Orientador: Adriana Giarola Kayama / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-07-26T19:41:26Z (GMT). No. of bitstreams: 1 Ferrari_SusanaNeto_M.pdf: 22689206 bytes, checksum: f7a9949c0c3bb266449464bf09b233c2 (MD5) Previous issue date: 1999 / Resumo: Este trabalho tem como proposta o estudo biográfico do pianista Fritz Jank (1910 ¿ 1970), considerando suas atividades como professor, solista e acompanhador, bem como sua importância para o desenvolvimento musical da época. Paralelamente à carreira solista e pedagógica, sua trajetória musical revelou e notabilizou o papel do acompanhador do Brasil. Devido a este pioneirismo, buscamos estudar a atuação e prática musical de Jank e, através destes dados, detalhamos os principais aspectos inerentes ao acompanhamento e à formação do pianista acompanhador. A biografia de Fritz Jank foi estudada a partir de entrevistas, biografia e programas de concerto, além do material pertencente a seu acervo pessoal / Abstract: The main purpose of this work is the biographical study of the pianist Fritz Janke (1910 ¿ 1970) based, primarily, on his activities of teacher, soloist, and accompanist, as well as his importance to the Brazillian musical environment at the time. Along side his career as soloist and pedagogue his role as accompanist heightened this musical activity in Brazil. Because of his talent as an accompanist, innumerous aspects of his musicianship were detected and discussed individually. These aspects as well as Fritz¿s biography, were developed through interviews, biographies, program notes, and photographs, letters, diary, new articles, programs and musical scores encountered in his personal belongings / Mestrado / Mestre em Música

Orientador: Mauricy Matos Martin / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-19T14:57:39Z (GMT). No. of bitstreams: 1 AraujoFilho_AlfeuRodriguesde_D.pdf: 22030067 bytes, checksum: 1bf7c053f691cc3b238e16e66e0a3ff8 (MD5) Previous issue date: 2011 / Resumo: A pesquisa descreve, inicialmente, o conceito do compositor Edmundo Villani- Côrtes. O foco principal está em apresentar um estudo analítico dos Timbres e Ritmatas do compositor em questão, sob o ponto de vista da prática interpretativa. Constam, nos anexos, os manuscritos (documento Histórico); as partituras digitalizadas; a musicografia e a discografia do compositor em ordem cronológica / Abstract: This research initially describes the concept of the composer Edmundo Villani- Côrtes. The main focus is to present an analytical approach from the composer's Timbres and Ritmatas, taking the performance into consideration. Manuscripts (historical document), digitized music scores and a compilation of the composer's musical pieces and records, were included in this work annex in chronological order / Doutorado / Praticas Interpretativas / Doutor em Música

Orientadores: Mauricy Matos Martin, Fernando Augusto de Almeida Hashimoto / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-20T17:54:10Z (GMT). No. of bitstreams: 1 Alves_AlinedaSilva_M.pdf: 21332609 bytes, checksum: 1b443b99d62f525e34fc7498035908ae (MD5) Previous issue date: 2012 / Resumo: Este trabalho aborda a peça Variações Rítmicas opus 15 para piano e percussão típica brasileira do compositor Marlos Nobre. Seu objetivo principal foi realizar um estudo analítico e um mapeamento histórico da peça a fim de proporcionar ao intérprete uma maior intimidade com a obra a ser executada. A metodologia divide-se em duas partes: estudo do contexto histórico sob o qual a obra foi criada e o estudo analítico da obra musical e do seu estilo através da análise da partitura. O estudo do contexto histórico foi realizado a partir de trabalhos que enfocam a biografia sobre o compositor, a revisão da literatura sobre sua obra e de trabalhos que abordam a história da música no Brasil. O estudo analítico teve como referência o trabalho de Jan LaRue (1998) que enfoca o estilo musical através de um estudo descritivo dos elementos musicais que compõem a peça. As sugestões de execução para o pianista, que se encontram no decorrer do texto de estudo analítico, abordam aspectos relacionados à utilização dos pedais, à equalização sonora e às questões técnico-motoras. Na conclusão foi evidenciado como o compositor relacionou elementos dodecafônico-seriais de composição com elementos rítmicos brasileiros e também em quais aspectos o estudo analítico contribuiu diretamente para a execução pianística. Os resultados demonstraram que Variações Rítmicas opus 15 é uma peça que foi claramente influenciada pelo entorno cultural vivido pelo compositor no início dos anos 1960 e, apesar de ser uma peça de juventude, apresenta traços marcantes do estilo composicional de Marlos Nobre como a técnica de variação contínua e o uso de elementos nacionais / Abstract: The historical study was based on the literature concerning the This dissertation deals with the composition Variações Rítmicas opus 15 para piano e percussão típica brasileira [Rhythmic Variations Opus 15 for Piano and Typical- Brazilian Percussion] by Marlos Nobre. Its main objective is to provide an analytical and historical study thus giving the interpreter more detailed knowledge of the piece for performance. The methodology adopted is divided in two parts: a study of the historical context in which the piece was composed and an analytical study of its style through an analysis of the score. composer's biography and his musical output, as well as the music historical context of Brazil. The analytical study is based mainly on the work of Jan LaRue (1998) which focuses on musical style through a descriptive approach of the musical elements that make up the composition. Suggestions of e xecution for the pianist, provided throughout the analytical study, deal with aspects related to pedaling, voicing and technical - motor issues. The conclusion demonstrates how the composer relates twelve - tone serialism to Brazilian rhythmic elements and also in which ways the analytical study contributes directly to the performance of the piano part. The results demonstrate that the Variações Ritmicas Opus 15 is a composition clearly influenced by the cultural environment lived by the composer in the beginning of the 1960's, and although it is a work from his youth, it still presents striking traces of Marlos Nobre's compostional style such as continuous variation and the use of nationalist elements / Mestrado / Praticas Interpretativas / Mestre em Música

