abstract: This paper describes six representative works by twentieth-century Chinese composers: Jian-Zhong Wang, Er-Yao Lin, Yi-Qiang Sun, Pei-Xun Chen, Ying-Hai Li, and Yi Chen, which are recorded by the author on the CD. The six pieces selected for the CD all exemplify traits of Nationalism, with or without Western influences. Of the six works on the CD, two are transcriptions of the Han Chinese folk-like songs, one is a composition in the style of the Uyghur folk music, two are transcriptions of traditional Chinese instrumental music dating back to the eighteenth century, and one is an original composition in a contemporary style using folk materials. Two of the composers, who studied in the United States, were strongly influenced by Western compositional style. The other four, who did not study abroad, retained traditional Chinese style in their compositions. The pianistic level of difficulty in these six pieces varies from intermediate to advanced level. This paper includes biographical information for the six composers, background information on the compositions, and a brief analysis of each work. The author was exposed to these six pieces growing up, always believing that they are beautiful and deserve to be appreciated. When the author came to the United States for her studies, she realized that Chinese compositions, including these six pieces, were not sufficiently known to her peers. This recording and paper are offered in the hopes of promoting a wider familiarity with Chinese music and culture. / Dissertation/Thesis / CD Track 6. Duo Ye / CD Track 4. Autumn Moon over the Calm Lake / CD Track 5. Flute and Drum at Sunset / CD Track 3. Dance of Spring / CD Track 2. Sunflower / CD Track 1. Liu-Yang River / D.M.A. Music 2012

This thesis follows on a number of studies all of which deal with selected schools of composition important in the development of the piano sonata. Muzio Clementi was one of the leading contemporaries of such great masters as Haydn. Mozart, Beethoven and Schubert, all of whom contributed greatly to the repertoire of piano sonatas. During his lifetime his reputation equalled that of his contemporaries and many of his sonatas were greatly admired by the young Beethoven. Clementi was born in Rome but spent the largest part of his Ii in London where he established himself as a multi-faceted musician, being engaged in many different fields connected with music: composer, teacher, performer, publisher and manufacturer of pianos. His sonatas form the most important part of his total creative output. While the earli works still follow principles typical of the middle classical period, his later sonatas belong to a different era and foreshadow the coming of romanticism. This thesis is devoted to a detailed survey of the changes that affect the form of the various movements. It shows the gradual change from tile simple compositional methods of the early works to the inherent logical process that characterises the sonatas of the later years The first part of the thesis culminates in findings that prove Clementi IS individuality and show that his enquiring spirit makes him an innovator of the first rank. The second major part of the thesis deals with the stylistic changes that take place within the various periods of Clementiis creative life. It summarises the main ingredients of his early music, critically evaluates the importance of various pianistic devices that play a leading role in works of the middle periods and finally shows the successful blending of inherited and new techniques in the last sonatas. The concluding section details the major points of the preceding investigations and presents a picture of Clementi's personality as it emerges through the medium of his solo keyboard sonatas.

