Orientador: Mauricy Matos Martin / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-07-26T15:41:32Z (GMT). No. of bitstreams: 1 Almeida_AlexandreZamith_M.pdf: 6798511 bytes, checksum: cbf5e8925d017c4a752307a0f32f2620 (MD5) Previous issue date: 1999 / Resumo: Esta dissertação aborda as relações entre o choro e o repertório pianístico brasileiro, através de um enfoque analítico sobre aspectos históricos e musicais referentes tanto ao choro quanto ao piano brasileiro. Partindo das origens da música brasileira, este trabalho reconhece, inicialmente, os diversos eventos que contribuíram para o surgimento e desenvolvimento do choro, abordando assuntos como a chegada das danças européias aos salões brasileiros, a formação de gêneros musicais nacionais como o maxixe e o tango brasileiro, o aparecimento dos primeiros grupos de choro e a definição de seu instrumental típico, o perfil social e musical dos primeiros chorões e a consolidação do que hoje reconhecemos como grupo regional. A estreita relação entre o choro e o piano é analisada através do entendimento de aspectos referentes ao citado instrumento e, ao mesmo tempo, decisivos no desenvolvimento não só do choro, mas de toda a música brasileira. São estes aspectos a popularidade que o piano gozou na cidade do Rio de Janeiro da segunda metade do século XIX à terceira década do século XX, o alto teor social que o instrumento - ao ser tratado como importante meio tanto de entretenimento quanto de afirmação sócio-econômica - assumiu, a importância do piano na divulgação e comercialização de obras musicais e, enfim, a tradição dos chamados pianeiros e seu posicionamento no desenvolvimento da música popular brasileira. Em seu capítulo final, esta dissertação busca reconhecer e, acima de tudo, demonstrar - através de diversos exemplos musicais extraídos do repertório pianístico brasileiro - as principais constâncias musicais do choro transpostas para o piano. Para tanto, tais constâncias foram organizadas em quatro itens - Melodia, Harmonia, Baixos e Ritmo - e demonstradas através de exemplos nos quais pode-se ter uma mostra dos recursos utilizados pelos compositorespara imprimir o espírito musical chorão em peças para piano. Com base nestes recursos, realizamos - como resultado final deste trabalho - o arranjo de dois consagrados choros de Pixinguinha: Desprezado e Um a Zero. A partir de partituras que definem apenas a linha melódica e suas respectivas cifras harmônicas, estes choros foram transcritos para a formação de piano a 4 mãos, refletindo assim diversos elementos repertoriados neste capítulo / Abstract: Not informed. / Mestrado / Mestre em Artes

Orientador: Mauricy Matos Martin / Dissertação (mestrado) - Universidade Estadual de Campinas. Instituto de Artes / Made available in DSpace on 2018-07-27T08:54:19Z (GMT). No. of bitstreams: 1 Macedo_CintiaCosta_M.pdf: 4526864 bytes, checksum: d4bc2a55cec3c0de60ed12e4effc3dc4 (MD5) Previous issue date: 2000 / Resumo: Este trabalho apresenta, após uma introdução, análises dos 12 Estudos para piano solo de Osvaldo Lacerda. O enfoque é dado aos elementos musicais estruturais de cada um e os aspectos pianísticos interpretativos e técnicos são respectivamente baseados no método de análise de Júlio Bas 1 bem como em entrevistas com o compositor. Em seguida são apresentadas uma biografia obtida através do levantamento histórico de sua vida, carreira profissional e de entrevistas com o mesmo, bem como um catálogo de suas obras. Na conclusão estão os aspectos finais mais relevantes de cada Estudo mostrando o uso variado de constâncias melódicas e rítmicas da música brasileira. Dois anexos foram incluídos no trabalho, procurando contribuir para a divulgação das obras de Osvaldo Lacerda através de uma entrevista com a pianista Eudóxia de Barros sobre os Estudos e o relatório de uma apresentação feita em seminário a partir dos resultados da pesquisa. 1 BAS, Julio. TratadoDe La Forma Musical. Argentina, Buenos Aires: Ricordi, 1947 / Abstract: This dissertation presents, afier an introduction, the analysis of the twelve Estudos for piano solo by Osvaldo Lacerda. The focus is on the structural musical elements of each one and the interpretative and technical aspects of the analysis are based on the school of Julio Bas 2 as well as on interviews with the composer. Following are presented a biography obtained from the results of historical research on the composer's life, his professional career and personal interviews with him, as well as a catalogue of ali his work. In the conclusion are the most relevant aspects of each Estudo showing the varied use of typical melodic and rithmic brazilian music patterns. Two parts were added to this work intending to contribute to the divulgation of Osvaldo Lacerda's music through an interview with the pianist Eudóxia de Barros about the Estudos and comments on a lecture given at Oakland University, Rochester, Michigan, USA, about this research. 2 BAS,Julio. Tratado De La Forma Musical. Argentina, Buenos Aires: Ricordi, 1947 / Mestrado / Mestre em Artes