Orientador: Mauricy Matos Martin / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-03T23:24:41Z (GMT). No. of bitstreams: 1 GomesFilho_Tarcisio_M.pdf: 6834609 bytes, checksum: fe878e865eca95f589db85f01f822b7e (MD5) Previous issue date: 2004 / Resumo: A pesquisa propõe a abordagem do idioma pianístico de Heitor VilIa-Lobosem quatro peças que representam parte da produção do compositor. Na busca deste idioma, foram analisadas as seguintes peças: A Lenda do Caboclo (1920), -Choros n.5 - Alma Brasileira (1925), Valsa da Dor (1932) e Poema singelo (1942). Além das considerações da estrutura musical, as peças são também analisadas sob o ponto de vista da técnica pianística, com a intenção de elaborar um roteiro, que contenha o levantamento dos principais problemas técnicos e suas resoluções. Este trabalho Justifica-se pelo caráter didático direcionado ti professores e alunos de piano, gerando um modelo de abordagem pianística voltado ao estudo e à execução. A metodologia abarca três pontos principais: o levantamento histórico sobre o compositor, por meio de uma revisão bibliográfica, a análise da estrutura musical e o estudo pianístico. A conclusão aponta as principais características do idioma pianístico do compositor, tanto no que se refere à estrutura das obras, quanto ao tratamento conferido ao piano. Também mostra que é possível se esquematizar, passo a passo, todo um processo de estudo, visando preparar uma performance embasada, para que o leitor possa então utilizar os modelos aqui propostos em outras peças / Abstract: This paper proposes an approach to the pianistic style of Heitor Villa-Lobos using four of his piano pieces. In the search to find his pianistic style the following pieces were analysed: A Lenda do Caboclo (1920), -Choros n.5 - Alma Brasileira (1925), Valsa da Dor (1932) e Poema singelo (1942). Besides taking in consideration musical structure, an examination of the pianistic aspects involved were taking in consideration with the purpose of providing an outline of possible difficulties and suggestions for its solutions. The methodology uses three elements: historical survey of the composer, structural analyses and pianistic approach. The conc1usion points out the main elements of the structure of the pieces as well as the characteristics of the piano writing. It also shows that is possible to organize step by step a study procedure that the reader can utilize in the preparation of other works as weIl / Mestrado / Mestre em Música

Please read the abstract in the dissertation / Dissertation (MMus)--University of Pretoria, 2010. / Music / unrestricted

