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Este estudo investiga a identidade profissional do professor particular de piano a partir da análise de sua trajetória docente, tendo como método de pesquisa a história oral. Através de entrevistas com 13 professores, de 62 a 79 anos de idade, atuantes na cidade de Porto Alegre, o trabalho analisa os vários processos de formação, as idéias, os valores e as concepções dos professores sobre a profissão, tomando como referencial teórico os estudos de NÓVOA (1995), HUBERMAN (1995) e SCHÕN (1983, 1995). Os resultados obtidos mostram que os professores particulares de piano que participaram desse trabalho possuem concepções claras sobre a profissão, assumem os limites e dificuldades encontrados no exercício dessa atividade profissional, e, sobretudo, estão atentos às mudanças que foram ocorrendo durante os anos de trajetória docente, indo ao encontro das necessidades do aluno em aprender música, avaliando e reajustando suas formas de ver e de proceder. Esse trabalho desmistifica a idéia de que o professor particular está descomprometido com seu papel como profissional.

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Submitted by Erika Demachki (erikademachki@gmail.com) on 2014-09-08T20:49:14Z No. of bitstreams: 2 Jonathan Taylor de Oliveira - 2014.pdf: 6874426 bytes, checksum: f8916385ae58a9b51e0a55502aea7a8a (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Made available in DSpace on 2014-09-08T20:49:14Z (GMT). No. of bitstreams: 2 Jonathan Taylor de Oliveira - 2014.pdf: 6874426 bytes, checksum: f8916385ae58a9b51e0a55502aea7a8a (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Previous issue date: 2014-03-29 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This work discusses the performance of the extended techniques found in three Brazilian pieces for solo piano composed in the 21st Century in light of this researcher’s musical upbringing, which did not include repertoire with extended techniques. The pieces selected are Pó (2008), by Liduino Pitombeira (1962- ), Prélude VII (2008), by Marcílio Onofre (1982), and Pianimbau (2011), by Daniel Wolff (1968). The criteria for selecting the pieces were a contrasting compositional language between the pieces and that they should not be for beginner or intermediate levels. These pieces were the object of both parts of this research: Part A, in which the pieces were studied and prepared for the final recital, and Part B, which consists of a written record of the research. The historical context of the extended techniques found in the selected pieces, based on authors such as Stone (1980), Costa (2004), Burge (2004) and Ishii (2005), guided the investigation of the technical and interpretative aspects of the pieces. The discussions dealt with the following topics: type of extended technique, notation, dynamics, region of the piano on which a technique is performed, ways to perform a technique, parts of the body that are used, physical structure of the piano, materials used, and the sound resulting from the use of a technique. The research that was undertaken made it possible to conclude that the performance of these techniques within the established parameters involved the adaptation of technical abilities acquired previously during this researcher’s musical upbringing, as well as the development of new abilities. This research also revealed that extended techniques are present in the piano repertoire written by present day Brazilian composers, and it is thus pertinent to study such pieces throughout one’s musical upbringing. / Este trabalho discute a realização das técnicas estendidas encontradas em três peças brasileiras para piano solo compostas no século XXI à luz da formação deste pesquisador, que não incluiu repertório contendo técnicas estendidas. As peças selecionadas são Pó (2008), de Liduino Pitombeira (1962- ), Prélude VII (2008), de Marcílio Onofre (1982) e Pianimbau (2011), de Daniel Wolff (1968) que tiveram como critérios de seleção linguagem composicional contrastante entre as peças selecionadas e não serem peças de nível iniciante ou intermediário. Essas peças foram objeto de estudo nas duas partes desta pesquisa: a Parte A, que consistiu no estudo das peças para apresentação no recital de defesa, e Parte B, que consistiu no trabalho escrito. Uma contextualização histórica das técnicas estendidas encontradas nas obras, fundamentada por autores como Stone (1980), Costa (2004), Burge (2004) e Ishii (2005), norteou a investigação técnico-interpretativa das mesmas. As discussões abordaram os seguintes tópicos: tipo de técnica estendida, notação, dinâmica, região do piano em que a técnica é realizada, formas de execução, partes do corpo utilizadas, estrutura física do piano, materiais utilizados e resultado sonoro. A pesquisa realizada permitiu concluir que a realização dessas técnicas dentro do recorte estabelecido envolveu tanto a adaptação de técnicas pianísticas já utilizadas ao longo da formação deste pesquisador quanto a assimilação de novos conhecimentos e habilidades. Esta pesquisa também revela que técnicas estendidas estão presentes no repertório para piano de compositores brasileiros da atualidade sendo pertinente o estudo das mesmas no processo de formação pianística.

