons. Gravações foram realizadas nas etapas 1, 3 e 5, possibilitando a escuta das modificações ocorridas durante o estudo. Anexos ao trabalho estão um glossário com traduções e definições de termos usados nas análises musicais da segunda fase, partituras das Sonatinas digitalizadas após as revisões e um compact disc com as gravações / Abstract: Seeking to contribute to a scarce bibliography of works about the performance of Brazilian music, this work targets the performance and recording of Almeida Prado's Sonatinas n.1, n.2 and n.3 for piano through studies alone, classes with the composer, and the application of different music analytical tools. The pieces went 7 Almeida Prado, Jose Antonio R. de (Jose Antonio Resende de).through a process of study stages, divided in two larger phases2: the first, with comparisons between the obtained results before and after the contact with the composer and the second, with the music analytical tools based on the Pitch Set Class Theory. Recordings were made during stages 1, 3 and 5 with the modified results. In addition to this work is a glossary with translations and definition of terms from the second phase's musical analysis, edited scores of the Sonatinas after their revision and a compact disc with the recordings / Doutorado / Doutor em Música

Made available in DSpace on 2016-12-08T17:06:52Z (GMT). No. of bitstreams: 1 Ester.pdf: 5980620 bytes, checksum: fc53239d0e57e20b60f20ae83040ff87 (MD5) Previous issue date: 2010-05-14 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This dissertation addresses the relationship between nationalistic discourse and composition in the context of Brazilian nationalistic musical tendencies in the twentieth century, focusing on the Sonatinas for piano by Camargo Guarnieri. Bibliographic research relating to nationalism, utilizing publications in the areas of Social Sciences and Musicology, raised questions which were later discussed in relation to the object of study. Musical analysis of the Sonatinas was realized, summarizing the typically Brazilian elements and the treatment given by the composer to these elements. The recurrence of several elements considered typically Brazilian, chosen and transformed by the composer, was observed in the Sonatinas. However, it was also noted that a gradual separation from more popular elements took place during the 54 years in which the Sonatinas were produced (1928 1982). Although such elements remained present, they became less and less obvious, sharing space with polyphonic, chromatic and non-tonal language / Esta dissertação trata da relação entre discurso nacionalista e prática composicional no contexto do nacionalismo musical brasileiro ocorrido no século XX e tem como objeto de estudo as Sonatinas para piano do compositor Camargo Guarnieri. Através de pesquisa bibliográfica a respeito da temática do nacionalismo, utilizando escritos de autores das Ciências Sociais e da Musicologia, foram levantadas questões posteriormente discutidas no âmbito do objeto de estudo. Para isso, foi realizada análise musical das Sonatinas, levantamento dos elementos considerados tipicamente brasileiros e o tratamento dado pelo compositor a estes elementos. Foram encontrados alguns elementos considerados como tipicamente brasileiros constantes nas Sonatinas. Observou-se, entretanto, no decorrer dos 54 anos em que foram produzidas as Sonatinas (1928-1982), um gradual afastamento do compositor em relação aos elementos de fonte popular. Embora tais materiais estejam sempre presentes, eles tornam-se cada vez menos óbvios no interior de uma linguagem própria do compositor

This dissertation proposes that the Sonatine broadly unfolds a kinetic structure that stems from the traditional tension-relief model and, consequently, its dependence on tradition proves much deeper than Boulez would acknowledge.

abstract: Puerto Rican composers Hector Campos Parsi (1922-1998) and Jack Delano (1914-1997) form an integral part of the nationalistic school of composition that revolutionized the island during the mid to late twentieth century. They both sought to combine Western Classical composition techniques with folkloric and traditional musical elements from Puerto Rico. In doing so, not only did they transform the way Western Classical music was made on the island, but they also brought validation and recognition to Puerto Rico’s culture as well as folkloric and popular musical heritage. Furthermore, both of these composers wrote works for violin and piano that form an important part of Puerto Rico’s musical legacy. This research document presents biographical studies of both composers, as well as studies of Hector Campos Parsi’s Sonatina No. 2 for Violin and Piano, and Jack Delano’s Sonata for Violin and Piano. In addition, this document includes the first ever printed edition of Jack Delano’s Sonata for Violin and Piano, as well as a copy of the out of print Peermusic edition of Campos Parsi’s Sonatina No. 2 for Violin and Piano. This document also presents detailed charts of discrepancies and corrections to both scores. With the gathering and presentation of this biographical and musical information, this research document seeks to bring international recognition to two important Puerto Rican nationalistic composers, Hector Campos Parsi and Jack Delano; spark an interest in their two little-known works for violin and piano (Campos Parsi’s Sonatina No.2 for Violin and Piano and Jack Delano’s Sonata for Violin and Piano); as well as make these two works more accessible to performers, educators, and the general public alike. / Dissertation/Thesis / Doctoral Dissertation Music 2018

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The aim of this thesis is to explore life, works and pedagogical benefits of the Russian composer Dmitry Borisovich Kabalevsky. I would also like to focus on children's piano instructive literature by D. Kabalevsky because it is very appreciative recitative methodological material widely used at elementary schools of art. The thesis also includes a methodological analysis of instructive compositions, formal analysis of piano sonatas and concertos aesthetic analysis.

The three recitals consisted of performances of original twentieth century solo works for trombone with the exception of two trombone quartets, Adagio, by C. Saint-Saëns, arranged by Ken Murley, and Sonata by Daniel Speer. The lecture recital establishes the position of Kazimierz Serocki (1922-1981) as a major composer not only in Poland but in the rest of the world as well. His many works cover a wide spectrum of styles and genres. The solo trombone works, in particular, are among his most often performed works from his early neoclassic period. The lecture is also an attempt to illuminate the role of neoclassicism in Poland through a brief discussion of Polish neoclassicists, Grażyna Bacewicz and Michael Spisak, and other composers before and after World War II including Constantin Regamey and Roman Haubenstock-Ramati. An analysis of the two solo trombone works, Sonatina and Concerto, shows the technique of composition used by Serocki and the demands placed upon the performer by the music. These works were among the first in a growing list of works for solo trombone composed in response to the notable lack of large scale works of quality for solo trombone during the early twentieth century. The high quality of performance demanded by these works did much to advance the trombone as a solo instrument in the twentieth century.