Submitted by Paulo Almeida (pnovaisna@hotmail.com) on 2017-01-17T18:16:15Z No. of bitstreams: 2 Trabalho final - Homologdao.pdf: 27036242 bytes, checksum: 819af39de06b35a00377d454b1cc82db (MD5) A arte de tocar piano margem 2-2,4.pdf: 19285765 bytes, checksum: 8510e50d748d7cc72a098ab236b129de (MD5) / Approved for entry into archive by Nilson Nascimento Souza (nilson@ufba.br) on 2017-02-08T18:17:01Z (GMT) No. of bitstreams: 2 Trabalho final - Homologdao.pdf: 27036242 bytes, checksum: 819af39de06b35a00377d454b1cc82db (MD5) A arte de tocar piano margem 2-2,4.pdf: 19285765 bytes, checksum: 8510e50d748d7cc72a098ab236b129de (MD5) / Made available in DSpace on 2017-02-08T18:17:01Z (GMT). No. of bitstreams: 2 Trabalho final - Homologdao.pdf: 27036242 bytes, checksum: 819af39de06b35a00377d454b1cc82db (MD5) A arte de tocar piano margem 2-2,4.pdf: 19285765 bytes, checksum: 8510e50d748d7cc72a098ab236b129de (MD5) / PPGPROM / RESUMO Este trabalho apresenta as atividades desenvolvidas durante o curso de Mestrado Profissional em Música, na área de Criação/Interpretação, pertencente ao Programa de Pós-Graduação Profissional em Música – PPGPROM, da Universidade Federal da Bahia, sob a orientação da Profa. Dra. Ekaterina Konopleva. Contém um Memorial descritivo do curso, precedido por uma Introdução e elaborado em forma de cordel. Esta forma alternativa de memorial foi idealizada a partir do exemplo indicado pelo Prof. Dr. Lucas Robatto, Coordenador deste Programa, numa das suas orientações gerais, ao citar um memorial em forma de versos elaborado por um mestrando da área de Letras. Contém um artigo acadêmico intitulado Problemas sobre tocar e ensinar piano - uma contribuição pedagógica de G. Kochevitsky. Contém, nos Apêndices A e B, outros dois artigos produzidos durante o curso: Invenção a duas vozes BWV 772 - HIP e o piano na música de J. S. Bach, e A Sonata BWV 1029 para Viola da Gamba e Cravo de J. S. Bach: uma possibilidade de performance. Nos Apêndices C e D o Plano Pedagógico 2015.1/2 e, finalmente, nos Anexos, os relatórios das Práticas Profissionais Orientadas realizadas durante o curso. Acompanha este volume, correspondendo a um dos produtos finais do mestrado, DVDs do Recital-Palestra O Contraponto e o piano na música para teclado de Bach (11 de maio e 15 de julho de 2016 no Auditório da Escola de Música) e da palestra Contribuições Pedagógicas de George Kochevitsky: tradução inédita da obra “The Art of Piano Playing, a scientific approach” apresentados no congresso UFBA 70 Anos, em 15 de julho de 2016. Todo o material exibido tem o objetivo de cumprir os requisitos para a obtenção do título de Mestre em Música através do PPGPROM - Universidade Federal da Bahia. / ABSTRACT This paper presents the activities developed during the course of Professional Masters in Music in the area of Creation / Interpretation, as a part of the Post-Graduate Professional Program in Music - PPGPROM, of the Federal University of Bahia, under the guidance of Prof. Dra. Ekaterina Konopleva. It contains a descriptive Memorial, preceded by an Introduction and prepared in the poetic form of cordel. This alternative form of memorial has been designed from the example indicated by Prof. Dr. Lucas Robatto, Coordinator of the Program, during one of his general orientations, who quoted a Memorial in form of verses, prepared by a graduate student of Portuguese Language. This work contains an academic article entitled Problems of Playing and Teaching Piano - a Pedagogical Contribution of G. Kochevitsky. Contains, in Appendices A and B, two other articles produced during the course: Invention for Two Voices BWV 772 - HIP and Piano in J. S. Bach's Music, and Sonata BWV 1029 for Viola da Gamba and Harpsichord of J.S. Bach: a Possibility of Performance. Appendices C and D consist of the Pedagogical Plan 2015.1/2, and, finally, in the Annexes, the reports of Oriented Professional Practices accomplished during the course are presented. This volume is accompanied by DVDs of the lecture-recital Counterpoint and piano in the Bach’s keyboard music (May 11 and July 15, 2016 in the Auditorium of Music School), which corresponds to one of the final products for the Master Degree, and of the lecture Pedagogical Contributions of George Kochevitsky: unpublished translation of the work "The Art of Piano Playing, a scientific approach" presented in UFBA 70 Years Congress on 15 July, 2016. All the material exposed is intended to fulfill the requirements for obtaining the Master of Music at PPGPROM - Federal University of Bahia.

This paper will examine color-coded musical notation. The history of color and music will be briefly explored before a more in-depth analysis of the widely available color-coded curriculums. Traditional method book formats will be examined for the potential integration of color-coded musical notation.

This concerto is the composer’s conversation with the past. In four movements, each one embodies a traditional musical form. The work is a continually transforming kaleidoscope of relentless virtuosity, fanciful flights of harmony and melody, and unapologetic shifts in timbre and texture. Although conceived in four separate movements, the entire work is without intervening pauses. The concerto grosso is scored for flute, violin, piano, and string orchestra, and is approximately twenty-five minutes in duration.

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.