Enquanto Schoenberg considerou Brahms um \"progressista\", parte de seus contemporâneos - por exemplo, Wagner - o classificava como conservador. A razão para tal rótulo era o apreço que Brahms tinha pelas formas clássicas e barrocas. Diferente dos outros românticos, estatisticamente o allegro de sonata é o procedimento composicional mais recorrente em todos os movimentos de sua obra. Além disso, chegou a dominar com maestria a arte de escrever fugas, cânones e outros gêneros barrocos, incorporando-os na sua linguagem musical com naturalidade. Este trabalho vem apresentar como a obra pianística de Brahms se situa perante seus contemporâneos - mais especificamente com relação à forma - e quais as motivações pessoais e sociais que o fizeram adotar essa postura estética. Um breve resumo de suas obras é apresentado seguido de uma análise das Variações sobre um tema de Haendel para demonstrar como sua obra dialoga com o arcaico e o moderno, sendo ao mesmo tempo antiga, clássica e romântica. / Schoenberg once said Brahms was a \"progressive\", while his contemporaries - Wagner, for instance - would classify him as a conservative. The main reason for that was that Brahms enjoyed classic and baroque forms. Apart from the other romantic composers, allegro de sonata is statistically the most recurring compositional procedure in all movements of his output. Besides, he conquered how to write fugues, canons and other baroque genres, inserting them naturally in his musical language. This thesis presents how Brahms\'s piano works relate with those of his contemporaries - more specifically regarding form - and what was his personal and social motivation to adopt this aesthetical position. A brief about his works will be presented followed by an analysis of Variations on a theme by Haendel, in order to demonstrate how his output makes a dialogue with the old and modern, being at the same time antique, classic and romantic

abstract: Sonata No. 2 in B-flat Major is a work for trumpet and piano. It is composed in the romantic tradition and is thirty minutes in length. Trumpet chamber repertoire has increased dramatically in the past century, but few new works are representative of the harmonic language or extended forms of the late romantic tradition. The first movement, “Allegro con spirito,” is in sonata form with fantasy qualities allowing the exposition to meld with the development. The primary theme in 3/4 meter develops a neighbor-tone motive; in contrast, the second theme in 4/4 (in the same tempo) is more lyric in nature. In the development, the juxtaposition of these themes provides changing meters and opportunity for dramatic tension. The bold and metric nature of the first movement is contrasted with the slow, more lyric second movement, “Dolce e sensibile,” (Sweet and sensitive, pg. 22). This movement in E-flat major is in sonata form and encourages a more expressive, rubato interpretation. The second theme of the first movement shares a similar falling gesture as the themes of the second movement, but are different in their expressive qualities. The third movement (“Grave et lento”) is played attacca and begins with a transition from the ideas of the second movement (pg. 30). The dissonant harmonies and low register of the piano solo create an ominous atmosphere which mutates to the bold nature of the first movement. The remainder of the third movement is a seven-part Rondo. The primary theme (m. 20, pg. 31) is derived from a theme from the development of the first movement (m. 210, pg. 12). The C section of the rondo (m. 118, pg. 40) develops the opening theme of the third movement and leads to the primary theme in B-flat major. The final A section of the rondo is piu mosso with the primary theme in a compound meter providing a coda for the entire work. / Dissertation/Thesis / Masters Thesis Music 2018