Orientador : Maria Lucia Senna Machado Pascoal / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-02T10:30:20Z (GMT). No. of bitstreams: 1 Melo_BetaniaMariaFranklinde_M.pdf: 2645702 bytes, checksum: a99509e66dc13e50de48e3a99bf53caa (MD5) Previous issue date: 2002 / Resumo: Os objetivos deste trabalho são fazer um estudo sobre a prática de piano em grupo e apresentar uma proposta de atividade musical para adultos, sem experiência musical. O Ensino de Piano em Grupo justifica-se como uma preparação musical, pois desenvolve aspectos como criatividade, improvisação e prática de conjunto, entre outros. A Metodologia é descritiva e a proposta de trabalho tem por base experiência desenvolvida na Escola de Música da UFRN. A conclusão aponta caminhos para o acesso ao estudo de música através do piano, proporcionando a capacidade de realizações musicais e deixando abertura para novos trabalhos / Abstract: This research aims the study about the piano worked in group and also a possibility of a musical activity with adult students who did not have a previous music school experience. These kind of piano lessons are considered themselves as a musical study preparation and they may develop a lot of aspects such are creativity, improvisation and ensemble practice, among others. The work, starting ffOm the description method, makes the proposal that has its support in an experience developed at the Escola de Música, UFRN. The conc1usionreveals ways to the music study through the piano which brings out the possibilities of musical realizations and let the opening to new investigations in the area / Mestrado / Mestre em Artes

Orientadores: Mauricy Martin, José Roberto Zan / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-02T22:28:49Z (GMT). No. of bitstreams: 1 Gonzaga_MariaClaradeAlmeida_M.pdf: 4402625 bytes, checksum: bfd7d29b3fe26146965c79ae7ab7949f (MD5) Previous issue date: 2002 / Resumo: Este trabalho teve como objetivo investigar a Música Cênica para piano produzida no Brasil do século XX, no período que envolve os anos 70 e suas proximidades,a fim de constatar as possibilidades de realização artístic ano gênero e contribuir, desta maneira, para a pesquisa e a prática do ensino, assim como para a divulgação da Música Contemporânea Brasileira. Cinco peças representativas foram tomadas como objeto de estudo: Cincokitschs-1968 (Willy Corrêa de Oliveira); Comentários sobre uma peça de Mozart-1976 (Henrique Morozowicz de Curitiba); Redundantiae-1979 (Jorge Antunes); Recado a Schumann-1983 (Gilberto Mendes) e XI Variações-1983 (H.DawidKorenchendler). A necessidade de focalizar o assunto é decorrenteda escassez de bibliografia a respeitoe da ausência quase total desse repertório nos programas de concerto. A abordagem passa pelos dados dos compositores, descriçãodas peças, análise dos recursos cênicos nelas utilizados, referência às interpretações de pianistas que tiveram oportunidadede realizá-las,proposta de utilização de tecnologia nas apresentaçõe sem público e relação de outras peças de Música Cênica dos mesmos autores. Em anexo, depoimentos completos das entrevistas com os compositorese intérpretes / Abstract: This work intends to investigate the scenic music for piano made in Brazil during the twentieth century, especially in the period around the 19705, verifying the possibilities of performance of this kind of music and contributing for research and education practices of Brazilian contemporary music as well as divulge this repertoire. Five representative pieces were taken as objects of study: Cinco kitschs - 1968 (WillyCorrêa de Oliveira); Redundantiae 1979 (Jorge Antunes); Recado a Schumann- 1983 (Gilberto Mendes) e XI Variações - 1983 (H. Dawid Korenchendler). This study was motivated by the scarce bibliographyon this subject and almost total absence of this repertoire in most of the recital programs. Included are some information about the composers, a description of the pieces, an analysis of the scenic resources used, some references to the interpretation of pianists who had the opportunity to perform the pieces, a proposal for the usage of technology in public performances, and a relation of other scenic pieces by the same composers. Also annexed to this work are the complete interviews with the composers and performers / Mestrado / Mestre em Artes

Georgian composer, teacher, conductor, and musicologist Otar Taktakishvili (1924–1989) played a leading role in the revival of Georgian art music in the second half of the 20th century. Despite his multiple duties and close relationship with the USSR regime, Taktakishvili consistently wrote music based on Georgian traditional folk music, hence imprinting and preserving the national Georgian identity through his compositions. These nationalistic influences appear prominently in several of his piano suites and are ubiquitous in the Piano Suite written in 1973. In the Piano Suite (1973), Taktakishvili adapts and recreates the sonorities, registers, coloristic effects through textural layering and articulations, rhythmic patterns and performance practices of selected Georgian folk instruments at the piano. He creates a unified suite by evoking the sound characteristics of his national instruments. The Piano Suite is unique and likely the only suite in the piano literature based on the imitation of a group of folk instruments, and as such deserves a place in the scholarly literature on world piano music. An analysis of the pianistic resources used by Taktakishvili to imitate the unique musical qualities and performance practices of five popular Georgian folk instruments reveals a reliance on repetitive rhythmic figures, textural layering, imaginative articulation, and deft use of the registers of the piano. The composer also distinctively implements characteristic modes and harmonic language to evoke the flavor of Georgian folk music.