Este trabalho busca verificar os princípios e diretrizes propostos para a reavaliação e redefinição da aula de piano e sua relação com as concepções pedagógicas de Pace, Verhaalen e Gonçalves. É feita uma análise histórico-hermenêutica da bibliografia americana pertinente ao tema - aula de piano e ensino de música - a partir do movimento deflagrado no início do século XX nos Estados Unidos a favor da implantação da aula de piano em grupo nas escolas públicas, passando pela reforma educacional americana iniciada em 1957 até chegar ao seu perfil atual. Procura-se detectar influências sócio-econômico-educacionais influentes na reavaliação da aula de piano e na consequente formulação de uma proposta de renovação desta, traçando sua relação com as correntes psico-filosóficas de cada época. Procede-se a um levantamento dos procedimentos utilizados por Pace, Verhaalen e Gonçalves em suas produções pedagógicas bem como dos fundamentos que os embasam. A última etapa do trabalho evidencia as características e os aspectos relevantes da proposta como um todo, relacionando a presença desses aspectos nas produções pedagógicas dos referidos autores. / This research analyses the principles and goals developed by the american music teachers aiming at a ney approach to piano instruction as well as their relationship to the pedagogical contributions of Pace, Verhaalen and Gonçalves. First, a hostorical-hermeneutical analysis of North-American bibliography is conducted relating the idea of piano instruction and music teaching in the American schools in the beginning of the 20th century, including the 1957 educational reform and reachingthe present decade. One of the main objectives is to verify how a new approach to the piano instruction was influenced by social, economical and educational trends along the century, how it relates with the phylosophical and psychological principles and what is proposed for the piano teaching situation. Second, a survey of the foundations and procedures developed by Pace, Venhaalen and Gonçalves in done based on each one of hteir pedagogical contributions. The last part seeks to demonstrate how the relevant aspects of the proposal relate to pedagogical contribution of each of the authors.

Made available in DSpace on 2016-08-26T15:19:02Z (GMT). No. of bitstreams: 1 tese_6411_Microsoft Word - Monumento Histórico_Paisagem e Lugar.pdf: 8003791 bytes, checksum: 4b1aaea44f1b85d0e4c907d25f1e19a0 (MD5) Previous issue date: 2013-04-22 / Este trabalho visa discutir a possível formação de um cânone de repertório de música brasileira, especialmente no contexto do Concurso Nacional de Piano de Governador Valadares, dialogando com os conceitos de cânone e memória, a fim de elucidar alguns aspectos envolvidos na construção do repertório pianístico brasileiro, e com os conceitos de campo autônomo e capital cultural para compreender em que medida os concursos podem contribuir neste caso. Para tanto, foram analisados os programas deste concurso com o objetivo de identificar o repertório de música brasileira apresentado pelos candidatos. A partir da constatação de um repertório pianístico hegemonicamente centrado nas obras do compositor Heitor Villa-Lobos, busca-se levantar e entender os diversos fatores que conformam tal panorama, desde a própria estética nacionalista até a inserção deste compositor no governo Vargas e suas implicações.