abstract: This project details specific placement and usage of the Clara motive in Robert Schumann’s Dichterliebe. The analysis categorizes the motive according to its different shapes and relationships to the poetry in Dichterliebe. Four main permutations of the motive are discussed in great detail: the original motive, inverted motive, retrograde motive, and retrograde inverted motive. Schumann (1810–1856) composed more than 160 vocal works in 1840, commonly referred to as his Liederjahr. At the time, Schumann and Clara Wieck (1819–1896) were planning to marry, despite the objections of her father Friedrich Wieck (1785–1873). Robert was inspired to write Dichterliebe because of the happiness-and anxiety-surrounding his love for Clara, and the difficulties leading to their impending marriage. Schumann used the Clara motive (C-Bb-A-G#-A), which incorporates the letters of her name, throughout the song cycle in special moments as a tool of musical expression that alludes to his future wife. Eric Sams (1926–2004), a specialist of German Lieder, has made significant contributions to the research of the Clara motive in Schumann’s music (through his book The Songs of Robert Schumann). However, research into specific locations and transformations of the Clara motive within the Dichterliebe are still insufficient. A further awareness of the Clara motive’s inner working is intended to help performers interpret this song cycle. / Dissertation/Thesis / Doctoral Dissertation Music 2019

This essay offers an English translation of Elementos de Musica e Methodo de Tocar Piano Forte (Elements of Music and Method of Playing the Piano-Forte), op. 19, by the Portuguese composer-pianist João Domingos Bomtempo (1775-1842). His method, the first of its kind written by a Portuguese national, was published in 1816 by Clementi & Co. in London. Bomtempo later rewrote his book, expanding its scope, but the second version survives only as an unfinished manuscript. My translation presents both versions of this instructional work in a single text, distinguishing the contents according to the two sources, with the aim of providing a comprehensive view of Bomtempo’s piano pedagogy. This is the first English translation of Bomtempo’s method. A short biography and critical notes regarding philological and musicological matters clarify ambiguities and contextualize this work within its historical period.

Jody Nagel completed his first piano concerto in 2005. I will discuss technical challenges within the piece and practice techniques to overcome these challenges so that one can perform the work successfully. I cover fingering, pedaling, texture, character, and harmonic issues. I also give performance advice to make the orchestral reduction more pianistic while still honoring the orchestra’s influence within the work.

This thesis explores the eleven solo piano nocturnes by living American composer Lowell Liebermann (b. 1961), to serve as a performer's guide. Characteristics of previous nocturnes provide historical context for Liebermann's pieces, illustrating similarities to the style developed by John Field, Frédéric Chopin, and Gabriel Fauré. Other musical influences on Liebermann, such as Ludwig van Beethoven and Ferruccio Busoni, demonstrate his relationship to the Western art music tradition and placement within the canon. Four distinct facets of Liebermann's musical style are presented: his reliance on traditional formal practices, motivic coherence, his particular harmonic vocabulary, and his use of texture. Liebermann's works use consonant triads, third relations, and smooth voice leading; because of these features, Neo-Riemannian models are suggested as a potential lens through which to view and analyze these pieces. In particular, hexatonic systems and their depiction of the musically "uncanny" relate to how Liebermann's music can have a sort of "defamiliarizing" and destabilizing effect on the listener. The salient musical features of motivic coherence, harmonic relationships, and formal innovations within tradition are presented for each nocturne alongside descriptions of musical character, to capture the essence and spirit contained within the works. The pieces verge on the fantastic and the rhapsodic, demonstrating Liebermann's imaginative approach to tradition. By utilizing a harmonic language that both synthesizes gestures of the past with a rich history of suggestive emotional content, and that innovates with a more modern and dissonant sensibility, Lowell Liebermann has achieved a distinctive musical vocabulary that captures the poetic and dark essence of nocturnes.