In order to understand the aesthetics of any musical form, one must first of all make the effort to appreciate the culture which produced it. For this reason, this paper contains a lengthy, although necessarily cursory, outline of the historical development of the Estonian nation. This historical perspective will hopefully acquaint the reader with the cultural background of the Estonians: one of the oldest, yet unfortunately one of the most unknown civilizations of North-Eastern Europe. Although there exist a few renditions of the history and music of this country devoid of propaganda, there is very little in the English language dealing with the historical development, and next to nothing on the music. The most authoritative texts are therefore written in the Estonian language, and for this reason the following paper is based totally on my translation of these sources.

No abstract available. / Dissertation (MMus (Performing Art))--University of Pretoria, 2006. / Music / unrestricted

Piano teachers believe that dropping out before reaching a moderate mastery of the piano is a common problem among students. This study uses Self-Determination Theory to examine three issues related to the high dropout rate from private piano lessons: whether there are predictors associated with dropout, whether low levels of motivation correlate with dropping out, and the primary reasons invoked for stopping lessons. Using the Survey of Musical Interests, 55 former piano students who quit lessons completed a questionnaire with Likert-scale, multiple choice, and open-ended questions, and their parents also filled out a complementary questionnaire. These participants were compared to 153 students and parents who were still involved with piano lessons. Results showed important predictor differences in parental backgrounds, musical ability, and practice habits, and significant differences between the groups’ autonomous motivation. The main reasons invoked for stopping lessons included lack of practice, preferring other instruments, and loss of interest.

A study of selected chance and indeterminate piano pieces was made with a two-fold purpose: (1) to provide an intermediate stage between the composition and performance of the selected works and (2) to illustrate the diverse ways spontaneity may be invoked. The investigation centered on three points: (1) the problems the performer might encounter in examining the pieces, (2) implications of the instructions and (3) possible realizations of the score. While each score examined showed a slightly different approach to chance or indeterminacy, the pieces within the two categories were seen to exhibit common features. Generalizations were made in three broad areas: (1) the instructions in the scores, (2) the notation and (3) possible solutions. The instructions in the indeterminate scores were found to be relatively straightforward; the performer is made aware of his choices or alternatives and manner of performance is discussed. Instructions in chance works are less explicit; the performer is not directed to any one solution. Some explanation of the notation is given and the performer is led to discover how extensive his freedoms are. Indeterminate works on the whole are found to use traditional notation. The notation may be altered in some way, but retains a resemblance to its traditional source. Chance notation is very diverse, but three general categories exist: (1) works using traditional notation, (2) works using traditional and non-traditional (graphic) notation and (3) works using only graphic notation. The possible solutions of indeterminate works are concerned with either the juxtaposition or the metric relationship of material. The degree to which the choices are guided varies in the works discussed. Possible solutions of the chance works involve interpretation of notation and various ideas presented in the instructions. The performer must respond in an individual way, drawing on his own ideas. In general, analyses of the works illustrated some features that might be expected in other chance and indeterminate works. / Arts, Faculty of / Music, School of / Graduate

Friedrich Kuhlau (1786-1832) ranks as a minor master of the early nineteenth century. As a composer of keyboard music he is perhaps best known for his sets of sonatinas, but the twenty-two sonatas he composed from 1809 to 1831 form a significant part of his extensive output. This study examines three of his sonatas -- Op. 4, Op. 46 No. 2 and Op. 127 -- and places them in historical context through a discussion of the importance of this genre in the repertoire of that era. A survey of contemporary keyboard performance practices is also included, as well as an introductory biographical sketch. Kuhlau's style is undeniably conservative, with phrases of regular and predictable length in evidence throughout, and his music is often derivative of that of earlier composers from C.P.E. Bach through Beethoven. However, his works also reflect numerous traits of early Romanticism. They are melodically rich, widely spaced sonorities are frequently employed, and his textures range from delicate nuances to thickly scored passages. From a purely pianistic point of view, he displays a fondness for scalewise and arpeggiated passages so often used to excess by lesser composers of his era, but he also clearly demonstrates that he was aware of more innovative approaches to keyboard writing. Throughout history, countless minor composers such as Kuhlau were highly respected during their lifetimes; nevertheless, most of their compositions, including those under consideration here, have not survived on the concert stage. Consequently, there exists a vast body of literature of which little or nothing is known. It is both necessary and useful to study such works in order to gain a more complete understanding of music of their period. Moreover, a closer examination of them might well lead to a reassessment of their worth, which in turn may encourage more frequent performances. / Arts, Faculty of / Music, School of / Graduate