Tese (doutorado)—Universidade de Brasília, Instituto de Ciências Humanas, Departamento de História, Programa de Pós-graduação em História, 2012. / Submitted by Albânia Cézar de Melo (albania@bce.unb.br) on 2012-06-05T13:49:35Z No. of bitstreams: 1 2012_RobervaldoLinharesRosa.pdf: 24007912 bytes, checksum: 2194cccd877733e63a2e9106151a4445 (MD5) / Approved for entry into archive by Jaqueline Ferreira de Souza(jaquefs.braz@gmail.com) on 2012-06-19T10:44:33Z (GMT) No. of bitstreams: 1 2012_RobervaldoLinharesRosa.pdf: 24007912 bytes, checksum: 2194cccd877733e63a2e9106151a4445 (MD5) / Made available in DSpace on 2012-06-19T10:44:33Z (GMT). No. of bitstreams: 1 2012_RobervaldoLinharesRosa.pdf: 24007912 bytes, checksum: 2194cccd877733e63a2e9106151a4445 (MD5) / A tese, cujo título toma por empréstimo um verso de Caetano Veloso - “Como é bom poder tocar um instrumento” - tem como objeto a prática músico-laboral dos chamados “pianeiros” e, como objetivo, rastrear a trajetória destes profissionais do piano no período compreendido entre os anos 50 do Império e os 60 do século XX. Desenvolvida com o suporte teórico disponibilizado pela História Cultural, a pesquisa faz interface com a Música e tem como eixo norteador a convicção de que a performance pianeira se delineia e ou se reconfigura segundo condições históricas que pontuam o período considerado, afetando aspectos plurais que vão desde os espaços de atuação ao próprio modo de tocar o instrumento. O cenário da cultura urbana recorta a cidade do Rio de Janeiro, metonímia do Brasil, como Plano de Observação que encontra em São Paulo uma espécie de contraponto. Estruturada em seis capítulos, a tese toma como base empírica um corpus plural que inclui documentação impressa, fontes orais, fontes eletrônicas, fontes iconográficas, fontes sonoras (anexando um CD ao texto escrito) e uma estante de obras selecionadas que asseguram o necessário suporte histórico pois, mais que moldura, nele se constroem questões identitárias, representações, sagas biográficas e pontos de inflexão desencadeadores das reconfigurações buscadas. Objetivou-se, ademais, fazer da pesquisa um lugar de mostração da história dos pianeiros que, nomeados na pesquisa, ou anônimos, esta tese homenageia. ______________________________________________________________________________ ABSTRACT / This thesis, whose title was borrowed from a verse from Caetano Veloso's "How nice it would be to play an instrument" - in which the theme is about the working pianists known as "pianeiros". The objective is to trace down the historical trajectory of these professionals in the period between the 1850’s and the 1960’s. This research was developed with the theoretical support provided by Cultural History, which interrelates with Music. It is guided by the belief that the performances of working pianists are designed and molded according to the various historical conditions. These conditions emphasize this considered time period and also affect many aspects, such as, the locations of performances and as well as the way of playing the instrument. Rio de Janeiro, Brazil’s metonymy is the scenario of urban culture that finds itself in São Paulo as a counterpoint. Structured into six chapters, this thesis has an empirical corpus that includes various printed documentation, oral sources, electronic sources, iconographic sources, sound sources (see attached CD at the back of this work). A collection of selected sources ensures the necessary support for History, more than just a picture frame; it is composed of constructed identity issues, representations, biographical sagas and inflection points that lead to the reconfiguration sought after. Moreover, the objective of this thesis is to create a showroom for these working pianists, named or anonymous and which also serves as homage to them.

The present study is an attempt to understand the differences between the child and young adult beginner in learning how to play the piano as a basis towards improving college-level beginning piano teaching. The purpose of this study then is three fold: (1) to examine to what extent there is a difference of learning achievement and rate between the child and young adult beginner, centering on psychomotor skills, the process of music reading, and elements of interpretation in learning how to play the piano; (2) to find out factors affecting these three elements of musical learning in two groups; and (3) to drive ways towards improving college level beginning piano teaching. To examine these questions, comparisons were drawn between undergraduate non-music majors (19 - 24 years) and primary school children (8 years). The 10-week instructional period consisted of two 40-minute lessons per week for each individual. The investigator taught all subjects individually with the investigator-designed instructional programme focused on keyboard fluency, music reading, and interpretation. Through the pilot study materials and sequencing in the instructional programme were revised and a system of categories for learning-relevant variables emerged. Hypotheses related to a basis of differences in music learning between two groups were investigated using a three-point achievement measurement tool designed by the investigator. Other variables (physical capacity, intelligence, musical background, motivation to learn, learning attitude, emotional factors) affecting musical learning were investigated using IQ tests, the students' self-reports, investigator's reports, and parents' reports. The results of the principal investigation indicate that the young adult beginners performed in all three musical learning elements better than the child group. No evidence was found in support of stereotypical assumptions in the beginning piano study-related literature that the young adult beginner is at disadvantage to the child beginner in the acquisition of keyboard fluency skills. It appears that the young adult did not have problems related to physical capacity taught in this instruction. In addition, it appears that selection variables (physical capacity, intelligence, and musical background) played an important role in the musical achievement of the child beginner group compared with the young adult group. On the other hand, in the case of the young adult group, it appears that learning-related characteristics (motivation to learn, learning attitude, and emotional factors) were likely to be more important factors affecting the musical development compared with the child group.