This analytical study of Elliott Carter's Piano Sonata focuses on middleground structural aspects found in the work such as phrases, phrase groupings, cadences and note collections. These are examined under four main headings: The Articulation of Phrases looks at the division of large passages into phrases, showing the various ways in which new phrases are marked. These include sudden changes in texture and register, restatements of thematic material, and recurring characteristics that appear at important cadential points. The Unification of Extended Passages by Middleground Stepwise Motion focuses on the rising linear motion that connects the individual phrases of many of these larger passages. Correlations between thematic material and phrase contours are also explored. The Relationship of Vertical Intervals and Note Collections to the Character and Phrase Rhythm of Particular Passages further examines phrase articulation by means of changes in note collections, with distinctions among phrases arising from the correlation of consonant vertical intervals with passages of linear motion and dissonant vertical intervals with passages that are more static. Anticipation and Overlapping of Materials describes an important aspect of the Sonata's overall structure in which themes and motives, as well as characteristic intervals of these materials are used to link the two movements of the work by a network of anticipations and flashbacks. An examination of the final climactic Maestoso section of the first movement (mm. 252-264) provides a summary of the various compositional aspects described in this study. / Arts, Faculty of / Music, School of / Graduate

No abstract available. / Dissertation (M Mus (Performing Art))--University of Pretoria, 2007. / Music / unrestricted

AFRIKAANS: Gebore en getoeë in 'n omgewing waar die besondere uitdagings grondliggend aan die musikale kunsvorm van begeleiding nie erken is nie, maar eerder as 'n vanselfsprekendheid by pianiste gereken is, het 'n toenemende behoefte aan toepaslike leiding en opleiding die teelaarde vir die tersaaklike studie gevorm. Aansluitend hierby is mettertyd bevind dat die klimaat in Suid-Afrika in die reël van sodanige aard was dat begeleiding as onafhanklike en selfstandige beroepskeuse selde waardig genoeg geag is om beroepsgerigte onderwys en gespesialiseerde opleiding in die veld te regverdig. Daarom is die aanvangsondersoek van hierdie studie primêr geloods as 'n kritiese beskouiing van die funksionaliteit van die teenwoordige opset van begeleieropleiding in Suid Afrika. Meer spesifiek behels die genoemde aanvangsondersoek 'n indringende ondersoek na die toelatingsvereistes vir ensemble-gerigte kursusse, soos vervat in die sillabusse van 'n geselekteerde aantal sekondêre en tersiêre instansies landwyd. Voorts is die vak-inhoudelike sowel as moontlike blootstellingsgeleenthede aan ensemble-aktiwiteite onder die loep geneem. Die resultate in hierdie verband was teleurstellend en is die fokus verskuif na die samestelling van 'n vraelys as inligting-insamelingsinstrument. Die oogmerk van genoemde vraelys was hoofsaaklik die inwinning van persoonlike opleidingservaringe van die betrokke proefpersone sowel as 'n toekomsvisie rakende die opleiding van begeleiers-van-môre. Hoewel die opname-respons laag was, het waardevolle inligting die groeiende dringende behoefte aan sinvolle rigtinggewing in die toepaslike veld onderstreep. Die soekende openbare krag van die tweesnydende swaard is vervolgens immer dieper in die wese van die begeleier ingedring. 'n Geriefsteekproef erkende begeleiers is vir onderhoude genader. In die proses is gepoog om enersyds waarlik op hoogte te kom van hul siening met betrekking tot die samestelling van en vereistes vir 'n voornemende beroepsbegeleier tot op hede. Andersyds is gefokus op die persoonlike voorkeure rondom 'n beroepskeuse in die begeleidingsveld en 'n eiesoortige inkyk in hul beroepsbelewenis te kry. Weer eens is groot klem geplaas op hul siening van die opleiding van toekomstige begeleiers. Verblydende terugvoer is deurgaans ontvang. Die opregte ywer en toegewyde entoesiastiese betrokkenheid van die spesialiste in die tersaaklike veld verdien besondere vermelding. So ook hul besef van die reuse taak tot verantwoordelike vorming van gewillige studente in die rypingsproses tot musikaal-sinvolle uitvoerders wie se interpretasie en toepassing van stylbegrip die musiseringsvlak in samespel situasies aanmerklik kan verryk en verfraai. Ten slotte is al die voorafgaande inligting oor die funksionele opleiding van begeleiers tot op hede afgewissel met 'n verfrissende blik op die moontlike prag van ‘n ideaIe werklikheidsituasie. Voortvloeiend hieruit is die Iigpunte in die Suid-Afrikaanse bestel saamgetrek om aanvullend daartoe bepaalde aanpassings voor te stel en vars idees daaraan toe te voeg. Kortliks behels die genoemde voorstellle 'n ontvanklike en eerlike kyk na die verlede, om daaruit te kan leer; 'n kritiese beoordeling van die hede, om daaruit te kan groei, en 'n uitsig op die komende tyd, om daarin die oopblom van geleenthede, die vorming deur ervaringe en die heerlike geur van ware toonkunstenaarskap te mag ontmoet. ENGLISH: In an environment where the particular challenges inherent to the musical art form of accompaniment have never been acknowledged, but rather naturally attributed to pianists, a growing need of well-directed guidance and training has given rise to the study concerned. In the course of the study it gradually came to light that the general climate in South Africa has seldom allowed accompaniment to be viewed as an independent and autonomous career choice worthy of career-orientated, specialized training. Accordingly, this study was initially launched as a critical evaluation of the functionality of the present situation involving the training of accompanists in South Africa. More specifically, the initial investigation concerned an incisive analysis of the entrance requirements pertaining to ensemble-directed courses, as contained in the sillabi of selected secondary and tertiary institutions from all over South Africa. Furthermore, the subject content as well as potential opportunities of exposure to ensemble activities was scrutinized. Since the results revealed a disappointing situation, a questionnaire was compiled in order to gather information. This questionnaire was mainly meant to capture the respondents' personal experiences regarding training, as well as their views on the future training of accompanists. Although the response was low, valuable information came to the fore, emphasizing the growing and urgent need of meaningful direction in the field concerned. The searching blade of the double-edged sword was now driven into the very being of the accompanist. A convenience sample of acknowledged accompanists was interviewed. On the one hand a serious attempt was made to gauge their current views regarding the composition and required characteristics of an accompanist-to-be. On the other hand, the focus fell on their personal preferences regarding a career choice in the field of accompaniment and on the particular way they experienced their careers. Once again, special attention was paid to their vision of the training of future (career-oriented) accompanists. On the whole, the feedback was gladdening. The sincere devotion and enthusiastic involvement of these specialists in the field must be specially mentioned. The same applies to their awareness of the mammoth responsibility resting on their shoulders, namely that of helping willing students mature until they are able to execute works of music in a meaningful way, interpreting and applying their understanding of style in a manner which enhances their musical interaction with others. Finally, the preceding information concerning the current state of the functional training of accompanists is enlivened by an invigorating vision of an ideal situation. The rays of light within the South African context are drawn together in order to facilitate the suggestion of certain adjustments and fresh ideas. In short, these suggestions involve an open-minded and honest view of the past, in order to learn from it; a critical evaluation of the present, in order to facilitate new growth; and a vision of the future, in order to recognize the flowering possibilities, the shaping of experiences and the delicate fragrance of true musicianship. / Dissertation (MMus(Chamber Music))--University of Pretoria, 2007. / Music / unrestricted

This thesis presents a recording of seven jazz compositions as performed in the author’s Master’s Recital on March 24, 2012. One of the compositions is my own, and four others are my own arrangements. The present paper includes scores of the original compositions and arrangements as well as program notes that offer historical background, summaries of the form, and observations on performance practice for each selection. I have sought to explore systematically explore the multiple roles of the double bass as a functional, supportive, and melodic instrument in a jazz piano trio. The seven compositions present the full range of challenges the double bassist must face in a small group setting. I explore different approaches and musical concepts that enable a high level of improvised music performance, without disregarding its ties to tradition.

abstract: Pacific Suite (2016) is a four-movement work for solo piano composed by the author of this paper, Holly Kordahl, that incorporates elements of several musical idioms, including Impressionism, tintinnabuli (as in the music of Arvo Pärt), post-modernism, minimalism and improvisation. This Doctorate of Musical Arts project consists of a descriptive paper, analysis, score and recording. The piece features varying levels of performer independence and improvisation along with notated music. Each movement is named after a different environment of the Pacific Ocean: Great Barrier Reef, Mariana Trench, Sunlit Zone, and Bikini Atoll. Pacific Suite is engaging to mature pianists and accessible to students. The score of Pacific Suite is a blank canvas in some ways; almost all dynamics, tempi, pedaling, and fingerings are to be determined by the performer. The first movement, Great Barrier Reef, presents different musical vignettes. The second movement, Mariana Trench, requires the performer to improvise extensively while following provided instructions. The third movement, Sunlit Zone, asks the performer to improvise on a theme of Debussy. The final movement, Bikini Atoll, illustrates events of nuclear testing at Bikini Atoll in the 1940s. / Dissertation/Thesis / I. Great Barrier Reef / II. Mariana Trench / III. Sunlit Zone / IV. Bikini Atoll / Doctoral Dissertation Music 2020